Jazz | Fusion Vinyl 740 Items

Big Business / Wind Of Change

Release: 1974 / UK – Reissue

Genre: Organic Grooves

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Released in the same year as Synthesis over on KPM, 1974’s Synthesizer and Percussion is its essential companion piece. “This record features the many distinctive sounds of the ARP Synthesizer plus percussion in various moods and tempos” is the even more underwhelming than usual library record sales pitch for Alan Hawkshaw and Brian Bennett’s second collection of what is basically minimal G-funk, with overtones of primitive acid house. This is ridiculously good.

This is one of Hawkshaw and Bennett’s wilder joints and aeons ahead of its time. Bennett’s tough drums provide the underpinnings for the prominent bass, keys and bubbling synths high up in the mix, alongside Hawkshaw’s deranged clavinet-funk-rock. There are heavenly break loops galore.

Opener "Mon Amour" is ultra-smooth funk, all inter-weaving melodic lines whilst the seminal "Oddball" is an incredible hard electro strut with a knocking break. "Mile High Swinger" is a tranquil Spaghetti Western whistling theme over double tempo rhythmic movement and the pulsating "Auto Pilot" has a percussive groove elevated by electric piano and synthesizer. Check "Driving Force”, “Home Run” and "Pacesetter" for electroid prog-funk dripped in acid squelch.

All five final tracks are beatless synth workouts, because they can.

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

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V.A.

LP | 1973 | UK | Reissue (Be With)

Keith Mansfield & John Cameron

Release: 1973 / UK – Reissue

Genre: Organic Grooves

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The two sides of 1973’s Big Business / Wind of Change are mainly the work of the great Keith Mansfield but there’s a killer cameo each from Alan Hawkshaw and David Snell to help deliver “a thematic suite, diverse in mood, applicable to dramatic and environmental situations”. A Be With favourite and truly one for the heads.

The Big Business of side A is all the work of Keith Mansfield. It’s heavy on the suspense and features the vital “Hot Property”, an insistent groove so good that Madlib sampled it to lace the ace “Long Awaited” by Lootpack with Dilated Peoples.

“Sleeping Giant 1” is a more fleshed out version of the equally-dazzling “Fatal Error”, evoking the orchestral magic of David Axelrod. Indeed, it conjures images of Diamond D falling over himself in the early-to-mid 90s to loop its intoxicatingly eerie soundscape. Complete with guitar fills that recall Paris, Texas-era Ry Cooder, you need this record for this piece alone.

The horn-and-flute-led "Tycoon" is a head-nodder and "Power Complex" has some fantastic percussion. Other highlights include the breezy glide of “Whistle Stop Tour” and its sister groove “Clean Air.”

Over on Side B is the more expansive Wind Of Change, which includes the David Snell and the Alan Hawkshaw contributions. But these ain’t no filler. Snell’s shuffling “International Flight” sounds like a smooth Dorothy Ashby track tossed from the heavens. Hawkshaw’s “Road And Rail” is about as luxurious and strung-out as the great man gets and it might just be the highlight of this whole set.

Not to be outdone, if Mansfield’s “Balance Of Power” doesn’t make you feel like king of the world then you must be playing it wrong. Oh, and did we mention “World In Action”?!

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

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Voices In Harmony

LP | 1973 | UK | Reissue (Be With)

A Me Stesso Con Simpatia Limited Colored Edition

Release: 1973 / UK – Reissue

Genre: Organic Grooves

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Voices In Harmony was released in 1973 as “a selection of contemporary pop titles featuring voices, brass and rhythm”. We choose to describe this collection of works by Keith Mansfield and John Cameron as “a string-laced, harmony-drenched KPM classic”.

From the bright, lilting harmonies of “Liquid Sunshine” to the melting flutes of “Loving Touch” and “Gentle Persuasion”, this is warm, effervescent soul music for dreamy, idyllic moods. The supreme “Husky Birdsong” is so, so smooth, with its unrelenting bossa bassline and warm keyboards. “Half Forgotten Daydreams” is a gorgeous wordless groove.

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

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Giacomo Dell’Orso

LP | 1975 | EU | Reissue (Cinedelic)

27,99 €*

Jiro Inagaki And Soul Media

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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

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

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

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In The Groove White Coloured Vinyl Edition

12" | 1973 | EU | Reissue (Columbia Japan)

57,99 €*

Weather Report Colored Vinyl Edition

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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Refined jazz. Well-crafted rock. Finely honed funk. Swallowing everything, a strong groove begins to run.

Since their formation in 1969, Soul Media has advocated a fusion of jazz and rock. This work, ``In the Groove,'' recorded in 1973, took this route to the next step. Bringing the sharpness of jazz to the fore, blending rock to give it an edge, and injecting funk to exude power and elasticity. They created strong, sophisticated, and simply "cool music" that could not be categorized into existing genres such as jazz-rock, jazz-funk, and fusion.

This work is said to be a response to The Crusaders, which Jiro Inagaki was paying attention to at the time. The aim was on point. With this work, Soul Media acquires a "sophisticated black feeling" and heads toward their final destination, "Funky Stuff.”

Text by Yusuke Ogawa (universound/deep Jazz Reality)

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Weather Report

LP | 1971 | EU | Reissue (Music On Vinyl)

28,99 €*

Release: 1971 / EU – Reissue

Genre: Organic Grooves

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LP | 1975 | US | Reissue (Black Jazz)

Cleveland Eaton

Plenty Good Eaton

Release: 1975 / US – Reissue

Genre: Organic Grooves

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LP | 1973 | US | Reissue (Prestige)

Ivan Boogaloo Joe Jones

Snake Rhythm Rock

15,99 €*

Release: 1973 / US – Reissue

Genre: Organic Grooves

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LP | 1974 | US | Reissue (Music On Vinyl)

Herbie Hancock

Thrust

28,99 €*

LP | 1970 | EU | Reissue (Endless Happiness)

Release: 1974 / US – Reissue

Genre: Organic Grooves

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180g audiophile pressing

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Gal Costa

Legal

22,99 €*

LP | 1971 | US | Reissue (RCA)

Release: 1970 / EU – Reissue

Genre: Organic Grooves

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

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David Axelrod

Messiah

Release: 1971 / US – Reissue

Genre: Organic Grooves

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Neil Ardley, Ian Carr, Don Rendell

Greek Variations

LP | 1970 | EU (Endless Happiness)

LP | 1972 | EU | Reissue (Endless Happiness)

Release: 1970 / EU

Genre: Organic Grooves

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Recorded in '69, Greek Variations & Other Aegean Exercises is irresistible on two counts. First, for its daringly conceived and brilliantly performed music, inspired by Greek folk songs and instrumental textures and deep enough to reveal all its treasures only after many repeated listenings. Second, for being recorded at the moment when the Don Rendell/Ian Carr Quintet, a major force in British straight-ahead jazz since '62, had broken up and Carr's equally influential jazz-rock band Nucleus was rising from the ashes.

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Ornette Coleman

Crisis

29,99 €*

Solis Lacus A Special Radio TV Record - No15

Release: 1972 / EU – Reissue

Genre: Organic Grooves

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A superb and under-recognized recording, Crisis is one-third of a trilogy of extraordinary albums -- the others being Broken Shadows and Science Fiction -- by Coleman's small groups of the late '60s and early '70s. A rendition of the piece "Broken Shadows" itself, a dirge of astonishing beauty second only to his "Lonely Woman," opens the live performance and offers solos of deep and poignant probity from Coleman and tenorist Dewey Redman, whose earthy growled tones counterbalanced the leader's so well for so long. Crisis somehow lacks the reputation of the revolutionary Coleman albums from early in his career, but on purely musical grounds it ranks among his most satisfying works.

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Solis Lacus

LP | 1974 | EU | Reissue (Sdban)

LP | 1978 | EU | Reissue (Tokuma)

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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Reissue of the Belgian milestone jazz album originally released in 1975.This is groundbreaking, experimental and funky jazz fusion!

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Akio Niitsu

I/O(I･O)

36,99 €*

LP | 1977 | JP | Reissue (Showboat)

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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Tadashi Kosaka

Morning

39,99 €*

Release: 1977 / JP – Reissue

Genre: Organic Grooves

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LP | 1977 | JP | Reissue (Universal Music Japan)

Yasuda Minami

Some Feeling

39,99 €*

Mellow Dream Blue Vinyl Edition

Release: 1977 / JP – Reissue

Genre: Organic Grooves

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The 3rd album released in 1977 by jazz singer Yasuda Minami, whose original with obi is very difficult to obtain as a popular wamono album, is the first LP reprint! It is a masterpiece in the history of Japanese music, backed by Naoya Matsuoka (Key), Tsuyoshi Yamamoto (Key), Kenji Omura (G), Kazumasa Akiyama (G), Ray Ohara (B), Shuichi Murakami (Ds), etc. .. Contains 10 songs including 'Wall Song', which is a fun bossa nova arrangement.

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Ryo Fukui

LP | 1977 | JP | Reissue (Slow Boat / Lawson Entertainment, Inc.)

39,99 €*

Sons And Daughters Of Lite

Release: 1977 / JP – Reissue

Genre: Organic Grooves

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Long-awaited repress of this Japanese jazz album
Japanese pressing, comes with obi, limited edition.

This is their second album, recorded about a year after “Scenery”.

The delicate yet emotionally rich performance is still there, but this album has more power, and the world that Fukui depicts comes closer with a clearer outline and a sense of three-dimensionality. The sweet and sad melody of “Mellow Dream” and the dynamic and fast-paced “Horizon” are among the dazzling performances. In addition, this album has three original songs, compared to only one in the previous album, and it is a pleasure to enjoy Fukui’s musicality even more. In light of its maturity and richness of content, it can be said to be a masterpiece that surpasses the first album. Sadly, Ryo Fukui passed away in 2016. His delicate touch, rich tone, and beautiful musicianship. I would like to express my deepest gratitude for the “earthly dreams” he showed me. (From the manufacturer’s information)

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Let The Sun Shine In

LP | 1978 | US | Reissue (Ubiquity)

Doug Hammond & David Durrah

Release: 1978 / US – Reissue

Genre: Organic Grooves

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Formed in Oakland in the early 1970s, the Sons and Daughters of Lite recorded Let The Sun Shine In, their only LP, which has now achieved holy grail status among collectors. Let The Sun Shine In is a spiritual recording filled with soul, funk, jazz, and African percussion. The musical collective described themselves as a mix of African rhythms, Latin flavors, and Far Eastern textures. This album was virtually unknown to DJs and collectors until Michael McFadin's discovery in the late 80s. He then scoured the bay area and bought up multiple copies for his record store The Groove Merchant on Haight Street in San Francisco, many of which were bought from flea markets and the dollar bins of other shops. The outrageously funky title track became a jazz dance classic, courtesy of heavy radio and club play by top UK DJ and tastemaker Gilles Peterson.

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Reflections In The Sea Of Nurnen

LP | 1975 | US | Reissue (Now-Again)

31,99 €*

LP | 1971 | EU | Reissue (Svart)

Release: 1975 / US – Reissue

Genre: Organic Grooves

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Originally planned for issue on Strata-East, Hammond took his collaboration with Durrah to Detroit and issued his masterpiece. Lacquered by Bernie Grundman. Now-Again presents the denitive Tribe Records reissues. Deep, Spiritual Jazz of the highest order. The Tribe label, one of the brightest lights of America’s 1970s jazz underground, receives the Now-Again reissue treatment. This is your chance to indulge in the music and story of one of the most meaningful, local movements of the 20th Century Black American experience, one that expanded outwards towards the cosmos. In the words of the collective themselves, “Music is the healing force of the universe.” Included in an extensive, oversized booklet, Larry Gabriel and Jeff “Chairman” Mao take us through the history of the Tribe, in a compelling story that delves not just into the history of the label and its principals, but into the story of Black American empowerment in the latter half of the 20th Century. The booklet features never-before-seen archival photos and rare ephemera from Tribe’s mid-1970s heyday.

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Eero Koivistoinen

Original Sin

13,99 €*

Release: 1971 / EU – Reissue

Genre: Organic Grooves

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LP | 1981 | US | Reissue (Pure Pleasure)

Adele Sebastian

Desert Fairy Princess

Descendants Of Mike And Phoebe, The

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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A Spirit Speaks

LP | 1974 | UK | Reissue (Pure Pleasure)

LP | 1971 | UK | Reissue (Pure Pleasure)

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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LP | 1975 | UK | Reissue (Pure Pleasure)

Stan Getz

Captain marvel

LP | 1971 | PL | Reissue (Warner)

Release: 1975 / UK – Reissue

Genre: Organic Grooves

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limited remastered edition 180 gram vinyl

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Novi Singers

Novi Sing Chopin

Release: 1971 / PL – Reissue

Genre: Organic Grooves

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LP | 1975 | HK | Reissue (Evosound)

Bob James

Two Gold Vinyl Edition

47,99 €*

Release: 1975 / HK – Reissue

Genre: Organic Grooves

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LP | 1977 | EU | Reissue (Redi)

Paolo Casa

Nature

Brown Rice Brown Vinyl Edition

Release: 1977 / EU – Reissue

Genre: Organic Grooves

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Originally released in 1977 on Edizioni Leonardi’s Wild Cat label, “Nature” is one of the rarest Italian synchronization LP’s, and it is almost impossible to find traces of it among the library music enthusiasts communities despite having been recorded by a real ‘supergroup’ of its era. Finally, thanks to Redi Edizioni, this album is now available on black vinyl, in a sleeve that faithfully reproduces the original artwork.

The musical content of “Nature” is truly excellent: in addition to funk, jazz-rock and blues, Gabriele Ducros’ flute leads the listener towards pastoral atmospheres, typical of the early ’70s folk-prog genre. In addition to Paolo Casa (12-string guitar, Mellotron), this LP sees the participation of Alberto Visentin (piano, Fender, synth), Franco Di Stefano (drums, percussion), George Simms (guitars), Gianni Dall’Aglio (drums), Jeans Orchestra (strings), Mauro Chiari (bass, vocals), Remigio Ducros (piano Fender), Roberto Puleo (electric guitar) and Roger Smith (bass).

“Nature” was also recorded at Piero Umiliani’s Sound Work-Shop studio! A real must for any library music enthusiast!!!

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Don Cherry

LP | 1975 | EU | Reissue (Klimt)

Rough & Tumble Tone Poet Vinyl Edition

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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Brown Rice is probably the most accessible entry point into Cherry's borderless ideal, jelling into a personal, unique, and seamless vision that's at once primitive and futuristic in the best possible way. Its title track is a sensual fusion of various styles and sounds from the African, Indian and Arabic traditions. It also represents the spiritual multiculturalism that Cherry was interested in exploring during this creative period. With ex-Ornette Coleman cohorts on board – Billy Higgings on drums and Charlie Haden on double bass (also heard on electric) – the album (originally released in Italy in 1975) is a cult on its own.

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Stanley Turrentine

LP | 1973 | UK | Reissue (Blue Note)

Release: 1973 / UK – Reissue

Genre: Organic Grooves

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LP | 1981 | EU | Reissue (No Frills)

Glenn Miller

Very Best Of

Locomotion Colored Vinyl Edition Record Store Day 2020 Edition

Release: 1981 / EU – Reissue

Genre: Organic Grooves

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

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Martial Solal

LP | 1974 | EU | Reissue (Underdog)

LP | 1970 | EU | Reissue (Musik Produktion Schwarzwald)

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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After JANKO NILOVIC and HARLEM POP TROTTERS, Underdog Records has now reissued MARTIAL SOLAL – Locomotion in a colored vinyl edition. This grooviest French jazz-funk and avant-garde album features Henri Texier and Bernard Lubat, and was originally released in 1974 on the PSI label. A masterpiece!

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Joe Pass

Intercontinental

Montreux II Blue Vinyl Edtion

Release: 1970 / EU – Reissue

Genre: Organic Grooves

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Joe Pass (born Joseph Passalaqua) knew how to conjoin melody and chords. Moreover, he brought the walking bass line into the jazz guitar repertoire, as heard in his duo performances with Ella Fitzgerald. Deftly accompanied by German bass virtuoso Eberhard Weber and English drummer Kenny Clare, the music runs the gamut of genres – a meditative Jobim bossa nova, a lusciously relaxed version of the jazz standard, “Stompin' at the Savoy”, a blues-drenched rendition of the Bobby Gentry pop classic, “Ode to Belly Joe”, and a display of dynamically controlled guitar pyrotechnics on the exhilarating “I Love You”.

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Bill Evans

LP | 1970 | EU | Reissue (Klimt)

LP | 1971 | EU | Reissue (Cosmic Jazz)

Release: 1970 / EU – Reissue

Genre: Organic Grooves

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Recorded live at the Montreux Festival, 1970, and originally released on CTI, this stunning album features a piano trio led by Bill Evans with bassist Eddie Gomez and drummer Marty Morrell.

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The Chitinous Ensemble

Chitinous

LP | 1977 | EU (Trading Places)

Release: 1971 / EU – Reissue

Genre: Organic Grooves

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Certainly one of the most obscure and perhaps one of the most fascinating work of the English jazz revolution. Master of ceremonies is cellist Paul Buckmaster, known for his work with the Third Ear Band and for his (later) collaborations with Miles Davis, David Bowie and Elton John. Chitinous is his the only album as leader and it was recorded between 31 March and 13 April 1970, by an orchestra of no less than 51 players, with violins, violas and cellos. In this enormous line-up we find the cream of English musicians involved, starting with trumpeter Ian Carr and ending with drummer John Marshall. The leader is on cello, his main instrument, but also on keyboards, which he shares with the excellent Pete Robinson. The music is organized in suites, with very broad suggestions that draw from classical and contemporary music and then move back into jazz territory.

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Albert Dailey

Renaissance

2LP | 1974 | EU | Reissue (Music On Vinyl)

Release: 1977 / EU

Genre: Organic Grooves

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Modern and grounded in 1960s hard-bop sensibility, the American pianist and composer Albert Dailey (1939 – 1984) had perfect control over his instrument. Since an early age he played with cutting-edge musicians, the likes of Art Blakey, Sarah Vaughan, Stan Getz, Charles Mingus and Lee Konitz to name just a few. But despite that, he was an underrated artist during his lifetime receiving deserved recognition only after his death. Renaissance 2 November 1977 is his second album, played by a bold group that includes the voice of Cheryl Alexander, Carter Jefferson on sax, Cecil McBee on bass and features both Cheryl Alexander and Adam Nussbaum on drums.

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Miles Davis

Get Up With It

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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LP | 1977 | US | Reissue (Craft)

Pleasure

Joyous

37,99 €*

Release: 1977 / US – Reissue

Genre: Organic Grooves

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Freddie Hubbard & Art Blakey

Feel The Wind Clear Vinyl Edition

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

LP | 1972 | EU | Reissue (Holy Basil)

Release: 1989 / US – Reissue

Genre: Organic Grooves

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

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V.A.

Underground Mood

Sings The Duke Ellington Songbook

Release: 1972 / EU – Reissue

Genre: Organic Grooves

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First launched in 1971, Flirt Records was one of the many notable production music imprints distributed by Flipper Music, iconic publishing company founded by Romani Di Bari in 1968 and house to some of the best Italian library music. Back in 1972 the label released this compilation entitled "Underground Mood" featuring music composed by Emma De Angelis, Roberto Conrado, Luigi Lopez as well as Amedeo Minghi, whose anthemic "Lustful" track went on to be sampled by Justin Timberlake in 2013. An incredible 12-tracks collection of guitar driven jazz-funk tinted with fuzzy psychedelic rock vibes, making it one of the most interesting and sought-after releases of the Flirt Records catalog. Now available on vinyl for the first time since its original release as a limited edition of 500 copies.

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Ella Fitzgerald

2LP | 1975 | EU | Reissue (Waxtime)

28,99 €*

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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LP | 1975 | EU | Reissue (Dialogo)

Enrico Rava

Pupa O Crisalide

LP | 1977 | EU | Reissue (Dialogo)

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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Enrico Rava was the first Italian jazz artist to represent the country internationally, born in Trieste in 1939. A border city with a long history as part of Austria, an important port on the Adriatic see, a places influenced by different cultures. Rava's music at its best is a product of this city - a mix of Central European and Italian culture. 'Pupa o Crisalide' is one of the most interesting works in Enrico's discography. It is a good summary of the first phase of his solo career, and contains tracks recorded with three different line-ups: an all-Italian line-up for the opener "Pupa O Crisalide" and the closer "Giromondo", recorded in Rome with Giovanni Tommaso, Bruno Biriaco, Franco D'Andrea, Michele Ascolese, Mandrake and Tommaso Vittorini - an Argentinian octet for the B-side of the LP, recorded in Buenos Aires, and finally an impressive American septet with Jack DeJohnette and John Abercrombie, to name a few for the A-side, recorded in New York. The musical style clearly reflects the composite nature of the album. The first half is funkier, edgier and more fiery, evidently influenced by the jazz-rock/fusion tendencies that were spreading at the time. The second is more placid, elegantly incorporating some Latin/samba elements into the alchemy. The two halves are held together by the similarity in timbre of the line-ups (which feature almost the same elements), and Enrico Rava's renowned trumpet style. Often compared to Miles Davis and Kenny Wheeler, his technique involves rarefied notes, full of atmosphere, and erratic melodic lines that surprisingly do not undermine the 'presence' of his trumpet sound. On the contrary, the charisma of Rava's trumpet seems to emerge precisely from this surprising balance of detachment and red blood.

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Steve Lacy

Straws

LP | 1975 | EU | Reissue (ECM)

Release: 1977 / EU – Reissue

Genre: Organic Grooves

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At long last, after remaining out of print for decades, the Milan based imprint, Dialogo, dives into the legendary catalog of Cramps, bringing forth the first ever vinyl reissue of Steve Lacy’s LP, "Straws", issued as the sixth instalment of the label’s DIVerso series in 1977. Truly singular in the legendary American saxophonist’s discography - featuring stunning solo excursions and dialogs with himself - it remains one of the great documents of 1970s improvisation, and is as engrossing, creatively riveting, and as ahead of its time today as it was when it was laid to tape. Complete with original liner notes penned by Lacy himself, it’s not to be missed!

Steve Lacy (July 23, 1934 – June 4, 2004) was an American jazz saxophonist and composer recognized as one of the important players of soprano saxophone. His career has been long and prolific; Lacy worked extensively in experimental jazz and to a lesser extent in free improvisation, but his music was typically melodic and tightly-structured. Lacy also became a highly distinctive composer, with compositions often built out of little more than a single questioning phrase, repeated several times. In 1977 he released a one-off record titled Straws for the Italian Cramps Records label, as the 6th volume of the DIVerso series (which included, among others, Demetrio Stratos’ solo albums) dedicated to contemporary avant-garde composers. Straws is now made available again on Dialogo in a faithful reproduction of the original gatefold cover artwork and inner sleeve.

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Ralph Towner

Solstice

LP | 1978 | US | Reissue (Frederiksberg)

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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Featuring a lineup of musicians who would go on to weave ECM’s significance into the fabric of time, Solstice is a tour de force of musicianship, writing, arrangement, and recording.

Each track is brimming with life and features the sensitive application of a variety of instrumental combinations and studio savvy. “Oceanus” showcases Garbarek in his prime, soaring with an unbridled emotional register. As always, Towner’s 12-string speaks in 360 degrees. Superb drumming from Christensen complements lush melodic lines from Weber, who stretches a melodic cello into infinity while his bass arises like the conical aftereffect of a water droplet. “Visitation” clouds this ardor in a nocturnal vision filled with laughing spirits. “Drifting Petals” is a slow progression, a timid look out onto a dusty plain where the promise of freedom looms larger than the possibility of danger. But then an elder’s advice rings in our ears and pushes us onward. Feet move of their volition and pull us into the ever-receding horizon as the first drops of a squall streak across our foreheads. Towner proves again that his piano musings are not to be taken lightly, as they make for one of the most evocative tracks on the album. A transcendental 12-string solo (with gentle dimensional support from Weber) opens “Nimbus,” soon blossoming into a flourish of flutes, drums, and a bowed bass that cries with the grating fluidity of a sarangi. Garbarek’s sax joins in the fray and lets loose its harmonious fire. The deftly overdubbed flutes return, spreading their wings for a few moments before fluttering off into the distance. “Winter Solstice,” “Piscean Dance,” and “Red and Black” comprise a triptych of duets: the first for classical guitar and sax, the second a prime jam for 12-string and drums, and the third for 12-string and bass. “Sand” ends our cosmic journey with one of Garbarek’s deepest meditations for sax set to the strangely compelling ululations of Christensen’s flexatone lolling about in the background.

Melodically robust while structurally yielding, this is an album to be treasured and is a must-listen for anyone desiring to know what ECM is all about. An astounding meeting of musical minds if there ever was one.

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Spirits Rejoice

Spirits Rejoice!

32,99 €*

Lonnie Liston Smith & The Cosmic Echoes

Release: 1978 / US – Reissue

Genre: Organic Grooves

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First ever reissue of this excellent self-titled South African jazz album by Spirits Rejoice. Check out tracks like 'Woza Uzo Kudanisa Nathi' or 'Papa's Funk' !

The 1970s is regarded as a period of experimentation, boundary-breaking and hybridization in modern music and this spirit certainly informed the mushrooming of ideas that occurred in South African jazz during this time. In the shadow of more commercial township jive and soul, South African jazz evolved on the fringe, nurtured by passionate and enterprising independent producers who courted the interest of the mainstream with enchanting concoctions of jazz with folk, rock, soul and funk.

With a lineup hailing from far flung regions of South Africa, the mercurial sound of Spirits Rejoice and its willingness to weave a patchwork of different influences into its recordings is not hard to account for. More difficult to reconcile is that the band didn’t manage to level up to the status enjoyed by its peers in larger music markets abroad. Nevertheless, Spirits Rejoice has maintained its revered status in the collective memory of South African jazz for over four decades and their recorded artifacts return in the 2020s with the group’s vitality and energy undiminished.

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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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A Tribute To Jack Johnson

Miles Davis

LP | 1970 | US | Reissue (Mobile Fidelity Sound Lab)

62,99 €*

LP | 1976 | EU | Reissue (Mad About)

Release: 1970 / US – Reissue

Genre: Organic Grooves

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SOURCED FROM THE ORIGINAL ANALOGUE MASTER TAPES
MOBILE FIDELITY’S NUMBERED-EDITION 180G SUPERVINYL LP PRESENTS 1971 LANDMARK IN EXUBERANT, FULL-RANGE SOUND

Miles Davis' A Tribute to Jack Johnson is the best jazz-rock record ever made. Equally inspired by the leader's desire to assemble the "greatest rock and roll band you have ever heard,” his adoration of Johnson, and Black Power politics, Davis created a hard-hitting set that surges with excitement, intensity, majesty, and power. Bridging the electric fusion he'd pursued on earlier efforts with a funkier, dirtier rhythmic approach, Davis zeroes in on concepts of spontaneity, freedom, and identity seldom achieved in the studio — and just as infrequently accepted by the mainstream.

Sourced from the original analog master tapes, pressed on MoFi SuperVinyl, and housed in a Stoughton jacket, Mobile Fidelity's 180g LP reissue brings it all to fore with startling realism. Benefitting from SuperVinyl’s nearly inaudible noise floor, superb groove definition, and clean, ultra-quiet surfaces, this 180g LP showcases everything — from the bold tonality of the headliner's white-hot trumpet solos to the decay of crashing cymbals, carry of wiry guitar notes, and echoes of the studio — in reference fashion.

Bristling with exuberance, Davis' high-register passages explode with authority and commanding presence. Around him, a barrage of urgent backbeats, knifing riffs, and supple bass lines emerge amidst black backgrounds. One of the most prominent differences long-time fans will notice is how much more aggressive, immediate, and vibrant the music sounds, with those aspects central to the composer's original desires.

Utilizing wah-wah and distortion, the go-to instrumentalist of the performances— guitarist John McLaughlin — attacks with a nasty edge, slashing style, and vicious streak that allows A Tribute to Jack Johnson< cross the until-then-impenetrable divide between rock and jazz. Davis puts both feet in the former camp and erases any gap. The stories of the record’s creation are nearly as legendary as the sounds within: Two sessions, multiple jams, different sets of musicians (several uncredited), and near-miraculous production perfectionism that made it all appear cohesive.

The least-well-known masterpiece of Davis' career, the 1971 record — seamlessly assembled and spliced together by producer Teo Macero — was a victim of limited record-label promotion. Audiences also didn’t immediately know what to make of its original cover art — faithfully replicated here. In addition, the powers that be at Columbia Records were directing the public’s attention to Miles at Fillmore, a completely different kind of album guided by two keyboardists. A Tribute to Jack Johnson practically lives in a different universe, one from the future. To many listeners who did manage to hear it — among them critic/musician Robert Quine, Stooges leader Iggy Pop, and renowned critic Robert Christgau — it surpassed everything that came before.

Indeed, Davis treated it as a personal manifesto: An opportunity to salute the Black championship boxer admired for his threatening image to the establishment and impeccable taste in clothes, cars, women and music. Davis explains in the liner notes his affinity for Johnson — a stance mirrored by the defiant music, which hits with a prize fighter's force and reflects the graceful elegance with which a pugilist navigates the ring — and closes the album with a Johnson quote read by Brock Peters.

Inspired not only by Johnson but by Jimi Hendrix and Sly Stone, Davis changed his approach and his band. He surrounds himself with a cadre of musicians in their 20s and, in the case of bassist Michael Henderson, a 19-year-old fresh from touring with Stevie Wonder. Henderson gives Davis what he requested: boogie-based grooves that don’t lose shape or direction. Soprano saxophonist Steve Grossman, drummer Billy Cobham, and organist Herbie Hancock adhere to a similar aesthetic that prizes brazenness, innovation, and energy.

In that vein, during a portion of “Yesternow,” Davis segues into a separate performance (which became known in its entirety as “Willie Nelson”) played by guitarists McLaughlin and Sonny Sharrock, bass clarinetist Bernie Maupin, keyboardist Chick Corea, bassist Dave Holland, and drummer Jack DeJohnette. Dig it!

Talking with jazz scholar Bill Milkowski — who himself noted how McLaughlin’s unrestrained style, decibel-forward volumes, and rapid-fire power chords engendered himself to the rock crowd at the same time that his harmonics and syncopation still definitely made him a jazz player — guitarist Henry Kaiser summed up part of the appeal of A Tribute to Jack Johnson as well as anyone, saying: “It’s a jazz record that way way more open than other jazz records at the time, but still not free jazz. [McLaughlin’s] rhythm guitar playing on ‘Right Off’ — the use of different chords in a rock shuffle than what anybody had used before — was revolutionary.”

And to think that’s just one aspect of a record that contains multitudes. “Never let them forget it.” Indeed.

MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world’s quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label’s engineers hear in the mastering lab.

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Fisher

29,99 €*

LP | 1978 | EU | Reissue (Speakers Corner)

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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A rare album, “Fisher” was originally released on the Nentu label in 1976. Think Grant Green meets Eddie Hazel.

This LP has it all: gorgeous Soul Jazz, wahed-out fuzz Rock, dirty, head-nodding Funk Rhythms. It's a monster psychedelic soul-funk instrumental album. This is less jazzy than the “Third Cup” and “The Next One Hundred Years”, released by Chicago’s Cadet label and more cosmic psych funk across both sides and gets super exploratory and trippy.

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Al Di Meola

Casino

LP | 1974 | US | Reissue (BMG)

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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Weldon Irvine

Cosmic Vortex

LP | 1972 | US | Reissue (Decca)

Release: 1974 / US – Reissue

Genre: Organic Grooves

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180 gram vinyl!

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David Axelrod

The auction

Release: 1972 / US – Reissue

Genre: Organic Grooves

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Until It's Time For You To Go

Rusty Bryant

LP | 1974 | US | Reissue (Prestige)

Release: 1974 / US – Reissue

Genre: Organic Grooves

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LP | 1973 | US | Reissue (Prestige)

Rusty Bryant

For The Good Times

Release: 1973 / US – Reissue

Genre: Organic Grooves

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Dollar Brand (Abdullah Ibrahim)

The Journey

LP | 1977 | US | Reissue (Chiaroscuro)

Release: 1977 / US – Reissue

Genre: Organic Grooves

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A Message From Mozambique

Juju

LP | 1973 | US | Reissue (Black Fire)

Release: 1973 / US – Reissue

Genre: Organic Grooves

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LP | 1972 | US | Reissue (Atlantic)

Oscar Brown Jr.

Movin' On

Release: 1972 / US – Reissue

Genre: Organic Grooves

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LP | 1975 | US | Reissue (Salvation)

Gabor Szabo

Macho

Release: 1975 / US – Reissue

Genre: Organic Grooves

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Sings The George & Ira Gershwin Songbook

Ella Fitzgerald

Box | 1985 | Reissue (Not Now)

73,99 €*

Release: 1985 / Reissue

Genre: Organic Grooves

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LP | 1974 | EU | Reissue (Farfalla)

The Rainbow Orchestra

Wonderland Of Sound

LP | 1976 | JP | Reissue (P-Vine)

Release: 1974 / EU – Reissue

Genre: Organic Grooves, Soundtracks

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To mark its 50th anniversary, Farfalla Records is proud to announce the reissue of the highly sought after German library gem "Wonderland of Sound". Originally released in 1974, the album was produced by Brillant-Musik's founder Werner Tautz and recorded in Zurich. Wonderland of Sound is the epitome of the classic 70s library sound. A jazzy bliss orchestrated by the hottest European session players making up the Big Band "Rainbow-Orchestra". A Splendidly funky and stunning set of compositions and arrangements with ultra-stylish horn section.

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Phil Ranelin

Vibes From The Tribe

37,99 €*

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

Release: 1976 / JP – Reissue

Genre: Organic Grooves

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The final release from Tribe! Released in 1976, shortly before Phil Ranelin’s departure to Los Angeles, Vibes from The Tribe is a spiritual jazz / rare groove classic!

By 1976, Tribe had grown to be something much different than what it had started out as. A popular magazine and releases from a cadre of the most promising musicians Detroit had to offer had allowed the collective the space and finances needed to develop, and by the time of their final release, they had changed both in shape and scope. Yet their philosophy of “getting out the message” remained the same.

Since the early days of the Tribe, the influence of funk and popular music had been more evident in Ranelin’s music than that of his partner, Wendell Harrison. Even on Message From The Tribe’s first edition, Ranelin’s love for funk was clear, with songs such as “What We Need” featuring a mellow groove and horn lines that would sound at home on any Motown record. Phil Ranelin’s second album as a leader, Vibes From The Tribe sees those funk influences on full display. Opening track “Vibes From The Tribe (Prelude)” has the kind of steady snare beat that hip-hop producers would later kill for, and a bassline so groovy that you won’t be able to stop yourself from nodding along.

For The Children is breezy bossa nova of the finest degree. Ranelin’s voice is subdued and relaxed, probably taking more notes from Joao Gilberto than any of the poetry readings on Message From The Tribe. But when he begins his trombone solo, the edges of his more avant-garde past start to peek through. Lines that would sound right at home on any post-bop album are a-plenty, and as a sunny riff closes out the album, it seems like the perfect soundtrack for a warm summer night.

But the heart of the album lies in the closing track “He The One We All Knew (Parts 1 & 2)”. Here, Ranelin’s smorgasbord of influences seem to come together, creating an 18 minute long track that combines elements of Indian classical music, free jazz, funk, and more. The track begins with the gentle psychedelic sitar playing of Daud Abdul Kahafiz, creating a drone over which layers of percussion, piano, bass, and horns combine. Frequent collaborator and Tribe co-founder Wendell Harrison’s solo comes first, with the sparse arrangement giving him space to stretch out beyond the limits of conventional harmony or rhythm. It’s clear that these musicians were improvising in the truest sense of the word, and as they go from playing over ambient sitar, to what can only be described as “swing”, they never lose count or break rank. You can practically picture each of the musicians in the studio, deeply concentrated but supremely in tune with one another, communicating with nods and eye movement. Vibes From The Tribe takes everything that made the Tribe great: free jazz, funk, pop influences, and a tight-knit community and preserves it as one of the greatest spiritual jazz albums of all time.

With modern remastering and an obi-strip, this album has never looked or sounded this good! Make sure to get your copy while stock lasts!

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Virgilio Armas

Espejismo

Release: 1973 / US – Reissue

Genre: Organic Grooves

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2LP | 1971 | US | Reissue (Craft)

Woody Shaw

Blackstone Legacy

47,99 €*

Malombo Jazz Makers Volume 2

Release: 1971 / US – Reissue

Genre: Organic Grooves

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The post-bop opus Blackstone Legacy is the seminal debut album by trumpeter Woody Shaw. Originally released in 1971 on Contemporary Records, the groundbreaking album was inspired by the sociopolitical ills of the '60s. In their review, Allmusic called the album, "... a landmark recording, and a pivot point in the history of post-modern music". This 2-LP reissue was remastered from the original analog tapes by Kevin Gray, and pressed on 180-gram vinyl at RTI, housed in a gatefold tip-on jacket.

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Malombo Jazz Makers

LP | 1971 | EU | Reissue (Strut)

Release: 1971 / EU – Reissue

Genre: Organic Grooves

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LP | 1970 | UK | Reissue (Charly)

Don Cherry

Mu. Second Part

31,99 €*

Release: 1970 / UK – Reissue

Genre: Organic Grooves

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Afro Blue Impressions Back To Black Edition

John Coltrane

2LP | 1977 | EU | Reissue (Pablo)

38,99 €*

Release: 1977 / EU – Reissue

Genre: Organic Grooves

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LP | 1973 | UK | Reissue (Mr Bongo)

Daniel Salinas

Atlantis

22,99 €*

Hear & Now Yellow Vinyl Edition

Release: 1973 / UK – Reissue

Genre: Organic Grooves

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Atlantis' is a smouldering jazz-funk, cinematic excursion courtesy of the Brazilian maestro, Daniel Salinas. A conductor, pianist, arranger, and producer, he has worked across several genres within Brazil’s rich musical tapestry, including the Beatles-inspired Jovem Guarda movement, jazz-funk, and MPB to name just a few. He featured on records by Franco, Célia, Perfume Azul Do Sol, Wilson Simonal, Juca Chaves and a whole host of Brazilian greats.

Released in 1973 on Top Tape Records, 'Atlantis’, features one of Salinas’ best-known recordings (at least in Europe), his much-loved interpretation of 'Also Sprach Zarathustra’ entitled 'Straussmania’. It was inspired by Eumir Deodato's global hit of the same year and went on to be adopted by various scenes becoming a classic within rare groove circles as well as amongst breaks and beats diggers.

Other highlights include the only original Salinas composed track on the album; the driving, orchestrated Brazilian groover, 'Baião', and an epic, head nod breakbeat interpretation of Donovan's folky 'Atlantis'.

'Atlantis' was also issued by the American record label Cadet in 1974 with alternative yellow sleeve artwork; this re-issue is a replica of the original Brazilian Top Tape version from 1973.

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Don Cherry

LP | 1977 | EU | Reissue (Klimt)

LP | 1978 | EU | Reissue (Mad About)

Release: 1977 / EU – Reissue

Genre: Organic Grooves

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Recorded in December 1976, Hear And Now was produced by drummer/keyboardist Narada Michael Walden (ex-member and session man for Journey, Mahavishnu Orchestra, Weather Report). The album – licensed by major label Atlantic – has been often dismissed by jazz purist and early days Cherry fans as a commercial effort. To be true it is a record that epitomize the ‘club’ tendencies discovered in the second half of the decade by many jazz and fusion artists. Led by the incredible ‘world’ rare groove of Universal Mother, the album is to be rediscovered in a different light.

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Joel Fairstein

Umbra

LP | 1978 | EU | Reissue (Adarce)

Release: 1978 / EU – Reissue

Genre: Organic Grooves

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Hailing from Knoxville, Tennesee, Joel Fairstein has earned critical praise as Jazz pianist, composer, producer, and studio musician. His first album, "Umbra", an LP recorded at age 24 with eighteen sidemen has since become a sought-after collector item. It includes an insert with interview and exclusive photos.

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Paco Ros

Clasicos Con Ritmo

LP | 1976 | EU | Reissue (Warner Music Poland)

Release: 1978 / EU – Reissue

Genre: Organic Grooves

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Adarce proudly presents the reissue of ‘Clásicos con Ritmo’ by Paco Ros. Originally released in 1978 on Discos Maller, still sounds as special and out of time as when it was released; a strange album that has become one of the most sought after jewels - and most hard to find - for lovers of Spanish Groove. 'Clásicos con Ritmo' offers a mix of sounds that range from a kind of analog pre-Balearic to something similar to Library Music, passing through a slow cadence groove based on sinuous layers of Hammond organ, Fender pianos, vibraphones and xylophones. During the 11 songs on the album, Paco Ros revisits his life trajectory through memories: his Valencian childhood in Godella, his professional beginnings in Madrid and his musical adventures as a backing band, his return to Valencia -where he would form 'Los 4 Ros, then simply the Ros - to finally take refuge in his Mallorcan retreat, cradled between Party Rooms, Hotel Discotheques and endless sunrises, moved as always by his infinite love for music.

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Czeslaw Bartkowski

Drums Dream

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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LP | 1977 | EU | Reissue (Mental Experience)

Wild Havana

2LP | 1977 | EU | Reissue (Munster)

Release: 1977 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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Obscure Dutch private pressing from 1977. Laid-back instrumental psychedelic / progressive sounds with jazz-funk-groove and abstract / experimental / Latin-indigenous touches. Stoned homemade atmosphere with treated / distorted electric & acoustic guitars, flute, electric piano, primitive drum machines / homemade electronics...Much in the vein of the experimental-underground scene of France & Germany during the early 70s but actually recorded and released in Holland.
Wild Havana was the project of guitar player Johan Smith, helped by his brother Cor on flute. Influenced by artists like Zappa and Herbie Hancock, Johan recorded the “Wild Havana” album at his home studio on a 4-track, using effect devices developed by himself, like a modified proto-drum machine taken from a Hammond organ. He also used effects like phase shifter, chorus, etc and experimented with putting wool on the guitar strings and electric effects on the mandolin. The result sounded like nothing else at the time.
Buried for many years, we’re excited to bring to life this unique album.

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Tim Blake

Crystal Machine

22,99 €*

LP | 1976 | EU (Trading Places)

Release: 1977 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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Hold your body and mind belts, and immerse yourself into a cornerstone of cosmic music in a double remastered vinyl - one them filled with rarities - called "Crystal Machine" by the visionary Tim Blake, English composer and synthesizer master. Recorded in 1976/7, it remains echoing as a timeless effort, pretty much still alive. This is a deadly serious art piece, accordingly trippy in all its aspects, full of strangeness and sheer beauty.

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Henry Franklin

Tribal Dance

LP | 1978 | US | Reissue (Acoustic Sounds)

Release: 1976 / EU

Genre: Organic Grooves

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

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Tommy Flanagan

Overseas Mono Edition

55,99 €*

Release: 1978 / US – Reissue

Genre: Organic Grooves

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John Carter / Bobby Bradford

Self Determination Music

LP | 1971 | UK | Reissue (BGP / Flying Dutchman)

For Children Black Vinyl Edition

Release: 1971 / UK – Reissue

Genre: Organic Grooves

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The John Carter and Bobby Bradford Quartet/Quintet were critical to the progressive jazz movement around Los Angeles in the late 60s alongside the likes of Horace Tapscott. Both hailed from the Watts area and trumpeter, Bradford played with a woodshedding Ornette Coleman for two years in the early 60s when the legendary free movement leader decided not to record for a while but wanted to hone his trademark sound on the saxophone. Multi-reed player, Carter also worked with Coleman who brought them together to lead their own band.

Their first outing on Flying Dutchman was “Flight For Four” as the Carter Bradford Quartet that was released in 1969. This is the second album they recorded where Carter and Bradford were supported by Tom Williamson (bass), Buzz Freeman (drums) and another uncredited bass player on four extended improvisations – ‘The Sunday Afternoon Jazz Blues Society’, ‘The Eye Of The Storm’, ‘Loneliness’ and ‘Encounter’.

The album has been out of print on vinyl since 1971 and Ace are delighted to release it with audio taken from hi-res digital transfers from the original masters.

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Eero Koivistoinen

LP | 1970 | EU | Reissue (Svart)

We'll Talk About It Later

Release: 1970 / EU – Reissue

Genre: Organic Grooves

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Masterful Finnish jazz available on wax again!

The 1970 album For Children by Eero Koivistoinen was originally released by the book publishing company, Otava, which was responsible for his earlier two albums as well. Jazzpuu/Sähkö Recordings reissued For Children in 2006 as did we in 2016, yet both of these releases have been hard to find ever since. This time around Svart brings this important piece of Koivistoinen's career, a successful amalgam of acoustic jazz and funky fusion back on the market on a limited Svart exclusive blue vinyl edition, classic black vinyl and CD.

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Nucleus

LP | 1971 | EU | Reissue (Be With)

Inner Feelings Deluxe Edition

Release: 1971 / EU – Reissue

Genre: Organic Grooves

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Their masterpiece? With breaks for dayyyyyys and an almost ambient, heavy jazz atmosphere throughout, *this* is the apex of British jazz-rock fusion. We'll Talk About It Later was first released on Vertigo in 1971 and original copies are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.

We'll Talk About It Later is arguably Nucleus's best album. Not only that, it's in the top 5 of all fusion albums. By the time Nucleus entered Trident Studios in September 1970 to record Elastic Rock's successor, they had already won a best group award at the Montreux Jazz Festival. Once again presented in a Roger Dean designed die-cut gatefold sleeve it continued to demonstrate the chemistry and interplay that worked so brilliantly on Elastic Rock; Carr's sumptuous trumpet and flügelhorn lines, Karl Jenkins's funk-filled electric keyboards, Chris Spedding's wah-wah guitar, Brian Smith's sax and the rhythmic foundation of drummer John Marshall and bassist Jeff Clyne.

The group work and insane musicianship Nucleus were famed for is in evidence from the off. The intensely funky "Song for the Bearded Lady" is absolute FIRE, blasting out the speakers to leave listeners floored. Counterpoint riffing segues into a spacious groove and a Carr trumpet solo demonstrating the influence of electric Miles from the period. The stop-start funk of "Sun Child" would appeal to Soft Machine devotees whilst the genuinely touching "Lullaby for a Lonely Child" is a lovely downtempo ballad. Featuring an understated, reflective horn line from Carr and Smith and atmospheric, shimmering bouzouki from Spedding, there's an exotic flavour which contributes to the bliss. The ominous, sleazy title track retains a swaggering menace and is not the only track to lend a sort of heavy stoner rock atmosphere. The guitars and bass are deep and low throughout, conjuring heavy psych moments to go with the actual jazz and even funk. To say this album was in conversation with Bitches Brew would not be overstating the sheer brain-frying brilliance.

The Weather Report-adjacent "Oasis" opens Side B, a colossal track featuring nearly 10 minutes of steadily building melodic horns, keys and choppy guitar riffs. So ace, it could easily go on for another 10. Mesmeric. Spedding adds unique vocals to the undeniable groove of "Ballad of Joe Pimp" whilst saxophonist Smith's duet with drummer Marshall at the conclusion of "Easter 1916" - inspired by the Yeats poem about the Irish nationalist uprising in Dublin - adopts the wildness of the most incendiary free jazz.

This Be With edition of We'll Talk About It Later has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The stunning die-cut sleeve has been restored with the original gatefold window pane depicting the Irish uprising in 1916. Incredible, timeless, guaranteed spine-chills.

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Roy Porter Sound Machine

LP+7" | 1975 | JP | Reissue (P-Vine)

51,99 €*

LP | 1981 | EU | Reissue (Favorite)

Release: 1975 / JP – Reissue

Genre: Organic Grooves

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He wasn’t satisfied simply being a bebop legend!

After spending the 40s and 50s playing with jazz pioneers such as Charlie ‘Yardbird’ Parker, Dizzy Gillespie, and a young Eric Dolphy. After spending much of the 1960s silent, Roy Porter returned triumphantly with the release of ‘Jessica’ in 1971. Four years later, he followed that up with “Inner Feelings”. Listeners back then had to wait four years for the sequel, but you don’t have to wait at all!

The seven-man band, with its powerful horns and phat grooves, is no doubt worthy of the name ‘Sound Machine’ Praise has been sung of this record in and among rare groove circles for over three decades, with mere rumors of original copies being enough to cause collectors to begin salivating. Album opener, “Party Time”, begins with an almost mechanical drum break - a groove so tight, you just might think Roy Porter is a metronome. Jpegmafia certainly thought so, sampling the drum beat on “Free the Frail”. Fans of classic hip-hop may also recognize “Panama”, not just for its beautiful melody and iconic groove, but from DJ SPINNA’s hit-song “rock”. The re-recorded version of “Jessica” adds vocals and a touch of melancholy to the jazz-funk classic. It’s still danceable, but it might also make you stop and think for a second. Album closer, “Out on the Town Tonight”, takes the funk one step further, with an even larger horn section, and fiery solos. Yet throughout the whole album, the drumming remains steadily funky, a reminder that Roy Porter sits at the heart of the Sound Machine.

With the LP reissued on clear blue vinyl for the first time ever, this record has never looked this good! Combined with a 7” record containing a re-edit by the legendary DJ Muro, and the nearly impossible to find vocal version of “Panama”, this reissue is no doubt going to be legendary! Don’t miss this iconic album, reissued for the first time on clear blue vinyl with a 7” record, available only from P-vine Records!

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Twylyte '81

The First Coming

SAC - School Of American Craftsmen

Release: 1981 / EU – Reissue

Genre: Organic Grooves

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We are very proud to presents this official and first ever reissue of The First Coming, by Twylyte ’81, an extremely rare and underrated Soul-Jazz album produced and released in 1981.
Twylyte ’81 was a 3 pieces band composed of Frank Jones Jr., Alfred Brown Jr. and John Belzaguy, who, except for John, have never recorded anything else than this incredible album. The First Coming is primarily standing out by a superb composition, mixing touch of Soul, Jazz, and Disco together. It secondly shines thanks to the amazing deep and spiritual voice of the band leader, Frank Jones Jr., whose vocals style can sometime remind of John Lucien. Even more impressive is the fact that these 3 fellas were all less or close to 18 years old when composing and recording this beauty. As did others brilliant hidden projects such as Ted Coleman Band, or Minority Band, it was also useful for Twylyte ’81 to receive the support of JSR Records, a kind of non-profit label dedicated to help young bands and artists in recording and producing their own records.
Here are a few words from Al Brown Jr. about this release: “After 38 years, I still have the euphoric feeling while listening to this album. I would say that this was one of my greatest achievements. I want to say "Thank you" Pascal Rioux and associates for sharing the group's vision with the rest of the world. I pray the listeners will feel a portion of what we tried to convey through these songs. When I first began this project, I thought it was just killing time. Being 17 years old at the time, I didn't see the music we worked on being recorded. We (Frank and I) were in a basement practicing each song. Who knew that this music would be recorded let alone picked up 38 years later? I still remember every beat, drum roll, every stop/start; everything. Wow, the nostalgia of it all. I wish this album much successful and I hope in the future I can perform this album live.”

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Jeff Resnick

LP | 1978 | UK | Reissue (Outernational Sounds)

LP | 1973 | EU | Reissue (Strut)

Release: 1978 / UK – Reissue

Genre: Organic Grooves

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Organically funky, laced with avant-garde synth textures, and studded with breakbeats, the second Outernational is Jeff Resnick’s unique, ultra-rare, 1978 promotional recording for the School for American Craftsmen, at the Rochester Institute of Technology. Five tracks of soul jazz and modal fusion — re-modelling Trane, and opening with a variation of Norwegian Wood — by a local group including trumpeter Jeff Tyzik and pianist Sonny Kompanek; then Resnick mostly solo for the second side, when the money ran out, multi-tracking synthesizers on his home set-up, in an engrossing blend of reflective abstraction, grooving electro and spiritualised fourth-world tropicalism.
Bim!

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The Pyramids

Lalibela

27,99 €*

LP | 1974 | EU | Reissue (Strut)

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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The debut album by the Pyramids was inspired by the group"s visit to the Lalibela monastery in Egypt, and was recorded in Yellow Springs Ohio in early 1973. Drawing on the teachings of Cecil Taylor and the influence of John Coltrane, combined with a barrage of intense percussion, the album evolves over several long-form pieces. Initially only 500 copies were pressed and sold to friends and followers in the local area.

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The Pyramids

King Of Kings

27,99 €*

LP | 1981 | EU | Reissue (Petit Cherie)

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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King Of Kings was recorded in 1974 and features a wider array of instruments including Ugandan Harp and Balafon. Perhaps best known for the expansive "Nsorama (The Stars)" a seminal work of Spiritual Jazz.

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Dewey Jeffries

This Is For You

LP | 1984 | EU | Reissue (Life Goes On)

Release: 1981 / EU – Reissue

Genre: Organic Grooves

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Dewey Jeffries was a renowned jazz pianist for 40 years in the Greater Cleveland area as well as cities throughout the United States and Canada. He frequently played with jazz giants such as Miles Davis, Benny Carter. Dewey Jeffries was appeared in the early 70s when he released some singles and then in 1981 he released "This Is For You" an incredible piece of rare modern soul funk. For Motown and Daptone sounds extimators.

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Haki R. Madhubut

Medasi

14,99 €*

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

Release: 1984 / EU – Reissue

Genre: Organic Grooves

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Super-rare deep spiritual jazz from 1977! A little-known sought after obscurity of indy label afro-centric deep jazz recorded in 1976-7!

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Herbie Hancock

Crossings

29,99 €*

Musique Pour Le Film D'un Ami

Release: 1972 / EU – Reissue

Genre: Organic Grooves

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

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Steve Potts

LP | 1975 | EU | Reissue (Souffle Continu)

LP | 1976 | EU | Reissue (Souffle Continu)

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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In 1975, Steve Potts left Steve Lacy for a time to compose Musique pour le film d’un ami following the proposition from the film’s director Joaquín Lledó. With guest musicians of quality and from vairied horizons (Ambrose Jackson, Jean-Jacques Avenel, Frank Abel, Elie Ferré, Christian Escoudé…), the saxophonise recorded a soundtrack ranging from modal jazz to free funk and from dirty grooves, to java wah-wah with disconcerting elegance. Rather than blaxploitation, Potts and his group offer us their mixploitation made in Paris which would be recognised way beyond the boundaries of La Défense.

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Alain Bellaiche

Sea Fluorescent

David Wertman & Sun Ensemble

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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First ever reissue of highly sought after french jazz funk fusion nugget from Alain Bellaïche featuring, Jerry Goodman (Mahavishnu Orchestra), John Hicks (Strata-East) & Fabiano (Fabiano Orchestra).

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Earthly Delights

2LP | 1978 | EU | Reissue (BBE)

LP | 1974 | EU | Reissue (Seriewoc)

Release: 1978 / EU – Reissue

Genre: Organic Grooves

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‘Earthly Delights’ is a forgotten 1978 free-jazz masterpiece by bass player, composer and improviser David Wertman, alongside his Sun Ensemble.

Born in 1952 and raised in Queens NY, Wertman’s distinctive upright playing style was entirely self-taught. He cut his teeth in the notorious New York Jazz lofts, jamming for hours and hours with the likes of Billy Bang, Arthur Blythe, Marion Brown, Steve Reid, Dave Pike, William Parker, Brandon Ross and Charles Tyler to name but a few.

‘Earthly Delights’ is the first recording by the Sun Ensemble band and features the original line-up of Greg Wall (Baritone Saxophone), Jay Conway (Drums), John Sprague Jr. (Flute and Percussion), David Swerdlove (Soprano/Alto Saxophone), and John Zieman (Synthesizer). John Sprague Jr. financed and produced the album, releasing it on his own label Sweet Earth Records, a short-lived but bountiful imprint, perhaps best known for issuing Sun Ra And His Arkestra’s 1979 album “The Other Side Of The Sun”.

‘Earthly Delights’ is perhaps best described as loosely composed, or highly improvised, depending on where you stand on such subjective matters. Containing just 4 compositions, ‘Earthly Delights’ explores man’s relationship with nature; at times subtle and delicate, at times wide and sweeping in its gestures. The record’s spiritual message is conveyed by heartfelt, virtuoso performances from all six players, drifting together seamlessly from one sonic wave to the next.

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Khan Jamal

Give The Vibes Some

43,99 €*

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

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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It's quite simple, if you have a good connection with music, to find things that should be reissued due to their exceptional quality, but, like a diviner, being able to unravel the problems related to the licensing of a record, well, that's much more difficult. Finding someone is Sherlock's job! After 4 years, Khan Jamal II (son of Khan Jamal) delighted us with a "Let's go my guy". Khan Jamal doesn't need much introduction: Born Warren Robert Cheeseboro, he was a jazz vibraphone and marimba player from Philly. He founded the band Sounds of Liberation in 1970 with Byard Lancaster. In 1974, during one of his many trips to the old continent, he recorded this album in France at Jeff Gilson's Palm studio. It is a delicate game of lucid and intense contrasts between Christian Vander's drums provides a rock oriented touch, the marimba and the vibes with influences from the lands of the rising sun of Jamal and the composed trumpet of Clint Jackson III which anchor "Give the vibes Some" in a sort of Space Age Jazz era. In the end, you know what? This album is a transcendent journey into yourself, like an intense session of meditation...even if "35.007 Feet Up" could easily be played by Jeff MiIls in his DJ Set

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Lionel Pillay

Deeper In Black

LP | 1976 | EU | Reissue (Speakers Corner)

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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Alice Coltrane

Eternity

LP | 1972 | EU | Reissue (Elkar)

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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When the brilliant saxophonist John Coltrane died in 1967, the core values of jazz music had long drawn him into the spiritual world ("A Love Supreme", "Ascension", "Meditations" etc.). His widow and final pianist followed in his footsteps. Alice Coltrane (1937–2007) sought after »cosmic sounds, higher dimensions, astral levels« – she had an important influence on the spiritualised, esoteric music scene of the 1970s. Her first album was only released after John Coltrane’s death, but "Eternity" was already her tenth. (In the same year she founded a Hindu Vedantic Center in California.) The album draws its power from highly contrasted sound worlds. The size of the ensemble ranges from an unaccompanied harp solo ("Wisdom Eye") to a large orchestra with a big band of up to 25 plus a 12-man string section. Alice Coltrane’s main instrument is the electric Wurlitzer organ, whose rasping sound conjures up John Coltrane’s saxophone (especially in the opening number "Spiritual Eternal"). Mostly she improvises modally, sinuously, or with meditative ecstasy – whether in the style of Latin rock ("Los Caballos") or quite without a firm tempo ("Morning Worship" with a tamboura accompaniment). Support comes from such renowned musicians as Charlie Haden (bass), Jerome Richardson (saxophone and flute), Hubert Laws (flute) and Ernie Watts (cor anglais). In the number "Om Supreme" Coltrane switches to a gently swinging Fender Rhodes electric piano, which is joined by a six-voice vocal group. A surprising finale to the album is an orchestral adaptation of an excerpt from Stravinsky’s "Le Sacre du printemps". Here the moments of dissonance and free jazz are far from meditative contemplation.

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: August and October 1975 at The Burbank Studios, Burbank, CA, and Westlake Audio, Los Angeles, CA, by Baker Bigsby Production: Ed Michael

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William S. Fischer

Akelarre Sorta

LP | 1976 | EU | Reissue (Mad About)

Release: 1972 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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Pello Joxepe is in the bar, but this time he's moving his hips to the sound of Curtis Mayfield's Superfly funk-soul groove. These are the kind of psychedelic visions created by this esoteric "Akelarre Sorta", an unparalleled gem. The African-American saxophonist, pianist and composer William S. Fischer, who worked in the 1950s with stars of the stature of Ray Charles, Muddy Waters, Joe Zawinul and Roberta Flack, in 1972 made an album of catchy, funky versions of popular tunes. And that's it, as simple as it is mysterious and surprising. Little more has ever been known about this recording or about the reasons behind William's visit to the Basque Country. So here it is, ready to attract a new audience to join the cult following it has gradually built up over nearly 50 years.

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Tete Mbambisa

Tete's Big Sound