Jazz | Fusion Vinyl 366 Items

"Due to his decision to settle in Los Angeles, tenor saxophonist Harold Land has long been underrated. A strong bop stylist who later on would be influenced a great deal by John Coltrane, Land in 1959 had a sound closer to Sonny Rollins. For this excellent straight-ahead quintet set with trumpeter Dupree Bolton and pianist Elmo Hope, Land performs four of Hope's superior but little-known compositions along with two of his own. This is high-quality hard bop, easily recommended to fans of straight-ahead jazz." Scott Yanow -All Music Guide

"Tenor saxophonist Harold Land and trumpeter Kenny Dorham make for a potent front line on this session, a superior hard bop set. With an obscure and quietly boppish rhythm section (pianist Amos Trice, bassist Clarence Jones, and drummer Joe Peters) giving suitable backup, Land and Dorham stretch out on five selections, most notably Cole Porter's "So in Love," "On a Little Street in Singapore," and Land's "O.K. Blues," which was dedicated to producer Orrin Keepnews. A fine effort that serves as a strong example of Harold Land's early work." Scott Yanow -All Music Guide

Depending on the nature of the person involved, success either dictates more and more compulsive activity, or else it permits relaxation. With Cannonball Adderley, the latter certainly appears to be the case; and this album can, among other things, serve as a testimonial to the truth of the impression. In a peculiar way, the present album is a result of that success. For it is something that Adderley might well not have dared attempt in the past, and that he might not have been able to convince his record company to do. This his most satisfying LP. The nature of this album should be immediately apparent from Adderley's choice of associates. Cannonball feels, and many agree, that pianist Bill Evans is unexcelled when moody delicacy is called for.

Dexter Gordon, one of the true sax giants in the history of Jazz. Recorded in 1961 and released the following year, "Dexter calling" is his second recording for Blue Note.A solid swinging session with Gordon at the head of a great quartet featuring pianist Kenny Drew and the great bass and drums team of Paul Chambers and Philly Joe Jones. This is a very well-balanced selection of hard-driving numbers, gospel-tinged blues, and deep ballads.

One of the major statements in the history of Jazz and African American liberation movements. Originally released in 1960 on Candid Records, Max Roach’s Freedom Now Suite consists of five original compositions and performances staging and celebrating different moments and aspects of the African American history and culture. Here is a wonderful cast of musicians reunited around Max Roach – drums and Abbey Lincoln – vocals. Throughout the album you can find great contributions from the likes of Booker Little – trumpet, Julian Priester – trombone, Walter Benton – tenor saxophones, James Schenk – bass and three percussionists Michael Olatunji, Raymond Mantilla and Tomas du Vall. Highlights include the highly intense triptych for Drum and Voice by Roach & Lincoln and a special appearance of tenor sax giant Coleman Hawkins on the opening Driva Man.

When stars collide, sparks will fly. At least that's the theory. Louis Armstrong and Duke Ellington accepted the invitation to record together with dignity and polite courtesy. While keen to see what this pairing might produce artistically speaking, it was certainly an historic occasion. As the red light went on and the tapes rolled, Duke on piano and Louis on trumpet and vocals, backed by the Armstrong All-Stars began to play. As Ellington hits the keys on a riff that sounds suspiciously like C Jam Blues and Satchmo sings cheerfully 'Baby, take me down to Duke's Place!' the champions are ready to exchange ideas rather than blows. Perhaps unsurprisingly Louis soon emerged from this unique musical gathering as the natural born leader. But all the source material was firmly Ellingtonian. Both men had enjoyed extraordinary careers and were world renowned figures when the idea of bringing them together was first proposed.

Here's a true West Coast soul-jazz gem originally released on pacific jazz in 1961. Les McCann's warm and emotional singing shines over some gorgeous big band arrangements signed by the great conductor and bandleader Gerald Wilson. McCann's usual trio with Herbie Lewis on bass and Ron Jefferson on drums is augmented by a phenomenal bunch of West Coast top musicians including clarinetist Buddy Collette, tenor sax lions Charles Lloyd, Teddy Edward, and Harold Land, and two absolute guest stars: tenor sax giant Ben Webster and organ stylist Richard "groove" Holmes, what else?

Soul-jazz and blues at their best. Allmusic Guide

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



'Basie at Birdland' is a 1961 live album featuring Count Basie and his famed orchestra playing at Birdland in New York City. Recorded on June 27-28th of 1961, and released just one month later in July of that year, 'Basie at Birdland' proved once again that Count Basie was one of the world's best players, band leaders, and flag bearers of Jazz. Birdland, the self-proclaimed, 'Jazz Corner of the World' provides a raucous, lively backdrop to the band's soulful Kansas City style Jazz, on tunes like, 'Blue Backstage', and 'Good Time Blues' alongside their harder hitting, big band bop. 'Basie at Birdland' features the Count at the height of his prowess, and he and his band's fervent, swinging performance cannot be missed - it's perfect for novices and aficionados alike.



This is a jaw-dropping recording of Basie's band in 1961. The band is so tight and swings so hard it sounds at times as if one is listening to a Wurlitzer organ. There simply was no band that swung as hard as Basie's - at least not as recorded on this live date. Amazing.



Simply the best live recording of a big band ever!

The Avant-Garde is an album by the two jazz giants John
Coltrane & Don Cherry. Coltrane plays compositions
by Ornette Coleman accompanied by the members of
Coleman’s quartet: Don Cherry, Charlie Haden, and Ed
Blackwell. The album is a result of the mutual respect and
friendship between Coltrane and Coleman. It’s the ability
of each to complement the other that lends heavily to the
success of these recordings. Both fans of jazz music as
of one of the two jazz musicians will love this records, as
it brings the best of both to the surface. So don’t let this
record pass you

The debut album by a prolific musician, ‘Grant’s First Stand’ is a significant work that set out the Blue Note musician’s highly personal manifesto.

Though Grant’s First Stand was guitarist Grant Green’s maiden release for Blue Note Records it wasn’t his debut recording session for the famous New York jazz label. The St Louis guitarist had, in fact, gone into Rudy Van Gelder’s legendary studio at Englewood Cliffs, New Jersey – where Blue Note did the majority of their recordings from 1959 onwards – on two previous occasions. For some reason, however, the music recorded on two days across October and November 1960 was shelved. It wasn’t until Saturday, 28 January 1961, that Green got to lay down the six tracks that became his debut album for the label.

This release comes on 180g vinyl and was remastered from the original tapes.Be With have raided the KPM archives to re-issue another of our favourites from the KPM 1000 series. They say: A Dramatic Suite Of Themes, Montage, Sequences And Generics. We say: An enormously influential and heavy KPM set of timeless, killer funk breaks from 1972 by the mighty John Cameron. Jazzrock is an aggressive, percussion-heavy album with an energy that leaves jaws on the floor. Breaks and beats for days with electric piano, bass loops, and pounding percussion. Funky jazz with a deep, tough, soundtrack feel. As with all of our KPM re-issues, the audio for The Road Forward 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. And don’t worry! Those KPM stickers aren’t stuck directly on the sleeves!

Expertly utilised in hit series 'Breaking Bad' to soundtrack Walt and Jesse's meth manufacturing, The Peddlers 'On A Clear Day You Can See Forever' is a sumptuous smooth soul journey - full of exquisite organ solos and deep vocal tones.
2019 marks 50 years since it's release and with original copies pushing £40 it's a chance to bag this iconic record at a fraction of the price.
Remastered and reissued on 7 inch with large / dinked centre hole in Epic generic paper sleeve.

"Comin’ Home Baby" – that’s how the LP begins and that’s what catapulted it right into the charts. Not to one of the top places, but from this time on Herbie Mann was one of the superstars in Atlantic’s collection of jazz musicians. He was known as 'our man with the flute', and the critics in the early Sixties were full of praise for him. He became even more famous, and probably richer, through soundtracks and later on sometimes rather commercialised productions. Well, good for him. 'The Man' serves up jazz pure on this recording, made live at the legendary Village Gate club, which is no wonder considering the rhythm group that includes Ahmad Abdul-Malik and Rudy Collins. The composer of "Comin’ Home Baby", Ben Tucker, also makes an appearance as a guest soloist before the two Gershwin numbers from "Porgy And Bess" offer a wealth of rhythm pure. On the cover text of the LP, Willis Conover, who hosted the Newport Jazz Festival as a sideline (older jazz fans will know his baritone voice from AFN broadcasts), describes in detail the ethnic background of the musicians who come from all over the world – from Romania to Puerto Rico. The three numbers are by no means commonplace. Perhaps a tasty flute cocktail would be a good description. This true rarity from Atlantic’s treasure trove in the early Sixties has long been marked down on the wish list of many fans and at long last it’s available again.

Why should you buy this LP? 1. Because of its super sound? Of course! 2. Because Paul Desmond and Jim Hall are playing? Naturally! 3. For "Easy Living"? Surely one of the best numbers in one of the most multifaceted versions! 4. Because you missed out on the first release in 1966? Well, don’t make the same mistake in 2018!
Not everyone wants to purchase all Victor recordings by Paul Desmond and Jim Hall with umpteen alternate takes in a voluminous CD Box, to listen to it all, and to find it just wonderful to show off on the record shelf. The eight numbers on "Easy Living" constitute the height of Desmond’s career anyway after he had at last managed to take his leave from Dave Brubeck’s group. And the change from purely chordal playing and single notes from Jim Hall is more airy and more inspiring than the meaty piano clusters of his former boss. And don’t forget either that half of the Modern Jazz Quartet, namely the bassist Percy Heath and the drummer Connie Kay, deliver an exquisite skeletal structure over which the musicians can improvise brilliantly.
LPs are, and remain, unbeatable, both as regards sound and feel. And happily they are also a safe investment – maybe not all, but "Easy Living" with Paul Desmond and Jim Hall most definitely!

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: June 1963, July and September 1964, June 1965 at RCA Studio, New York City
Production: George Avakian

For the few people lucky enough to have heard the entire album in the five
decades since its release, the mythical POPERA COSMIC LP is now considered
to be France’s first dedicated psychedelic album and the shrouded blueprint for
the hugely influential Gallic concept album phenomenon that followed – including
SERGE GAINSBOURG’s HISTOIRE DE MELODY NELSON and GÉRARD
MANSET’s LA MORT D’ORION.
Spearheaded by FRANÇOIS WERTHEIMER (songwriter for VANGELIS, BARBARA
and BYG RECORDS), composed with future JODOROWSKY soundtracker
and genius all-rounder GUY SKORNIK, and based on an embryonic concept
co-conspired by a teenage JEAN-MICHEL JARRE, this instantly deleted 1969
recording is a true essential for any outernationalradicalised record collection.
With credentials that mark the birth of the cosmic funk (later disco) that helped
shape the influential sound of France today, this LP also includes the first pressed
instrumentals by members of SPACE ART, some of the best orch rock arrangements
by WILLIAM SHELLER (Lux Aeterna, Eriotissimo) and orchestrator PAUL PIOT
(Jean Rollin), as well as sitar psych benchmarks courtesy of uber legend SERGE
FRANKLIN – all pinned down by the rhythm section that would later be known to
prog aficionados as ALICE.
Subtitled LES ESCLAVES (The Slaves), this street theatre/rock opera (influenced
by the work of Julien Beck’s Living Theatre) now celebrates its 50th birth-day
standing firmly as a sonic tome to the birth of the no-no era (that rebuked
France’syé-yé” hamster wheel) leading directly to the thematic progressive
network of WAKHÉVITCH, MANSET and MAGMA while comprising an inter-Gallic
intergalactic super group from the early annals of France’s pop psych revolution.
Imagine a rock opera where the cast of MISTER FREEDOM perform CLASH OF
THE TITANS at the foot of THE HOLY MOUNTAIN – then pinch yourself...

This is 180g vinyl.

The virtuoso trombonist Albert Mangelsdorff was one of the prominent figures of European Jazz of the 60s – 70s. Eastern influences with a perfect blend of Western culture characterized this album recorded in Frank- furt after the groups Asian tour. “Now Jazz Ramwong” sees the group in its best shape: alto saxophonist Gunther Kronberg, tenor saxophonist Heinz Sauer, bassist Gunter Lenz and drummer Ralf Hubner. A really mind-blowing mix of jazz, folk and Eastern sounds. The album contains “Three Jazz Moods”, a jazz adaptation of Ravi Shankar’s music.

The album Rock 'n Soul was originally released in 1964 by Grammy Award winning Solomon Burke (†2010). 7 tracks ended up in Top 100 Billboard Hits at the time. "If You Need Me" went as high as #2 in the Black Singles Chart. This extraordinary album is not only soulful but a confirmation that Burke is a genius when it comes to writing music and making it happen in a studio!

Dolphy had left his native California and come east as part of Chico Hamilton's group, settling in New York in 1960 and becoming part of Charles Mingus's group. This first recording as a leader brought comparisons with Ornette Coleman but the two were really parallel figures in the then-emerging avant-garde. Dolphy did not eschew 'changes', as Coleman did, but he used them in new ways. This LP was significant not only for his alto saxophone but introduced his individual approach to the flute and, particularly, the bass clarinet.

The first studio date of the Charles Lloyd Quartet, with Keith Jarrett, Cecil McBee, and Jack DeJohnette, was recorded and released just a few days before the band took both the European and American festival circuits by storm. First came Europe, which was just getting the disc as the band was tearing up its stages. While the live dates are now the stuff of legend, it's easy to overlook the recordings, but to do so would be a mistake. "Dream Weaver" is a fully realized project by a band -- a real band -- in which each member has a unique part of the whole to contribute. Jarrett's unusual piano style fits musically with Lloyd's lyricism in a way that it shouldn't. Jarrett was even then an iconoclast, playing harmonic figures from the inside out and relying on counterpoint to create new spaces, not fill them in. (Just listen to "Autumn Sequence", where his solos and his backing harmonics are equally strident and inventive as Lloyd's Eastern explorations of mood and mode.) And then there's the rhythm section of McBee and DeJohnette, whose modal inventions on the intervals make the "Dream Weaver" suite an exercise in open time, allowing all players to wander around inside it and take what they want out. The set closes with a group party jam on "Sombrero Sam", with Lloyd and Jarrett trading eights on a Cuban variation on a fantasia. There were no records like this one by new groups in 1966.

The release comes on 180g Vinyl.

There is nothing hurried about this disc. That said, the music is focused and will stretch your mind. Lewis employed masterful melodic improvisers here: Paul Gonsalves, Eric Dolphy, Jim Hall among others. Listen to "Body And Soul" as it builds powerfully and the soloists explore every possible melodic theme, where the quiet power of these master musicians is almost too much to take. Listen to "I Remember Clifford" where the players are essentially the MJQ with Jim Hall replacing Milt Jackson. This set swings, but oh-so-elegantly. Just like Mr. Lewis.
S.C.Berry
Whether you're an old-time jazz afficionado or new to the genre, this album is essential. In my opinion, Lewis' lovely solo on "Body & Soul" makes his version virtually definitive - 15 minutes of bliss. The rest of the album, particularly "Afternoon In Paris", is at the same level. "Wonderful" is the perfect title for this record.
E Barrios

Recording: July and September 1960
Production: Nesuhi Ertegun & Tom Dowd

John Coltrane brought a new sound and style to jazz, and he applied it in his own unique way to the standard material of the storehouse of American music gathered from Broadway, Hollywood and Tin Pan Alley. With the excellent rhythm team of Red Garland, Paul Chambers (both of whom had done so many concert, club and recording dates with him) and Jimmy Cobb and the Miles-directed flugelhorn of Wilbur Harden, Trane puts his personal stamp on numbers not done that often like Henry Nemo's "Don't Take Your Love from Me", Fred Ahlert's "I'll Get By" and two more familiar yet still not overdone songs, Richard Rodgers' "Spring Is Here" and Bronislau Kaper's "Invitation."

From the time Coleman Hawkins firmly established the tenor saxophone on the jazz map, it has been one of the most potent forces in the music, its best practitioners able to raise the roof with a jumping blues, soothe the savage beast with a tender love ballad, and do just about anything in between. At the time of this recording (1961), Jimmy Forrest, the St. Louis-born reedman, was a veteran of the Fate Marable, Jay McShann, Andy Kirk, and Duke Ellington bands. Later in his career he starred with Count Basie. Here he leads a quartet of teammates from the combo of 'Sweets' Edison, including the young Austrian pianist Joe Zawinul, through a gamut of the aforementioned moods from "Crash Program" to the caressing "That's All", with a few tips of the cap to Ben Webster along the way. With Joe Zawinul, Tommy Potter and Clarence Johnston.

Booker Ervin's recordings with Charles Mingus and Randy Weston brought him good reviews and a bit of notoriety. But it was his series of Song Books for Prestige Records that broadcast the stentorian announcement that a jazz orator of gigantic stature had arrived. Ervin's tenor saxophone sound was haunted by the loneliness and spaciousness of the Texas plains where he was raised. The Southwest moan was an integral part of his playing. But his style went beyond the classic Texas tenor tradition to incorporate the intricacies of bebop and suggestions of the free jazz that was initiating one of the periods of self-renewal that keeps jazz fresh and interesting. "The Freedom Book", recorded at the end of 1963, was one of Ervin's masterpieces. He is abetted by the power and drive of Jaki Byard, Richard Davis, and Alan Dawson.

This release comes with a download code.
180g Vinyl