Jazz | Fusion Vinyl 660 Items

LP | 1976 | EU (Trading Places)

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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Folk Magic Band represents one of the most interesting and original, yet lesser-known experiences of the italian jazz scene of the 1970s. In the legendary alternative environment of the Folk Studio in Rome, an open 18-members lineup is inspired by the free jazz of its time, a music that encompasses the whole world and its polychromy of sound. The echo seems to resonate the pan-ethnic motifs of Don Cherry and his Organic Music Society, but also the spiritual jazz of Pharoas Sanders and the orchestrations of the Sun Ra Arkestra. The textures chase a chinese melody, ignite with african scents and south american jungles, flow into fusion violin drifts a la Archie Shepp's Attic Blues or Mingus-like orchestral sections. The fascination of this collective affair still strikes for its playful and ironic nature, still impressing for its strength and willingness to open and influence new directions.

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Flip Nunez

My Own Time And Space

Release: 1976 / EU

Genre: Organic Grooves

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LP | 1980 | Reissue (Sonorama)

Fitz Gore

Soundmusication

Release: 1980 / Reissue

Genre: Organic Grooves

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LP | 1988 | EU | Reissue (Telephone Explosion)

Fist Of Facts

Fugitive Vesco

LP | 1976 | EU | Reissue (Mad About)

Release: 1988 / EU – Reissue

Genre: Organic Grooves, Electronic & Dance

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Melodic Energy Commission is a Canadian gem and an interesting branch of the Hawkwind family tree (featuring Del Delmar on electronics.) Hailing from British Columbia, their unique blend of space rock, progressive and hippie psychedelia began in 1977 as a recording-only project titled "The Melodic Energy Commission of Collected Artists."
In 1985 Ken Man showed up in the studio with this IBM AT computer. It had a 1/2 MB of RAM and some Voyetra software that could sequence music, becoming the duo’s backing band. Fist Of Facts contributors included Mark Cunningham from Mars, Felice Rosser, Genevieve De Monvel Boutet, Carlos Vivanco, Scott Hartley from the Liquids and a whole host of others. Fist of Facts expand the natural groove that Liquid Liquid established over their quick career, with a strong political message combined with abstract dub soundscapes.

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Fisher

12" | 1985 | EU | Reissue (Glossy Mistakes)

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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Finis Africae

El Pulso De La Madera

32,99 €*

Freedom Train Record Store Day 2024 Edition

Release: 1985 / EU – Reissue

Genre: Organic Grooves, Electronic & Dance

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"Pulso de la Madera" comes as the definitive official reissue of the first album by the legendary band, along with previously unreleased remastered material, on a double LP with extensive liner notes and previously unseen pictures of the band. Essential to revisit the work of a band that inspired fourth world and organic ambient as we know it today; these tunes sound immersive and still contemporary.

On their short but influential career, Finis Africae proposed an informal and decentralized model of creativity that was decades ahead of current practices linked to technological advances; they explored unknown worlds and imagined landscapes of the “fourth world” apart from their present; they neither affirmed nor denied any of the labels they were to assign to them (“New Age”, “ethnic music”, “world music”, etc.); they recreated, used, and nourished foreign cultures without fear.

And most importantly - they shaped a sound “finis”. Your own space. Where there were no rules. A dimension in which the collective was submerged in long sessions of improvisation; where they could be goblins and magical entities; a place where they could imagine scales and structures unreal; where they could play any instrument in the known world; where they could tour the Mediterranean, Africa, and the Middle East in a blink of an eye; where they could be themselves without caring about anything that happened outside.

The unreleased tracks come as a careful selection of a deep-dive over hundred tracks and demos, compiled by Urba and Glossy Mario. The license comes from Juan Alberto Arteche's family.

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Feso Trombone

LP | 1984 | EU | Reissue (Lantern)

27a Raccolta Picture Disc Edition

Release: 1984 / EU – Reissue

Genre: Organic Grooves

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A necessary groundbreaking album, originally released on Belgian label Antler in 1984. Fesobi Olawaiye debut is finally been re-issued, showcasing the incredible talent of the African musician, a longtime Fela Kuti associate in the legendary Afrika 70. Ander the moniker Feso Trombone he just prove an authentically brilliance, moving forward the afro-beat dogma while providing incredible white funk harmonies and contagious rare groove. Remastered from the original tapes!

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Fausto Papetti

LP | 1978 | EU | Reissue (Sony)

34,99 €*

Release: 1978 / EU – Reissue

Genre: Organic Grooves

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Amarena Red Vinyl Edition

Fabbri Lucio

LP | 1978 | EU | Reissue (Cramps)

Release: 1978 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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

Extra Ball

Birthday

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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LP | 1978 | UK | Reissue (Treader)

Evan Parker

Monoceros

Release: 1978 / UK – Reissue

Genre: Organic Grooves

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Originally recorded direct to disc and released by Incus in 1978, this new edition from Treader is pressed from the original stampers. Hand-finished sleeve.

‘Parker uses rapid tonguing techniques and circular breathing to create a sound all his own, marked by the simultaneous intonation of multiple notes. One hears a note as well as all the residual tones around it; each breath ends up sounding like a battle between the different registers of the horn. At various times, Parker’s saxophone sounds like dolphin speech, electronic tape squeals, or human murmurs; namely, anything but what it actually is. His language on the instrument is essential listening for anyone interested in acoustic experimental music’ (AllMusic).

‘Eight years after Topography Of The Lungs, and two years after his Saxophone Solos, Monoceros was the most muscular statement of Evan Parker’s solo saxophone muse. Superbly recorded, it seemed to place the listener within the chaotic air flows of the saxophone’s own tubing. Philip Clark said: ‘Parker’s dialogue with the saxophone throws up so much that is unexpected, and indeed unknowable, that the problem he faces is how to keep pace with his own invention’’ (The Wire, Best Albums Of The Year).

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Etron Fou Leloublan

Les Poumons Gonflés

LP | 1982 | EU (Replica)

LP | 1976 | US | Reissue (Friends)

Release: 1982 / EU

Genre: Organic Grooves, Rock & Indie

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With Les Poumons gonflés, the group led by Ferdinand Richard and Guigou Chenevier entered the 80. A unique sound with influences coming to shake up the usual recipe of the trio (addition of Jo Thirion on keyboards) for a result both innovative and fun. The third album of the French rock sounds totally free and original, produced by the legendary guitarist Fred Frith (Art Bears, Henry Cow, Naked City). An important album and often overshadowed in favor of its two predecessors. It is therefore high time to repair this absurd injustice!

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Esther Williams

Let Me Show You

Release: 1976 / US – Reissue

Genre: Organic Grooves

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LP+CD | 1971 | EU | Reissue (Jazzaggression)

Erik Andresen Quartet

Gip

Release: 1971 / EU – Reissue

Genre: Organic Grooves

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LP | 1981 | EU | Reissue (Ransemble)

Enzo Randisi

Swing Ensemble

43,99 €*

LP | 1972 | EU | Reissue (Cinedelic)

Release: 1981 / EU – Reissue

Genre: Organic Grooves

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Preorder shipping from 2024-08-02

Did someone say Summer? Sicily is what Cuba is to the Caribbean, sun, sea, easy and friendly people with lots of troubles! You won't find anything better around that identifies the summer more than this album by Enzo Randisi who at the beginning of the 80s put together a Swing Ensemble as a tribute to that "cheerful" movement of Jazz music. But Enzo and his fellas just couldn't stay on track and put in the best that the alternative Palermo area could offer in that historical period, like the sisters Cinzia and Loredana Spata, who brought the production to a next level in the vocal version of All Blues or in Chic Corea's Spain. But what really struck us was Charles Cables' version of "Quite Fire" (here missspelled as "Quite Fair"), released a few months earlier only in Japan and which would only become famous in the 90s with the Acid Jazz movement, and this tells us a lot about how hungry Enzo and Riccardo were of musical knowle, to be able to find some pearls in a city with basically no record shops and isolated...well...it's on an island!

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Enrico Intra

Jazz In Fabbrica

LP | 1973 | EU | Reissue (Blue Note)

Release: 1972 / EU – Reissue

Genre: Organic Grooves

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Cinedelic presents a reissue of Enrico Intra’s Jazz In Fabbrica (Jazz In The Factory) originally released in 1972. Pianist, composer, arranger and conductor, among the most important ones in the history of European jazz, Enrico Intra has developed a poetics aiming at the encounter between the most exquisitely jazz language and contemporary music of a cultured matrix, and for this reason he was among the first Italian musicians to develop a “European” concept of jazz. Nuova Civiltà suite, certainly one of his best-known compositions, often also interpreted by Gerry Mulligan, deeply combines blues and tradition, adhering to the most radical trends of the music scene. A challenge to established formal and expressive schemes.

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Elvin Jones

Mr.Jones

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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Genesis Opaque Pink Vinyl Edition

Elvin Jones

LP | 1971 | US | Reissue (Blue Note / Third Man)

47,49 €* 49,99 € -5%

Release: 1971 / US – Reissue

Genre: Organic Grooves

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Genesis Black Vinyl Edition

Elvin Jones

LP | 1971 | US | Reissue (Blue Note / Third Man)

43,99 €*

Release: 1971 / 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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Sings The Duke Ellington Songbook

Ella Fitzgerald

2LP | 1985 | EU | Reissue (Not Now)

32,99 €*

Quale Appuntamento... / Magic

Release: 1985 / EU – Reissue

Genre: Organic Grooves

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Ella Fitzgerald was, by any yardstick, a remarkable singer. She had achieved much by the time she signed to the newly created Verve Records in 1956, but it was the genius of Norman Granz, her personal manager and Verve founder, in suggesting she tackle the material of great contemporary composers in themed albums that sent her career into orbit. As the New York Times wrote on her passing in 1996, "These albums were among the first pop records to devote such serious attention to individual songwriters, and they were instrumental in establishing the pop album as a vehicle for serious musical exploration." The song selections ranged from standards to rarities, and the eight-title series represented an attempt by Fitzgerald to cross over to a non-jazz audience that may have been unaware of the talents she first committed to vinyl in 1935.

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Eleonora Giorgi

7" | 1980 | EU | Reissue (Sonor)

LP | 1978 | EU | Reissue (Studio Mule)

Release: 1980 / EU – Reissue

Genre: Organic Grooves, Soundtracks

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The magic 80s nostalgia is here! Sonor Music Editions in collaboration with Beppe Savoni and Giuseppe Giammetta, respectively known in the digital space as Disco Bambino and Sovraimpressione announce a special release by the Italian queen of silver screen, actress Eleonora Giorgi. The limited edition 7-inch includes a rework of the 1981 soulful disco track "Quale Appuntamento...", written by Bipap, Cristiano Malgioglio & Pino Presti, originally released on the iconic Ricordi label; on the B-side, restored and for the first time ever on vinyl, "Magic", taken from the 1980 original soundtrack of the film "Mia Moglie È Una Strega", with music arranged and directed by Detto Mariano.

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Eiji Nakayama

Aya's Samba

Picture In Three Colours Black Vinyl Edition

Release: 1978 / EU – Reissue

Genre: Organic Grooves

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One per customer only!

Johnny’s Disk Record is an independent jazz label run by the owner of jazz cafe Kaiunbashi No Johnny located in Rikuzentakata city in Iwate prefecture, Japan. The legendary label released a string of albums of high quality but down-to-earth music, spanning from modern jazz, avant-garde jazz to left-field pop. Albums such as “farewell my johnny / left alone” and “aya’s samba” has reached cult status among fans as some of the best works to come out of the japanese jazz scene. Another japanese jazz classic, Aya’s Samba was a debut effort by bassist Eiji Nakayama, who played as part of elvin jones’ jazz machine and toured with Don Friedman. This album is an important release in the johnny’s disk catalogue, not only because it is the first ever release, but also because the owner hearing the band play was the reason why the label came to be. “Aya’s Samba” is a mellow jazz samba in minor key that’s considered a japanese jazz classic. Slow ballad “yellow living” is drenched in melancholy with emotive keys and sax notes, while the dreamy “sea sea town” impresses with a captivating, expressive sax solo. The 4 tracker ends with “far-away road,” an uptempo tune with rhythmic keys.

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Eero Koivistoinen

LP | 1984 | EU | Reissue (Svart)

26,99 €*

LP | 1971 | EU | Reissue (Svart)

Release: 1984 / EU – Reissue

Genre: Organic Grooves

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Deluxe vinyl reissue!

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Eero Koivistoinen

Original Sin

13,99 €*

Release: 1971 / EU – Reissue

Genre: Organic Grooves

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I'm Here Black Vinyl Edition

Edward Vesala

LP | 1973 | EU | Reissue (Svart)

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

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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Drummer and composer Edward Vesala, the most internationally renowned jazz musician from Finland, was very keen on percussion instruments. Oddly enough, this broad and enduring interest is hardly evident on his albums.

Whether playing on his own albums or contributing to other musicians’ work, Vesala played a standard drum kit most of the time. He hardly used external percussionists on his own albums either. And most of all: his music was almost never percussive, at least in the traditional manner. Perhaps even stranger is the fact that he barely played any drum solos on his own albums.

That’s why I’m Here (Blue Master Special, Spel 311, 1974), recorded in Helsinki in 1973, is such a rarity. Of course, being a limited release has also made it an expensive treasure among collectors.

Additionally, I’m Here is Vesala’s only solo album and only percussive album, and one of the few where he can be said to play drum solos, albeit in his own idiosyncratic way..

The idea of a jazz drummer making a solo album was in itself quite rare in 1973, although not entirely unheard of. French Pierre Favre had already made two solo albums (in 1970 and 1972), and Dutch Han Bennink and Swedish Sven-Åke Johansson one each, both recorded in 1972.

It wasn’t exactly Vesala’s first time either. He had already played drums alone on the second side of the album Yksi, kaksi, kolme, neljä soul jumppaa (One, two, tree, four soul gymnastics, Gross Records, Grlp-27, 1969), though for purely instructive purposes, showcasing different rhythms and tempos..

"My favorite music is so called ‘free’ or very modern music (classical as well as jazz). But ‘cause of a very little jazz audience in Finland, I’m playing also Pop-jazz to get bread", Vesala introduced himself with a self-written English text, almost as if foreshadowing the diverse solo album, I’m Here. Compared to other releases of its time, the album was indeed “free’ or very modern music (classical as well as jazz)”, which may be the reason why it didn’t make a significant mark on the music scene or significantly benefit Vesala’s career at the time.

Lauri Karvonen, a jazz critic of the largest Finnish newspaper, described Vesala’s album as “certainly uncommercial” (Helsingin Sanomat, 8th of December, 1974). At the same time, he was delighted that “the most controversial contemporary jazz musician from Finland” has, “after years of prostituting (pop music, schlager), been able to completely dedicate himself to his own music.”

“The man is doing what he wants”, Karvonen summarizes.

Now, after being re-released, I’m Here can be appreciated for its manifesto-like and almost documentary nature. The album can be valued as a greatly interesting peek into Edward Vesala’s preferences and efforts in 1973, when he was still looking for his "own thing".

The reissue comes on vinyl only and is limited to 500 copies. The release comes with extensive liner notes by jazz critic Harri Uusitorppa.

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Eddie Marshall

Dance Of The Sun

Release: 1978 / EU – Reissue

Genre: Organic Grooves

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

Eddie C. Campbell

King Of The Jungle

37,99 €*

LP+7" | 1977 | EU | Reissue (678)

Release: 1977 / US – Reissue

Genre: Organic Grooves

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

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Dutch Treat

Tranquility

39,99 €*

Indigos Indigo Purple Vinyl Edition

Release: 1977 / EU – Reissue

Genre: Organic Grooves

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1977: In the middle of the era of punk groups, up-tempo music, high-energy rock and a mini rock-'n-roll revival, a record with the cheeky title Tranquility by the group Dutch Treat has come onto the market. A record - as the title suggests - that exudes tranquility. The record is a serious product by five of Holland's best-known and most-talented studio musicians: Jan Huydts, Wim Essed, Hans Hollestelle, Louis de Lussanet and Steve Boston. Jan Huydts: ‘We want to make music that brings people peace and tranquility. We are a recording group. We like each other. We are just close friends. The idea was to make non-aggressive music with aggressive instruments like synthesizers and electric guitars. You may even call it background music, maybe with a double meaning.’

Wim Essed in 2024: 'After decades it is still amazing that in all their diversity the pieces on this album fit together so well, taking the listener on an instrumental road trip through rainy as well as sunny landscapes.'

'When we had finished the original recording, the first and only issue was marketed by Polydor records, in quite a modest edition, instigating an equally modest success. Nowadays many more can get access through the web and Tranquility has since found a certain following and cult status, as the original record got harder to come by and more expensive on the second-hand market. So people started to ask for a reissue, which we can at last and proudly offer, bonus material included!'

‘tranquility’ by dutch treat was recorded, mixed and mastered between October 1976 and January 1977 at Procom Studio in Kirchhellen, West Germany

Remastered in August and September 2023 by Fritz Fey (original assistent engineer) at Double-D Mastering, Oberhausen, Germany For the remastering a direct transfer from the original master tape in 192 kHz and 24 bit was used. The master was cut in a lacquer and the actual reissue is a 180 gram hi quality pressing

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Duke Ellington

2LP | 1989 | US | Reissue (Impex)

93,99 €*

Release: 1989 / US – Reissue

Genre: Organic Grooves

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Indigos Black Vinyl Edition

Duke Ellington

2LP | 1989 | US | Reissue (Impex)

73,99 €*

Release: 1989 / US – Reissue

Genre: Organic Grooves

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LP | 1974 | US | Reissue (Real Gone Music)

Doug Carn

Adam's Apple

Release: 1974 / US – Reissue

Genre: Organic Grooves

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12" | 1981 | EU | Reissue (Funkscapes)

Dortmund

Titanic / The Deep

Street Lady Black Vinyl Edition

Release: 1981 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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Official reissue of Dortmund's self-released single from 1981. For those in the know a sought-after gem, for everybody else the single you didn't know you need in your life! Comes in picture sleeve with the original artwork. Limited edition. 'Titanic' - quite self-explanatory - is about the queen of the ocean and her sinking as a ship believed as unsinkable. Starting off with its morse code-like sounds it evolves into a heavy grooving mélange of alternative rock, funk, new wave and synth pop. The B-Side 'The Deep' explores depths you didn't know about. This instrumental jazz boogie funk fusion piece takes you on a five minute journey that will be your life-saver on any day. In the early 1980s the scene of the Ruhr area was alive and kicking but still under the radar. Musicians played in different bands and projects of various styles. Three guys gathered simply under their city name "Dortmund" and did their own thing which led to this conceptual single - their only release.

Before that Elmar Krohn (keyboards) and Thomas Meyer (vocals, bass, guitar, keyboards) were part of the "Mardi Gras Band", a funk and soul band with a great reputation for their live shows. They were also involved in writing 'Blame It On The Boogie' which got performed by "The Jacksons" in 1978 but that is another story. On the drums they were joined by Siegfried Hermes who also played in the band "Die Salinos".

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Donald Byrd

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

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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Black Byrd Back To Black Edition

Donald Byrd

LP | 1973 | EU | Reissue (Blue Note)

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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Space Walk British Jazz Explosion Series Edition

Don Rendell Quintet

LP | 1972 | EU | Reissue (Decca)

Hear & Now Yellow Vinyl Edition

Release: 1972 / EU – Reissue

Genre: Organic Grooves

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For the first time with the correct title sequence. More info coming soon.

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Don Cherry

LP | 1977 | EU | Reissue (Klimt)

LP | 1977 | US | Reissue (Chiaroscuro)

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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Dollar Brand

Cape Town Fringe

Dollar Brand (Abdullah Ibrahim)

Release: 1977 / US – Reissue

Genre: Organic Grooves

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180 gram pressing!

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The Journey

LP | 1977 | US | Reissue (Chiaroscuro)

Release: 1977 / US – Reissue

Genre: Organic Grooves

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LP | 1988 | EU | Reissue (Studio Mule)

Doctor Umezu Diva

Diva Feat. Midori Takada

LP | 1984 | UK | Reissue (20th Century Masterworks)

Release: 1988 / EU – Reissue

Genre: Organic Grooves

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Doctor Umezu diva is a japanese sax player Kazutoki Umezu’s one off project which he invited two female artists, one is a legendary marimba player Midori Takada and one more is a vocalist&pianist and half of japanese newwave band colored music in the end of 80’s. This album was one of the best kept secret jazz album from Japan. Dubby from ondas tokyo(he compiled “va/midnight in tokyo vol.2” on studio mule) brought me this record. It was really hard to find as the amount of copies has been very limited. This album is a unique mixture of modern classical sound and avant-garde jazz which is kind of similar with strata east or nimbus.

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Django Reinhardt

Nuages

23,99 €*

Release: 1984 / UK – Reissue

Genre: Organic Grooves

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LP | 1986 | EU | Reissue (BeauMonde)

Digital Caresse

Demain

Dieter Bihlmaier Selection

Release: 1986 / EU – Reissue

Genre: Organic Grooves

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Produced by Serge Fabriano (of Fabriano Fuzion fame) in 1986, Digital Caresse is considered one of the holy grails of West Indies electronics made in Guadeloupe. Fulle remastered and limited to 700 copies!

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Maskerade

LP | 1974 | EU | Reissue (Sonorama)

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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LP | 1972 | UK | Reissue (Long Hair)

Dick Heckstall-Smith

A Story Ended

32,39 €* 35,99 € -10%

Release: 1972 / UK – Reissue

Genre: Organic Grooves

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LP | 1978 | US | Reissue (Philadelphia)

Dexter Wansel

Voyager

Release: 1978 / US – Reissue

Genre: Organic Grooves

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LP | 1981 | EU | Reissue (Petit Cherie)

Dewey Jeffries

This Is For You

26,99 €*

Descendants Of Mike And Phoebe, The

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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A Spirit Speaks

LP | 1974 | UK | Reissue (Pure Pleasure)

Derek Bailey & Cyro Baptista

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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Cyro

2LP | 1988 | EU | Reissue (Honest Jon's)

Derek Bailey And Andrea Centazzo

Release: 1988 / EU – Reissue

Genre: Organic Grooves

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When Cyro Baptista moved to New York in 1980 from his home city of São Paulo, he brought with him an arsenal of percussion instruments, including the cuica (friction drum), surdo (the booming bass drum associated with samba), berimbau (single-string bow with resonating gourd), and cabasas galore, in the next few years deploying them most notably in numerous ensembles curated by John Zorn, who helped set up this studio session in 1982.

As you might expect from someone whose infectious grooves have graced the work of Herbie Hancock, Astrud Gilberto and Cassandra Wilson, Baptista expertly fires off cunning polyrhythms, even traces of thumping samba, with restless fluency. Bailey the wily old fox skirts and eschews the bait, which is quickly conjured away and newly fashioned. The guitarist homes in on the delicious squeaks of the cuica and the twanging drones of the berimbau with truly awesome tonal precision. You could sing along if you wanted, after a caipirinha or two. And he gets almost as many different sounds from his instrument as Baptista can from his kit – check out the stratospheric plings and string-length fret-sweeps of Tonto, which sound more like a prepared piano than an acoustic guitar.

Wonders abound, from the berimbau/bent-string exchanges that open Quanto Tempo to the delightful collision of howling cuica and spiky bebop on Polvo, and the spare, preposterous Webernian samba of Improvisation 3.

These days, ‘improvisation’ often appears without its customary qualifier ‘free’. If there were ever a case to be made for its reinstatement, this album is the best supporting evidence. Freedom means you’re free to get into the groove, free not to, free to play with each other, free to play against each other. Sometimes frustrating, even scary, but more often than not in the hands of these two great masters it’s hilarious, exhilarating and utterly irresistible.

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Drops

LP | 1977 | EU | Reissue (Ictus)

David Wertman & Sun Ensemble

Release: 1977 / EU – Reissue

Genre: Organic Grooves

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In the history of free improvised music, there has been arguably no greater advocate for the idiom’s power and potential than the English guitarist Derek Bailey. Fiercely principled, between his emergence during the 1960s and his death in 2005, he cut a wide path, positioning this music at the height of creativity, transpiring in real time, and a means through which people from diverse backgrounds could come together, express, and commune. For Bailey, “playing is about playing with other people... Improvisation is a process that gets relationships sorted out.”

Among many great examples of this within Bailey’s sprawling discography, a stand out is his 1977 duo LP Drops - originally issued as the third album on Ictus - recorded with the Italian percussionist / drummer Andrea Centazzo. Capturing the guitarist during one of his most prolific and creatively visionary periods - overflowing with explosive clarity, dialogic energy, and imagination - he clearly found a perfect foil in Centazzo, who recalls of the sessions “The kaleidoscopic quality of Drops was created by this restraint of performing limits, i.e. the choice of instrumental timbres, dynamics and metronome speeds to suit each piece. We explored some aspects of our improvisational art, gleaned the best elements from our baggage of music memories and exposed them clearly and confidently.”

Comprising nine individual improvisations, Drops encounters each of its players at their best, finding a strange middle ground between the intuitive logics of their instruments; Bailey’s tones taking on decidedly percussive approaches, while Centazzo’s fractured polyrhythms and beats often veer toward the presence of a notable tonality. Remarkably expressive and diverse in the approach of each piece, Drops presents creative interplay at its most striking and challenging, rethinking the terms of musicality and collaboration every step of the way. Flurries of rattle back and forth, sculpting barbed and pointillistic landscapes of texture, stripped of reference and precedent, and abstract as real time organised sound comes.

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Earthly Delights

2LP | 1978 | EU | Reissue (BBE)

LP | 1976 | UK | Reissue (Cacophonic / Early Future Records)

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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David Wertman

Kara Suite

LP | 1988 | UK | Reissue (Pure Pleasure)

Release: 1976 / UK – Reissue

Genre: Organic Grooves

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The best kept secret for aficionados who actively choose to blur the lines between spiritual jazz and free jazz with no discrimination against art rock and the genre that might soon be christened punk (but not as we know it). Providing a platform for first-time players like Richard Schatzberg (French horn) and future avant jazz punk participant Ken Simon (tenor/soprano sax) alongside worldly free jazz luminary Charles Tyler (alto sax) and the naturalistic back-beat of Steve Reid himself to complete the dream team. Finally resurrected via the Finders Keepers/Early Future unison, complete with full cooperation and sleeve note narration by David's partner Lynne Meryl. Presented on black wax with illustrated insert.

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David Murray

Lucky Four

Release: 1988 / UK – Reissue

Genre: Organic Grooves

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LP | 1972 | US | Reissue (Decca)

David Axelrod

The auction

Release: 1972 / US – Reissue

Genre: Organic Grooves

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LP | 1971 | US | Reissue (RCA)

David Axelrod

Messiah

Release: 1971 / US – Reissue

Genre: Organic Grooves

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LP | 1973 | EU | Reissue (ECM)

Dave Holland Quartet

Conference Of The Birds

LP | 1973 | UK | Reissue (Mr Bongo)

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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This was Dave Holland's first album as a full-fledged leader. An album of driving, progressive jazz, it is also of historical significance as the only occasion when Rivers and Braxton, two of the music's most strikingly original saxophonists, recorded together. This summit meeting received raves from the press.

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Daniel Salinas

Atlantis

22,99 €*

LP | 1976 | EU | Reissue (Mad About)

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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Dana Kaproff

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

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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Jazz Funk Masterpiece reissued for the first time Worldwide. For every celebrated record in jazz, soul, and related music, there are probably thousands more with all the genius for which widespread recognition never came or was delayed. In 1976, Dana Kaproff released one of the most wanted jazz-funk albums recorded in Los Angeles. A jazz fusion record for the discerning connoisseur. Tight drums and well-programmed synths. Excellent production and recording. Fans of 70s Herbie Hancock, George Duke, Weather Report, funky library records... heads up.

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Czeslaw Bartkowski

Drums Dream

26,99 €*

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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Four On The Outside Black Vinyl Edition

Curtis Fuller

LP | 1978 | US | Reissue (Tidal Waves Music)

Release: 1978 / US – Reissue

Genre: Organic Grooves

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LP | 1981 | UK | Reissue (Pure Pleasure)

Creative Arts Ensemble

One Step Out

2LP | 1981 | EU | Reissue (Outernational)

Release: 1981 / UK – Reissue

Genre: Organic Grooves

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

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Creative Arts Ensemble

One Step Out

32,99 €*

Journey To The Urge Within

Release: 1981 / EU – Reissue

Genre: Organic Grooves

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“Sounds from the Great House! Outernational Sounds proudly presents a Nimbus West spirit jazz essential: the Creative Arts Ensemble’s classic debut One Step Out. Mastered at 45rpm on double vinyl for enhanced sound, this release features all tracks at full length for the first time on wax.

One of the most sought after and highly regarded titles to have appeared on Tom Albach’s celebrated Nimbus West imprint, the Creative Art Ensemble’s One Step Out is a timeless work of spiritualised jazz. A true gem from the Los Angeles jazz underground, the album was pianist and composer Kaeef Ruzadun Ali’s first recording as leader of the Creative Arts Ensemble, the only large ensemble group that emerged directly from Horace Tapscott’s legendary Pan Afrikan Peoples Arkestra community jazz group.

A Los Angeles native, Kaeef was introduced to the Tapscott circle in the late 1970s. His first experience of the Arkestra’s ethos was through PAPA tenorist Michael Session, who took him to the famous ‘Great House’ at 2412 South Western Ave., LA – a large mansion house which members of the Arkestra had taken over as a space for communal living. Life in the Great House was a continuous stream of music, dance and community events. ‘When I walked in there,’ recalled Kaeef, ‘it was like this whole rush came over me, just from going in the front door…It was like a very, very warm feeling of love. I went and I came out with ‘Flashback of Time’, and that was my first arrangement.’

Kaeef quickly became a significant contributor of compositions to the Arkestra’s songbook – his piece ‘New Horizon’ would be recorded by Horace Tapscott for the latter’s Tapscott Sessions series. But ‘Flashback of Time’ would eventually appear on One Step Out, played by the new group he had put together from stalwart Arkestra members. Inspired by both Tapscott’s example and by the Art Ensemble of Chicago, Kaeef had wanted to follow their lead by assembling a larger unit. ‘I would like to form a group that would be an extension of the Pan Afrikan Peoples Arkestra,’ he told Tapscott. The group was to be known as the Creative Arts Ensemble, and One Step Out, released in 1981 by Nimbus West, was their debut.

Featuring seasoned Arkestra regulars including reedsman Dadisi Komolafe, drummer Woody ‘Sonship’ Theus and altoist Gary Bias, with veterans Henry ‘The Skipper’ Franklin on bass and George Bohannon on trombone, One Step Out is a key document of the Los Angeles radical jazz underground. Featuring the sanctified vocals of Kaeef’s sister, B. J. Crowley, the album is a tour de force of spiritually energised independent jazz music. Community uplift and sacred vision straight from the Great House, back on vinyl for the first time since 1981!

One Step Out is released as a limited, 2LP vinyl-only edition. 180g pressing, mastered at 45rpm for enhanced sound. Fully licensed from Tom Albach.”

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Courtney Pine

LP | 1986 | UK | Reissue (Analogue October)

39,99 €*

Courtial With Errol Knowles

Release: 1986 / UK – Reissue

Genre: Organic Grooves

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Limited to 1000 copies.

This album is widely regarded as a landmark recording in the history of British jazz. Pine, a talented saxophonist and composer, had already established himself as a leading figure in the London jazz scene through his work with bands like the Jazz Warriors. The album marked Pine’s first solo outing as a bandleader, and it showcased his unique style of jazz. Featuring a mix of original compositions and covers, including Pine’s take Horace Silver’s “Peace”, Wayne Shorter’s “Dolores” and The Real Thing’s “Children Of The Ghetto”. A rare instance where a cover version supersedes the original, making. The album was a critical and commercial success upon its release, earning Pine widespread acclaim and helping to establish him as one of the most innovative and exciting young musicians on the British jazz scene. The album remains a classic of the genre and a testament to Pine’s creative vision and virtuosity as a performer and composer. A refreshing reboot of British Jazz that gave rise to and inspiration to so many of today’s contemporary British Jazz artists. Presenting a new roadmap for the British Jazz scene, its DNA flows through the British Jazz scene to this day.

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Don't You Think It's Time

LP | 1976 | EU | Reissue (Mad About)

LP | 1977 | EU | Reissue (Trad Vibe)

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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First time worldwide reissue on 180 gram vinyl with original 6 pages insert book with lyrics. Cult LP including rare groove classics like “Losing You”, “Don’t You Think It’s Time” or “Love Nevermore” Released in 1976 on Pipeline, a small label from Woodside, California.

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Cortex

Volume 2

2LP | 1982 | UK | Reissue (Honest Jon's)

Release: 1977 / EU – Reissue

Genre: Organic Grooves

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Final reissue, limited to 500 copies!

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Company

Epiphany

LP | 1986 | US | Reissue (Musique Plastique)

Release: 1982 / UK – Reissue

Genre: Organic Grooves

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Offcial info: Epiphany \ i-ˈpi-fə-nē \ (1) a manifestation of the essential nature of something (usually sudden) (2) an intuitive grasp of reality through something (usually simple and striking) (3) an illuminating discovery or disclosure.
All three definitions apply perfectly to this span of music recorded at London’s ICA in July 1982. It’s a miracle of group interaction, wonderfully paced, moving steadily between moments of mounting intensity and tension. The passage about halfway through — when Derek Bailey’s harmonics ring out above a sheen of inside piano tremolos and shimmering electronics, topped off by Julie Tippetts’ soaring vocalese — is simply sublime. After which it’s fun to try and tell the two pianists apart. Are those runs Ursula Oppens, with her formidable technique honed from years performing some of the twentieth century’s most difficult notated new music, or are those Keith Tippett’s crunchy jazz zigzags? Are those intriguing twangs from one of Akio Suzuki’s invented instruments or could they be Fred Frith’s or Phil Wachsmann’s electronics? Bah, who cares?

There’s plenty of room for the more delicate instruments too, like Anne LeBaron’s harp picking its way gingerly through a pin-cushion of pings and scratches from Bailey and bassist Motoharu Yoshizawa. Of course, some performers are instantly recognisable: Tippetts, as lyrical and flighty on flute as when she sings, Phil Wachsmann, sinuous and sensitive on violin, and trombonist George Lewis, who, as John Zorn once put it, swings his motherfucking ass off.

So many magical moments abound, from the opening dawn chorus of Tippetts’ voice and Frith’s guitar swooping through a rainforest of exquisite piano cascades, to the Zen calm of the closing moments.

Epiphany, indeed.

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Colman

Daedalus

LP | 1972 | EU | Reissue (Souffle Continu)

Release: 1986 / US – Reissue

Genre: Organic Grooves, Electronic & Dance, Classical Music

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Musique Plastique (Visible Cloaks, Pedro) rescue a nearly lost soundtrack to a Belgian avant-theatrical work from the 80s. For fans of Nuno Canavarro, Roberto Musci and Vito Ricci.
Like the wings Daedalus crafted for his son Icarus, John Gilbert Colman’s score for sampler, voice and chamber orchestra almost melted away completely, disappearing into the tides of time.
The album originally served as the score to an avant-garde production of the Greek myth that toured the Belgian theatre circuit in 1986. Director Guy Cassiers cast the play with 45 developmentally disabled actors enrolled at the Krauwelenhof school in Antwerp, working for six months with the young actors (aged 12-17) to discover and develop their talents, creating (by all accounts) a deeply moving piece of visual theatre. Rather than using dialogue, Cassier used movement, costumes and music tell the fable, words were only present as text fragments within the score, spoken by members of the chorus or sung by Rolande van Der Paal. Colman's compositions elevate the experimental narrative with broad shifts in mood, utilizing a pop-concrète style by incorporating sampled squeaking balloons, environmental recordings, tuned percussion, drum computer, and voice to accompany the traditional small chamber instrumentation. The music is reminiscent of other avant-theatrical pieces from that era by Nuno Canavarro, Milesi & Bacalov, Todd Barton, Vito Ricci and Roberto Musci, while standing on its own as a unique and moving piece of minimal music. Remastered DMM pressing.

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Cohelmec Ensemble

22,99 €*

2LP | 1973 | US | Reissue (Pure Pleasure)

Release: 1972 / EU – Reissue

Genre: Organic Grooves

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Next' (originally from 1972) is even more audacious than its 1971 predecessor 'Hippotigris Zebra Zebra'. Relatively brief tracks follow hot on the heels of one another, bolstered by a poly-instrumentality which stands out even more than in the past, giving the album the feel of a contrasting suite. Limited to 700 copies in a gatefold sleeve with an obi.

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Clifford Jordan Quartet

Glass Bead Games

50,99 €*

2LP | 1984 | UK | Reissue (Soundway)

Release: 1973 / US – Reissue

Genre: Organic Grooves

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* Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London / Fifth part of the Strata-East Dolphy Series, Glass Bead Games is arguably the crown jewel of the Strata East movement, an amorphous genre that treads an unusual path between post-bop, 70’s avant-garde and spiritual jazz, with a groove.

Glass Bead Games is full of revelations at many levels. First, the decade of the 1970s did produce genuinely creative, "human" new music flowing from the jazz mainstream; second, Bill Lee was more than Spike's dad: he was a superlative bassist, a team player of the first order, a powerful catalyst who, if anything, deserves to be better known than his son; third, Billy Higgins was, as so many musicians insist, a once-in-a-lifetime drummer—the bellows inspiriting the collective flame.

Most importantly, Clifford Jordan was an artist of the first order, his playing so effortless and unforced, unselfconscious and focused, mature and wise that, at a time when altissimo fury was all the rage, it's small wonder his authentic voice frequently went unheard. His musical rhetoric is so personally expressive, its substance so compelling, the listener couldn't care less about the extraordinary technique required to convey its captivating message. Compared to some of his more acclaimed peers he's a less aggressive yet paradoxically more directive and shaping influence. The climaxes, rather than spelled out, are merely suggested, registering with deep and lasting impact on the listener. It all comes down to learning the language, those precious little beads. Not every player, including Jordan or the listener, can use it like Shakespeare, but all can learn to read Shakespeare and understand its principles of arbitrariness and serendipity, of invariance and transformation.

Jordan, no less than Shakespeare, requires a like-minded cast of players—in this case four musicians of such redoubtable proficiency that each remains committed to keeping the beads in play. He's not a man content with a mere musical "dialogue" with his fellow musicians nor is he about to take the initiative in pulling his troops up to his level. Instead he begins to tell a musical story that's so compelling his three comrades are inspired equally to contribute to a collaborative narrative. This is brilliant music-making by a Coltrane- influenced successor who feels no obligation to mime the predecessor. It may be the most significant saxophone performance on record since Coltrane and, providing the listener stays with it for any length of time, the most deeply satisfying. Jordan's game—so effortless, unforced, and "level"—erases distinctions between composed and improvised, soloist and ensemble, narrator and narrative, the dancer and the dance. It seems incapable of wearing out its welcome.

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Circus Underwater

19,99 €* 24,99 € -20%

2LP | 1972 | EU | Reissue (ECM)

Release: 1984 / UK – Reissue

Genre: Organic Grooves, Electronic & Dance

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Soundway presents Circus Underwater’s 1984 self-titled masterpiece. Remastered and extended to a double LP, this deluxe version includes six unreleased tracks unearthed from the original ¼” tapes, and presented with an insert, including never-before-seen photos and the fascinating story behind the music. Featuring artwork from Grateful Dead collaborator, David Lundquist, the album encapsulates a unique moment in time. Echoing the story of a generation that grew up in the 50s and 60s where music was everything, two friends embark on a journey of experimentation which begins in the beatnik suburbs of Washington DC and travels to the heart of hippie San Francisco. The result is an opus that fearlessly blurs the boundaries of genres and embraces diverse influences. Elements of prog, rock, ambient and wave music culminate in an odyssey that seamlessly bridges the gap between the spaced-out creativity of the 70s and electronic music of today.

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Circle

Paris Concert

34,99 €*

LP | 1972 | EU | Reissue (Endless Happiness)

Release: 1972 / EU – Reissue

Genre: Organic Grooves

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

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

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

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Christian Zysset

Cosmogonie

20,89 €* 21,99 € -5%

Chris McGregor's Brotherhood Of Breath

Release: 1972 / EU – Reissue

Genre: Organic Grooves

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French Jazz Library LP with female voices and drum breaks originally released in 1972 on Mondiophone. Stunning composition and wonderfully recorded, this dark, aggressive jazz orchestral vibes, flitting perfectly between the abstract and the structured. Essential.

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Brotherhood Yellow Vinyl Edtion

LP | 1972 | EU | Reissue (Klimt)

LP | 1973 | US | Reissue (Catalyst)

Release: 1972 / EU – Reissue

Genre: Organic Grooves

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Most folks reading this know the story of Chris McGregor and his magnificent, fun and wild big band, The Brotherhood Of Breath, comprised of fellow South African exiles as well as the cream of the early/mid 70s British jazz scene. During their heyday, they were only able to release three studio albums and all were out of print within a few years and despite the huge acclaim they received during from the period of about 1971-1975, Chris and the Brotherhood were basically forgotten by the time of Chris' death in 1990. This 1972 session is purely magnificent. The Brotherhood's music is for sharing with the world, and that's what makes its name so apt: the musicians and the audience are brothers (and sisters), and they share the same breath, becoming merely parts of the same giant metabolism.

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Chivo Borraro

Buenos Aires blues

Release: 1973 / US – Reissue

Genre: Organic Grooves

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Suite Nihonkai Transparent Red Vinyl Edition

Chisato Yamada

LP | 1981 | EU | Reissue (Cinedelic)

28,49 €* 29,99 € -5%

Suite Nihonkai Black Vinyl Edition

Release: 1981 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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Limited edtion of 200 copies on transparent red vinyl.

From the meeting of the legendary Tsugaru Jamisen Maestro Chisato Yamada with volcanic mind of the composer Tasheshi Terauchi and his Oriental Fantastic Orchestra, a collaboration and a unique record, a conceptual work, is born in which innovative songs transcend the boundaries of traditional music by mixing modernity, rural and electronic atmospheres, local arias and contemporary music.
A record with strongly evocative and cinematic sounds.
Comes with OBI and a two-panel fold out sheet with original liner notes of the time translated in English that explains in an exhaustive way the inspirations from tradition and popular music and the very accurate digital recording techniques of the time that make it a record sought after by audiophiles looking for sounds unedited in the Western tradition.

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Chisato Yamada

LP | 1981 | EU | Reissue (Cinedelic)

Release: 1981 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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LP | 1976 | US | Reissue (Shady Brook)

Cheyenne's Comin

16,99 €*

Release: 1976 / US – Reissue

Genre: Organic Grooves, Rock & Indie

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Chet Baker With Bobby Jaspar

Chet Baker In Paris/Vol 3/Barclay/1956

LP | 1986 | EU | Reissue (Sam)

31,99 €*

Release: 1986 / EU – Reissue

Genre: Organic Grooves

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LP | 1986 | EU | Reissue (Music On Vinyl)

Chet Baker

Sings Again

Release: 1986 / EU – Reissue

Genre: Organic Grooves

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

Chet Baker

She Was Good To Me

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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Singin' In The Midnight Clear Vinyl Edtion

Chet Baker Quartet

LP | 1987 | EU | Reissue (Klimt)

LP | 1989 | EU | Reissue (Mono Jazz)

Release: 1987 / EU – Reissue

Genre: Organic Grooves

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Recorded during Christmas time 1986 in Holland together with Jon Burr on bass, Ben Riley on drums and Harold Danko on piano, this album will be released only in Japan the following year. It is a rare compilation of mostly standard songs reinterpreted by Chet with his personal decadent, intense and timeless taste.

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Chet Baker

Chet On Poetry

Afro Cuban Bop: The Long Lost Bird Live Recordings Record Store Day 2023 Edition

Release: 1989 / EU – Reissue

Genre: Organic Grooves

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Long time hard to find and long awaited reissue of Chet Baker’s last studio album. Lyrical, poignant, it shows Chet Baker at his best. Included the original version of Elvis Costello’s “Almost Blue”. Which has become an all-time classic masterpiece in Chet’s repertoire, also heard on the “Let’s Get lost” soundtrack. HQ re-matsering

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Charlie Parker

2LP | 1977 | US | Reissue (Rockbeat)

59,99 €*

Release: 1977 / US – Reissue

Genre: Organic Grooves

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LP | 1974 | EU | Reissue (Speakers Corner)

Charlie Mingus

Oh Yeah

33,99 €*

Charles Tolliver's Music Inc

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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Commenting on this album in 1962, Billboard magazine wrote: »He seems to be everywhere, everywhere that is but on his usual instrument«. Charles Mingus, one of the most impressive musicians in the history of jazz, doesn’t play a single note on the bass for a change, but leads the band from his (blues-)piano – the instrument that he always used for composing. He hits the keys, he sings the blues, he shouts and he encourages – apparently Mingus really found the need to express himself loudly in this album. (Doug Watkins stood in for him on the contrabass.) "Oh Yeah" is definitely Mingus’s most powerful and passionate album. He calls on two hot, intensive saxophonists – Roland Kirk and Booker Ervin – as well as Jimmy Knepper on the trombone. Kirk is the main soloist, but all three wind-players deliver expressive improvisations, carrying out a non-stop dialogue with one another, and pushing one other to achieve maximum energy. The music is wild and ecstatic, but it’s not free jazz, remaining – as it does – grounded in blues and gospel. "Hog Callin’ Blues" is an enthralling shuffle with a wealth of riffs, "Devil Woman" a clever slow blues with inventive wind figures. "Ecclusiastics", with its constant change of rhythm and expression alternating between gospel and blues has the most complex form. Blues has always been a part of a black church service, said Mingus. "Eat That Chicken" (a homage to Fats Waller and his favourite food) even plays around with an old-time, Dixie feeling. Humour is never far away. Even in the atomic bomb song (this too, a sort of churchy blues) one hears the words: »Don’t let ’em drop it! Stop it! Be-bop it!«

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: November 1961 at Atlantic Studios, New York City, by Tom Dowd and Phil Iehle Production: Nesuhi Ertegun

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Live At The Loosdrecht Jazz Festival

LP | 1972 | UK | Reissue (Strata-East)

51,99 €*

Charles Tolliver / Music Inc & Orchestra

Release: 1972 / UK – Reissue

Genre: Organic Grooves

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

Charles Tolliver began his professional career and simultaneously his recording debut with the saxophone giant Jackie McLean on Blue Note Records in 1964. Since then he has become one of the all-time preeminent trumpeters in Jazz as well as one of its most gifted composer/arranger bandleaders. He is also a Grammy nominated recipient for his Blue Note Records recording "With Love".

With a career that has spanned five decades he has recorded and/or performed with such renowned artists as Roy Haynes, Hank Mobley, Willie Bobo, Horace Silver, McCoy Tyner, Sonny Rollins, Booker Ervin, Gary Bartz, Gerald Wilson Orchestra, Oliver Nelson, Stanley Cowell, Herbie Hancock, Andrew Hill, Louis Hayes, Roy Ayers, Art Blakey & the Jazz Messengers, and owned the trumpet chair with the great Max Roach for some years. https://charlestolliver.com/

This LP is jazz of high energy and high sincerity. Jazz at it's best. One of Tolliver's (and jazz's) masterpieces. It is a live recording from 1972. On another occasion, Tolliver recorded with another quartet with Stanley Cowell on piano, and some critics prefer that quartet. However, this quartet is the equal of that one. I think John Hicks did a masterful job of piano playing here. Hicks equalled Charles in energy. The bass playing of Reggie Workman (who was John Coltrane's bassist) is equally smouldering. Drummer Alvin Queen is a perfect match for the other three.
Passionate Jazz Fan.

Tolliver's music (which holds on to one's attention throughout the live set) has its connections to the bebop tradition but also forges ahead and can be quite passionate. Recommended. By Scott Yanow/AMG Personnel: Roberto Miranda - Bass
Everett Brown Jr. - Drums
Aubrey Hart - Flute
Adele Sebastian - Flute, Vocals
Fundi Legohn (tracks: B1) – French horn
Virjilio Figueroa - Percussion
Linda Hill - Piano, Vocals
Sabir Matteen* - Tenor Saxophone, Clarinet
Jugegr Juan Grey - Vocals

Produced by Tom Albach

Recorded & mixed by Dennis Moody in 1981

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Impact

LP | 1976 | UK | Reissue (Pure Pleasure)

Music Inc.: Live At Slug's Volume 2

Release: 1976 / UK – Reissue

Genre: Organic Grooves

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Trumpeter/flügelhornist Charles Tolliver often straddled the line between the lyricism of hard bop and the adventurous nature of the avant-garde. Released in 1975, "Impact" contained a stimulating progressive edge within an energetic large band (14 horns, eight strings, and rhythm section) format. Tolliver's arrangements are consistently bright and build momentum, while the soloists are given sufficient room to manoeuvre through the multiple textures. Featured soloists in the remarkable reed section include Charles McPherson, James Spaulding, George Coleman, and Harold Vick.

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Charles Tolliver

LP | 1972 | UK | Reissue (Pure Pleasure)

Music Inc.: Live At Slug's Volume 1

Release: 1972 / UK – Reissue

Genre: Organic Grooves

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

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Charles Tolliver

LP | 1972 | UK | Reissue (Pure Pleasure)

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

Release: 1972 / UK – Reissue

Genre: Organic Grooves

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

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Charles Mingus

Mingus At Antibes

55,99 €*

LP | 1986 | EU | Reissue (Red)

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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You can be sure that jazz fans in the year 1960 were unfamiliar with Charles Mingus’s LPs "Blues And Roots" or "Mingus Ah-Um" when they poured into the Pinède Gould Arena at the Antibes Jazz Festival held in Juan-les-Pins, France on 13 July. At any rate, as can be seen in a short video clip, all the seats were occupied. In addition, a really good trumpeter was there, whose name would later resound throughout Europe: Ted Curson. What is more, the legendary Bud Powell, who lived in France, was invited as a special guest for one number that required a pianist.
The Jazz Workshop – which was how Mingus called his working ensemble – presented repertoire that was familiar to all the musicians: "Better Git It In Your Soul", "Wednesday Night Prayer Meeting" and Dolphy’s wonderful solo on the bass clarinet in "What Love?". Besides this there was "Cry For Freedom" as "Prayer For Passive Resistance" was also named, and "Folk Forms", also known as "Ummh". As a mark of respect towards the guest musician, it was decided to perform the evergreen "I’ll Remember April", with Powell’s improvisation being applauded enthusiastically by the audience.
Charles Mingus was to play in numerous concerts in the 60s and 70s; he recorded more than two-dozen official LPs, accused several concert organizers and tour managers of extortionate robbery, and trampled on illegal recording tapes. But the present live recording was made by the ORTF and released officially later by Atlantic Records. It is now re-released after many years and is a rare document in the annals of music history.

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

Recording: July 1960 live at the Antibes Jazz Festival, Juan-les-Pins, France, by Dannie Richmond
Production: Neshui Ertegun

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Cedar Walton

The Trio 3

45,99 €*

Release: 1986 / EU – Reissue

Genre: Organic Grooves

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Cedar Walton / Hank Mobley Quintet

Breakthrough!

LP | 1972 | US | Reissue (Cobblestone)

16,99 €*

Release: 1972 / US – Reissue

Genre: Organic Grooves

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LP | 1973 | UK | Reissue (Pure Pleasure)

Cecil Payne

Zodiac

Sextet: Music From The Source

Release: 1973 / UK – Reissue

Genre: Organic Grooves

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

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

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Cecil McBee

LP | 1978 | UK | Reissue (Pure Pleasure)

LP | 1974 | UK | Reissue (Pure Pleasure)

Release: 1978 / UK – Reissue

Genre: Organic Grooves

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

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Cecil McBee

Mutima

LP | 1985 | EU | Reissue (Morning Trip)

Release: 1974 / UK – Reissue

Genre: Organic Grooves

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

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Carl Erdman

Bizzarrophytes

18,99 €* 19,99 € -5%

LP | 1971 | US | Reissue (Verve)

Release: 1985 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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Carl Erdmann’s Bizzarrophytes was recorded in Roswell, New Mexico, during the final years of the 70’s. A desert-fried haze of buzzing sitar raga, shimmering guitar soli, and lonesome instrumental psych. Erdmann had been galvanized several years prior by witnessing an intimate performance by Ravi Shankar at Austin’s University of Texas. Erdmann spent the next several years with a sitar in the back of his pickup truck - teaching himself the instrument between stints working on an oil field as a geologist.

After settling in Roswell, Erdmann procured a Tascam 4-track reel to reel tape machine and began to experiment with recording. He played most of the instruments himself, and followed a fresh muse each day. One day his recordings would mine the same instrumental guitar territory as Leo Kottke and John Renbourn, like on Bizzarrophytes’ opening track, Majesty. The next day Erdmann might multi-track some bass and drums and end up landing in the same hazy psych-folk territory as Relatively Clean Rivers, as evidenced on album standouts Turritella Flats, and Portugal. And then, perhaps his Ravi Shankar influence would shine through, and he’d deliver a stirring sitar raga like Dhun. Erdmann explored all of these sounds without ever considering releasing them into the world. He was simply experimenting with his equipment and his instruments, and flexing his muscles with whatever kind of inspiration happened to strike. It wasn’t until 1980 that a friend convinced Carl to assemble some of these recordings into an album and self-release it.

Bizarrophytes was released in a miniscule private press run, financed and distributed by Erdmann himself. Most copies didn’t make it out of the southwest. And it has remained woefully hard to find until now. The disparate sounds of Erdmann’s experimentation hang together as a beautifully cohesive tapestry of home-brewed psychedelic folk. A menagerie of eclectic instrumental experimentation, baked in the desert sun, and captured to tape. Morning Trip Records is proud to present Bizzarrophytes.

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Bruce Palmer

The Cycle Is Complete

LP | 1976 | EU | Reissue (Sharp Flat)

Release: 1971 / US – Reissue

Genre: Organic Grooves

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180 Gram Pressing

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Broadway Quintet

Amalume