Jazz | Fusion Vinyl 671 Items

LP | 1976 | UK | Reissue (Pure Pleasure)

Release: 1979 / US – Reissue

Genre: Organic Grooves

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Los Angeles Free Music Society (lafms) formed in the mid-1970s as a loose-knit experimental music collective and multimedia publishing vehicle. Founded by teenage Le Forte Four members Chip Chapman, Joe Potts and Rick Potts and soon joined by Tom Recchion of Doo-Dooettes, Lafms incorporated free improvisation, modular synthesizers, tape music, sampling, musique concrète, homemade instruments, noise, mail art and avant-rock in permissive and anarchic sessions at the Raymond Building and Poo-Bah Record Shop in old Pasadena. Inspired by The Residents, Lafms self-released records and periodicals, organized performances and connected with fellow outsiders via post in the years before punk. Their uninhibited, egalitarian ideal of music-making and DIY distribution would influence generations of underground musicians. Poo-Bah Records, with its import bins and backroom jam space, attracted the pseudonymous artists forming the initial incarnation of long-running collective Smegma. Early members Ju Suk Reet Meate, Dennis Duck, Cheez-it Ritz, Big Dirty, Amazon Bambiand Dr. Id contributed to various Lafms compilations and combinations before several core members relocated to Portland, Oregon in 1975, where they recorded their debut album Glamour Girl 1941. Originally released on the Lafms label in 1979, the LP combines rock instrumentation with tape, synthesizer, horns and voice in a tempestuous cauldron of anti-academy improv and alien noise. Beyond its roots in Lafms, Smegma would help shape the early Portland punk scene in the late '70s alongside Wipers and Neo Boys. In more recent years, they have collaborated with Merzbow and Wolf Eyes. This first-time vinyl reissue is limited to 500 numbered copies. Comes with insert.

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John Gordon

Step By Step

Bobby Hutcherson & Harold Land

Release: 1976 / UK – Reissue

Genre: Organic Grooves

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John Gordon, a trombone master, brings us another gem from that most renowned of 70’s record labels, Strata-East. The trombone is a difficult instrument. In the hands of an artist like John Gordon, however, it can create vivid images and conjure up beautiful music. And when the cohort of other players includes the likes of Charles Tolliver & Stanley Cowell, you know you’re in for an extra treat.

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San Francisco Blue Note Classic Vinyl Edition

LP | 1970 | EU | Reissue (Blue Note)

Un Biglietto Del Tram Clear Yellow Vinyl Edition

Release: 1970 / EU – Reissue

Genre: Organic Grooves

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The musical partnership between vibraphonist Bobby Hutcherson and tenor saxophonist Harold Land fully blossomed on the 1970 album San Francisco, which found the musicians moving into fusion territory with relentlessly grooving tunes like “Goin’ Down South” and “Ummh” counterbalanced by exploratory pieces like the mesmerizing “Prints Tie.”

This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

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Stormy Six

LP | 1976 | EU | Reissue (Vinyl Magic)

LP | 1973 | US | Reissue (Catalyst)

Release: 1976 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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“Un Biglietto del Tram” is a unique record, a true masterpiece of Italian music in general, originally released in a literally ‘burning year’ 1975 in the history of the country.

There has probably never been and never will be another ensemble like Stormy Six, capable of gaining success with music that is not easy to assimilate and lyrics dense with political and social content. Thanks to near-perfect folk-prog melodies and arrangements, “Un Biglietto del Tram” still sounds fresh and relevant today; the opening “Stalingrado”, a true anthem against the defeated Nazi-fascist dictatorship at the end of World War II, still sends shivers down the spine today, but overall all nine tracks on the album are really excellent.

Clear yellow vinyl edition.

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Chivo Borraro

Buenos Aires blues

Release: 1973 / US – Reissue

Genre: Organic Grooves

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LP | 1979 | EU | Original (Nyami Nyami)

New Tutenkhamen

I Wish You Were Mine

Multidirection Coke Bottle Clear Vinyl Edition

Release: 1979 / EU – Original

Genre: Organic Grooves

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A lost piece of Zimbabwean musical history: the only album from local legends the New Tutankhamen, combining Jazz, Soul, Folk and Township rhythms. With only 2 copies of the original LP known to exist and no trace anywhere on the internet, the band's magnum opus is available for the first time in over 40 years.

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Kenny Cox

LP | 1970 | US | Reissue (Blue Note / Third Man)

49,99 €*

Release: 1970 / US – Reissue

Genre: Organic Grooves

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Multidirection Black Vinyl Edition

Kenny Cox

LP | 1970 | US | Reissue (Blue Note / Third Man)

43,99 €*

Release: 1970 / US – Reissue

Genre: Organic Grooves

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LP | 1972 | EU | Reissue (Souffle Continu)

Cohelmec Ensemble

22,99 €*

LP | 1970 | UK | Reissue (BGP / Flying Dutchman)

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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Ornette Coleman

Friends And Neighbors

Invisible Camera / American Night

Release: 1970 / UK – Reissue

Genre: Organic Grooves

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This is an unusual album in the catalogue of Ornette Coleman, and one that passes by most critics. It is however a unique insight into the ‘free jazz’ pioneer’s way of working in the early 70s. Recorded at his large loft space in downtown New York which inspired a whole scene of experimental musicians who were locked out of playing established venues.

The music is a romp showing Ornette playing trumpet as well as saxophone. His quartet which featured second saxophonist Dewey Redman alongside long term cohorts Ed Blackwell and Charlie Haden prove to be the perfect foil for this legendary set.

This is the first vinyl reissue in nearly 20 years and utilises a fresh 24/96 transfer from the original production master.

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Maki Asakawa

7" | 1988 | JP | Reissue (Universal Music Japan)

Release: 1988 / JP – Reissue

Genre: Organic Grooves

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Un Drame Musical Instantane

Rideau!

LP | 1980 | EU | Original (Grrr)

Dieter Bihlmaier Selection

Release: 1980 / EU – Original

Genre: Organic Grooves

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Deadstock copy in Mint or NM condition

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Maskerade

LP | 1974 | EU | Reissue (Sonorama)

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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2LP | 1987 | EU | Reissue (Left Ear)

Picture Music

LP | 1975 | EU | Reissue (Be With)

Release: 1987 / EU – Reissue

Genre: Organic Grooves, Electronic & Dance

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Concocted in a share house in the South of Brisbane in the mid-80s, a small collective of well-acquainted musicians including Jon Anderson, Rainer Guth, Gary McFeat & Rod Owen gathered to compose film soundtracks, music for pictures, therefore ‘Picture Music’. To this end, a ‘spec’ tape of Picture Music recordings would be produced to give to potential clients and or sold to local stores. A distinct album comprising a collection of ambient, minimal-jazz and experimental music. If there is a red thread running through the Picture Music album, it is its "late night" ambience. The wrath of the sub-tropical summer heat of Brisbane is not kind on electronic equipment, which would crash regularly by day. So, all recording was done in the relative cool of the late evening, in a room only dimly lit by lamp and candle. The Picture Music collective would make music and party all through the night, departing around sunrise. They would sleep through the heat of the day, only to return in the evening for more of the same. This 2021 reissue of their self-titled 1987 cassette, was taken from the original master tapes and remains an evocative representation of the music that resulted from the late-night, dimly-lit, atmospheric-enabled environment, that sparked the creativity of a group of like-minded friends in a tiny corner of Brisbane. Dedicated to the memory Rainer Guth.

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Nucleus

Snakehips Etcetera

LP | 1978 | EU | Reissue (Altercat)

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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The distinctive rolling grooves, growling basslines and blasting horns of Snakehips Etcetera combined to present Nucleus's most energetic record. First released on Vertigo in 1975, original copies of Snakehips Etcetera are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

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

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

With all restraint out the window, 1975's pimped-up Snakehips Etcetera is the outrageous - in both cover art and sound - follow-up to the brooding Under The Sun. It's perhaps not one for the jazz purists! It finds Nucleus pared down to a core group of six, with Carr, Bob Bertles (sax), Ken Shaw (guitar), Geoff Castle (keys), Roger Sutton (bass) and Roger Sellers (drums) comprising the collective. Snakehips Etcetera reflects a period where the compositions start to become a little more direct and less-cerebral in comparison to some of Nucleus' previous releases. And why would we begrudge them some fun? This one rocks, swings and funks with no little soul. And more than a little jazzy sleaze. Clearly, they were having a good time.

The album has a real live, jamming feel to it, no surprise given the extent to which they were touring at the time. The band is tight and grooving throughout, none more so than on Bob Bertles's effervescent opener, "Rat’s Bag". So darn funky it stings, it's an infectious gem full of punchy clean lines over a killer bassline from Sutton. The thick, driving jazz-rock of "Alive And Kicking" is exactly that. It has a very improvisational feel, but an inspired one at that and features a wailing guitar solo from Ken Shaw that simply slays. The funky "Rachel’s Tune" is amazing, bringing you back to Canterbury days with its fuzzed-out organ solos to close out Side A.

Opening up Side B, the cool psychedelic title track unfolds slowly and sensually over its ten-plus minutes. A stoned soul stew of sorts, each member of the crew gets their chance to shine over Sellers's steady drums. The melodic funk fusion of "Pussyfoot" pairs Carr with Bertles on ace solo flute for a bright, springy melody. This one really gleams over shuffling drums. Changing the pace to close out this memorable set, the particularly cool "Heyday" is a reflective, sober tune which reinforces the sumptuous Nucleus palette, the acoustic guitar and bass high in the mix to make the neck snap, the horns elegantly blasting to help you swoon.

This Be With edition of Snakehips Etcetera has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The striking, lascivious sleeve has been restored in all its seductive/ridiculous beauty.

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Luis Vecchio

Contactos

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

Release: 1978 / EU – Reissue

Genre: Organic Grooves

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Cosmic jazz from the Canary Islands. After a few years in London, where he worked with Archie Shepp and recorded a sought-after album for the famed library music label De Wolfe, Argentinian pianist Luis Vecchio settled in the island of Gran Canaria following advice from a superior entity from outer space. Vecchio subsequently opened the first jazz school in the Canary Islands, effectively planting the seeds of jazz in the archipelago. In Contactos, recorded in 1978 in the Mayra studio owned by Ramiro González, Vecchio gives a free jazz account (with a dash of funky jazz rock) of his contacts with Adionesis, who delivers his ominous message upon the human race on side B of the album. Fellow Argentinean Fernando Bermúdez on percussion and Japanese bass player Yoichi Yahiro complete the line-up of Contactos.

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Charles Mingus

Mingus At Antibes

55,99 €*

An Evening With The Devil

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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Wendell Harrison

LP | 1972 | UK | Reissue (Pure Pleasure)

LP | 1974 | UK | Reissue (Pure Pleasure)

Release: 1972 / UK – Reissue

Genre: Organic Grooves

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

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Harold Vick

Don't Look Back

Release: 1974 / UK – Reissue

Genre: Organic Grooves

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LP | 1976 | EU | Reissue (Lantern Heights)

Neil Ardley

Kaleidoscope Of Rainbows

Lonnie Liston Smith & The Cosmic Echoes

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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1976 Kaleidoscope of Rainbows in unmistakably a trait d’union between the british (orchestral) jazz-rock heritage and a more confident way of writing. Heading clearly to different directions, the album showcase the talent of the main composer with the singular talent of trumpet player Ian Carr (Nucleus), cello player Paul Buckmaster (otherwise known for his collaboration with David Bowie and Miles Davis) and master clarinet player Tony Coe. This is the final part of an Ardley trilogy, preceded by Greek Variations (1969) and A Symphony of Amaranths (1971). Here, Ardley uses Balinese scales – the pelog, a Gamelan scale comprising seven notes, and the slendro, an older, more commonly used Gamelan scale. They are used in a variety of note patterns, each unique combination the basis of a series of ‘Rainbow’ compositions, from ‘Rainbow 1’ to ‘Rainbow 7’. This brand new concept is fitting, showing different strategies and a more exotic feel with a certain minimalist counterpoint. A new beginning to a certain degree, with the spacey 1979 masterpiece Harmony Of The Spheres soon to come.

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Renaissance

LP | 1976 | UK | Reissue (BGP / Flying Dutchman)

23,99 €*

LP | 1983 | UK | Reissue (Pure Pleasure)

Release: 1976 / UK – Reissue

Genre: Organic Grooves

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After the success of “Expansions” (1975) Lonnie Liston Smith and the Cosmic Echoes were riding high, with Lonnie at the height of his creative powers. Two more albums followed on Flying Dutchman before changes at RCA meant that it was decided that the next album would be released on the parent label. As such, the final Cosmic Echoes album on RCA was neglected and has remained out of print on vinyl since its original release back in 1976.

Produced by Bob Thiele and Lonnie, this album we now restore this to its position in the Flying Dutchman catalogue on this vinyl reissue.

A masterpiece of cosmic jazz funk “Renaissance” includes the reflective ‘Between Here And There’, the jazz dance classic ‘Mardi Gras (Carnival)’ and the sensational ‘Space Lady’.

180g black vinyl in replica gatefold sleeve.

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Rickey Kelly

Limited Stops Only

Ricardo Marrero & The Group

Release: 1983 / UK – Reissue

Genre: Organic Grooves

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

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Babalonia / And We'll Make Love

7" | 1976 | JP | Reissue (P-Vine)

LP | 1973 | JP | Reissue (P-Vine)

Release: 1976 / JP – Reissue

Genre: Organic Grooves

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Considered ultra rare, even amongst TSG’s mythical catalog, Ricardo Marrero and The Group’s A Taste is getting a special edition 7-inch single! Featuring “Babalondia” and “And We’ll Make Love” this is a one of a kind doublesider!

Active in the Latin music scene of New York City during the 1970’s, pianist and composer Ricardo Marrero’s debut album “A Taste” has been considered by some collectors as the crown jewel of releases from famed tax scam label TSG. This special edition 7-inch single features floor killer latin funk number “Babalonia” on the A-side, and the mellow grooves and lively female vocals of “And We’ll Make Love” on the B-side.

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Weldon Irvine

Time Capsule

30,99 €*

LP | 1972 | JP | Reissue (P-Vine)

Release: 1973 / JP – Reissue

Genre: Organic Grooves

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The impact of Weldon Irvine’s music across a wealth of genres cannot be overstated with his piano playing and compositions regularly handed down through generations, and influencing new waves of musicians. Artists like Q-Tip and Mos Def are noted admirers of the jazz-funk artist, and the distinct sounds of Irvine can be heard in the tapestry of the 90s sound via samples appearing in key records of the jazz hip-hop movement and beyond.

Time Capsule was originally released in 1973, and is keen to strike up a conversation with the listener as social commentary and poetic reflections signpost the way through its otherworldly jazz. Early tracks like 'Feelin’ Mellow' see a contemplative Weldon brew a satisfying blend of soul with lovingly warm vocal harmonies and gliding instrumentation. In contrast, other windows into the mind of Weldon like the meandering 'Watergate - Don’t Bug Me!,' are as much a virtuoso display of his bouncing creativity, as a charting of the rocky political climate at the time.

P-vine is thrilled to be releasing Time Capsule as a limited edition LP with a newly remastered audio, and an iconic Japanese obi strip attached.

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Weldon Irvine

Liberated Brother

30,99 €*

LP | 1980 | EU | Reissue (Musik Produktion Schwarzwald)

Release: 1972 / JP – Reissue

Genre: Organic Grooves

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Liberated Brother was the debut album from Weldon Irvine, and remains a landmark jazz release from the multi-talented explorer of sound. Originally released in 1972, over the course of eight tracks Irvine weaves through a collage of genre and instrumentation, fusing elements that would come to define his pioneering jazz-funk sound.

The album features Irvine’s early instrumental jazz before his decidedly conversational approach on the follow-up album Time Capsule. The title and opening track 'Liberated Brother,' with its playful Latin arrangements introduces the first half in spritely fashion, and mellows as Irvine's piano sets the mood for “Here’s Where I Came In” - a track where sombre tones feel luxurious, and conscious instrumentation tests the waters, spreading weight evenly across the soundscape. Guitarist Tommy Smith emerges as a singular figure at the start of side B with 'Gloria' - a timeless guitar composition so wholesome with its delicate simplicity, it attests the level of musicianship that keeps Irvine company across these tracks. The two then strike up a jazz-funk partnership on the subsequent “Homey” with their respective keyboards and guitar.

P-vine is thrilled to be reissuing Liberated Brother as a limited edition LP with newly remastered audio, and an iconic Japanese obi strip attached.

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Rolf Kühn

Cucu Ear

Release: 1980 / EU – Reissue

Genre: Organic Grooves

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LP | 1976 | EU | Reissue (New Platform)

Tullio De Piscopo

Sotto E 'Ncoppa

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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Gelson Oliveira & Luiz Ewerling

Terra

LP | 1983 | EU | Reissue (Mad About)

William Penn Jazz Ensemble

Release: 1983 / EU – Reissue

Genre: Organic Grooves

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

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Carvings

LP | 1982 | EU | Reissue (Libreville)

All Stars 1977 4 Lica Jazza

Release: 1982 / EU – Reissue

Genre: Organic Grooves

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The William Penn Jazz Ensemble was formed by American composer and flutist Leslie Burrs. Throughout the 1970s, Leslie performed with several major jazz and funk artists, including Grover Washington Jr., Kool & The Gang, and most notably, with Del Jones for the now cult album Positive Vibes. Carvings, recorded in 1982, holds a special place in Leslie's career. This album showcases Leslie's musical versatility and features clear influences of both jazz and classical music. The Ensemble's uncommon association of African American and white members at the time results in a unique fusion of cultural influences that is reflected in the music. The musical journey is both profound and spiritual, taking listeners on an experience that is both deep and meaningful.

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V.A.

2LP | 1978 | EU | Reissue (Croatia)

Release: 1978 / EU – Reissue

Genre: Organic Grooves

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LP | 1970 | US | Reissue (Blue Note)

Reuben Wilson

Blue Mode

LP | 1974 | EU | Reissue (Impulse)

Release: 1970 / US – Reissue

Genre: Organic Grooves

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This Blue Note 80 Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

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Keith Jarrett

Treasure Island

21,59 €* 23,99 € -10%

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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LP | 1983 | EU | Reissue (Little Butterfly)

Jorge Galemire

Segundos Afuera

LP | 1976 | US | Reissue (Black Saint)

Release: 1983 / EU – Reissue

Genre: Organic Grooves

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Directly connected with the universe of America Invertida, Jorge Galemire's second album, recorded and released in 1983, is considered a landmark of 80s Uruguayan music. Candombe, rock and jazz shake hands with singer- songwriter vibes, creating a sophisticated pop with South American roots and equal doses of groove and psychedelia. A forgotten gem reissued for the first time since its original release. '

Description

Segundos afuera was recorded at La Batuta, the first recording studio in Uruguay to have 16 channels. The sound engineer (and partly music co-producer) was again Dario Ribeiro.

Ribeiro was instrumental in the album's sonic experimentations, encouraging Galemire's ideas. The textures achieved with backward tapes in "Sin saber por qué" and "Un son", the overlapping female voices (performed by the trio Travesía) in that song, the three drums added in "Kublai Kan" and its male choral canon are a sample of these searches, unusual until that moment in Uruguayan music.

Segundos afuera had a generous studio budget for the time. It was recorded in about 300 hours, when it was usual for the Orfeo label to assign a maximum of 100 hours for these projects. Despite that fact, it’s surprising how Galemire and Ribeiro achieved a work so stylized taking the best of Uruguayan studios technical limitations.

The rhythm section of Segundos afuera was the same as the previous record: Andrés Recagno on bass (who also played synthesizers, backing vocals and some arrangements) and Gustavo Etchenique on drums, plus Carlos "Boca" Ferreira on percussion.

More than thirty musicians are featured in the album. Among them are some of Galemire's artistic heroes such as Osvaldo Fattoruso, Eduardo Mateo and Dino.

All played the best out of them, maybe at Galemire's influx or just for the joy of participating in such an attractive project.

Segundos afuera was released at the end of 1983 and went almost unnoticed by the general audience. However, it became an instant classic in the Uruguayan music scene from the very moment of its release. The sophistication of its sound; the unique way of combining pop, rock, jazz, candombe, milonga and murga; the search for moods and textures; the lyrics that mixed common themes and existential reflection dazzled and influenced different generations of artists.

Galemire released only three studio albums after Segundos afuera. None of them were as ambitious as this one. Its cult status was reinforced when it became inaccessible. After a first release of a few hundred vinyl and cassette copies, the album was never reissued in any format. The few copies available became a prized collector's item in Uruguay and abroad. It was only in 2020 that the album was released on streaming sites.

This mythical, but almost unknown album is now sounding again, showing its beauty intact.

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Muhal Richard Abrams

Sightsong

17,99 €*

Release: 1976 / US – Reissue

Genre: Organic Grooves

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Malagasy At Newport-Paris

Jef Gilson

LP | 1973 | EU | Reissue (Souffle Continu)

LP | 1979 | EU | Reissue (Edition Hawara)

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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In 1973, Jef Gilson gave new impetus to his already long career by reforming ‘Malagasy’ with young musicians from Madagascar exiled in Paris. The group was very successful and played in clubs and festivals on the same bill as Ray Charles, Sun Ra, Terry Riley, Hal Singer or Chris McGregor’s Brotherhood of Breath. The meeting between two generations and two cultures created a new mix between jazz, traditional music and electric funk. Jef Gilson had reinvented himself yet again, and it wouldn’t be the last time.

"In May 1972, the wave of anger and the thirst for freedom that had swept the world in 1968 arrived in Madagascar. The Malagasy youth took the opportunity to exile in search of a brighter future. Several of them, all jazz musicians and often polyintrumentalists, came to Paris with their afro hair and bellbottoms. Their names were Sylvin Marc, his cousin Ange "Zizi" Japhet, Del Rabenja, Gérard Rakotoarivony and Frank Raholison.

By chance, they crossed paths with pianist and bandleader Jef Gilson, who they had already met as kids during a series of concert and workshops in Tananarive four years earlier. Gilson was far from an unknown on the French jazz scene. He had played with Boris Vian and André Hodeir at the end of the forties, he was one of the first French composers to move away from the New-Orleans style to try his hand at bebop, had launched numerous young stars (Ponty, Texier, Portal...), was a polemical critic for Jazz Hot, had opened for Coltrane at Antibes/Juan Les Pins, and was part of the Double Six... But it was tough to make a living playing personal compositions and Jef, who didn’t have enough money to return to the island and continue mining the seam of Malagasy jazz, saw an opportunity to relaunch ‘Malagasy’.

He had his recording studio in the Les Halles area, at the Foyer Montorgueil, where he was teaching jazz to a choir. He set to work with the new Malagasy group, working on a repertoire and reviving some of his compositions from the 50s/60s ("Requiem Pour Django", "Dizzy 48", "Anamorphose" here renamed "Salegy Jef" as a nod to an ancestral rhythm reworked in a contemporary style...), and also included more recent tunes ("Newport Bounce" which opens this current album is a reworking of a track called "Interlude", recorded in 69 with the drummer from Miles Davis’ first quintet, Philly Joe Jones). The group Malagasy 73 gigged a lot. One of their concerts was recorded on the 14 March in a club, ‘Le Newport’, in rue Grégoire de Tours, Saint Germain des Prés, not far from the ‘Kiosque d'Orphée’ where Gilson worked at the beginning of the 60s when he brought bebop and avant-garde jazz to the attention of a generation of musicians with his records imported from USA.

This meeting between two generations and two cultures created a new mix between jazz, traditional music and electric funk. Jef Gilson had reinvented himself yet again, and it wouldn’t be the last time." --- Jérôme « Kalcha » Simonneau

Album Release

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Robert Ponger

LP | 1976 | UK | Reissue (Matsuli)

Release: 1979 / EU – Reissue

Genre: Organic Grooves

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Robert Ponger is perhaps best known as the producer for Austria’s biggest pop sensation Falco. His unparalleled production skills are on full display in the iconic hit single “Der Kommissar”, and he is also the main man behind Falco’s legendary early albums “Einzelhaft” and “Junge Römer”. But Ponger deserves at least as much credit for his solo recordings. The most sought-after of these is Ponger’s 1979 self-titled LP, which Edition Hawara is honoured to re-issue. The album contains twelve disco-inspired pieces that are unabashedly playful, but also signal serious musical knowledge and finesse. Recorded in the vicinity of Mistelbach, a village even locals struggle to find on a map, Ponger’s LP breathes the vibe of Studio 54 – with the little special extra that only Mistelbach can add. A true Austrian classic.

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Pacific Express

Black Fire

Masahiko Togashi / Don Cherry / Charlie Haden

Release: 1976 / UK – Reissue

Genre: Organic Grooves

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Militant jazz, fusion, funk and soul from mid-seventies Manenberg, outside Cape Town, with a set of roots in club dance traditions like ballroom ('langarm'), Khoisan hop-step and the whirling 'tickey draai' ('spin on a sixpence') of the mine camps; others in jazz-rock and the New Thing, from Santana and Chicago to Shepp and Coltrane.

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Song Of Soil

LP | 1979 | EU | Reissue (Wewantsounds)

LP | 1972 | EU | Reissue (Sonor Music Editions)

Release: 1979 / EU – Reissue

Genre: Organic Grooves

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

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Sandro Brugnolini

Utopia

36,99 €*

I'm Here Black Vinyl Edition

Release: 1972 / EU – Reissue

Genre: Organic Grooves

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

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Edward Vesala

LP | 1973 | EU | Reissue (Svart)

Freddie Hubbard & Stanley Turrentien

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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In Concert

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

55,99 €*

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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An Evening With The Devil

Wendell Harrison

LP | 1973 | JP | Reissue (Deep Jazz Reality / Tribe / Octave-Lab)

62,99 €*

Release: 1973 / JP – Reissue

Genre: Organic Grooves

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East Coasting Clear Vinyl Edition

Charlie Mingus

LP | 1975 | EU | Reissue (Sowing)

LP | 1980 | US | Reissue (Muse)

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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Limited Clear Vinyl edition, 500 copies! Recorded in 1957 this is one of Charles Mingus's lesser known sessions. Here the master was at the head of an awesome band including some of his regular sidemen. Jimmy Knepper - trombone, Shafi Hadi - alto saxophone, tenor saxophone and Dannie Richmond - drums, along with nothing but Bill Evans on piano! This is dense, lyrical and very stimulating music deeply rooted in the bop tradition yet with an open ear to other sound territories.

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Vic Juris

Horizon Drive

LP | 1974 | UK | Reissue (Pure Pleasure)

Release: 1980 / US – Reissue

Genre: Organic Grooves

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sampled by DJ Premier for Gang Starr 'mass appeal'

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Norman Connors

Love From The Sun

Release: 1974 / UK – Reissue

Genre: Organic Grooves

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LP | 1985 | US | Reissue (Blue Note)

Bobby McFerrin

Spontaneous Inventions

Jon Appleton & Don Cherry

Release: 1985 / US – Reissue

Genre: Organic Grooves

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Issued with the 75th Anniversary of Blue Note records!

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Human Music

LP | 1970 | UK | Reissue (BGP / Flying Dutchman)

2LP | 1985 | EU | Reissue (ECM)

Release: 1970 / UK – Reissue

Genre: Organic Grooves

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A forward thinking collaboration between electronic music pioneer Jon Appleton and trumpet great Don Cherry, that explores the relationship between the humanity and the manufactured robotic future.

Using the techniques associated with Musique Concrete the ensuing improvisations create a unique entry into the great trumpeter's discography. It was an in vogue attempt to render the music of tomorrow, and today sounds more like the soundtrack to a truly great sci-fi movie

Reissued in a fascimile of the original gatefold sleeve, and remastered from new 24/96 transfers, this is part of Ace's HiQ LP series

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Mark Turner

Return From The Stars

34,99 €*

Release: 1985 / EU – Reissue

Genre: Organic Grooves

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Sings The Duke Ellington Songbook

Ella Fitzgerald

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

32,99 €*

Butterfly Black Vinyl Edition

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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Bra Sello

LP | 1975 | EU | Reissue (Afrodelic)

23,99 €*

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

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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With one foot planted in jazz and the other in the township groove of Mbaqanga, saxophonist Sello Mmutung was a powerful crossover figure in the history of popular music in South Africa. Using the stage name Bra Sello, meaning “brother” and used as a term of affection and respect in the jazz community, he came up in the era of shellac 78s as an exponent of the 1960s sax jive sound that brought the swinging rhythm of kwela into the domain of South African jazz. Despite the injection of American rhythm and blues into South African pop in the late-1960s, Bra Sello’s first releases on vinyl on the
CBS label saw him backed by the group Abafana Bentuthuko and holding down an unapologetic township sound.
Joining the independent Soweto label under producer Cambridge Matiwane in the mid-1970s, Bra Sello recorded two records in the hit-making bump jive style popularised by serious jazz musician Dollar Brand on the one hand and prolific studio group The Movers, operating in funk and soul territory, on the other. Blending modern American and traditional African elements into joyful hip-swinging rhythms, Butterfly (1975) and The Battle of Disco (1977) reflect the vivacity of urban life in South Africa and document an era when dance music was performed by bands as extended jams laced with jawdropping solos. With music trends shifting dramatically in the late-1970s, the title of The Battle of Disco was an ironic call to arms in response to the territory that group musicians were beginning to cede to synthesisers and DJs.
For enthusiasts of African music from the 1970s, a full appreciation of the continent’s output is incomplete without South Africa’s pop-jazz sound providing a regional counterpoint to the funk experimentation of West Africa. Reissued for the very first time, Bra Sello returns in 2023 with limited replica editions from Afrodelic using master tape sources from the As Shams / The Sun collection. Afrodelic’s unique edition of Butterfly features a previously unreleased track on Side B.

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David Wertman

Kara Suite

LP | 1980 | EU | Reissue (Our Swimmer)

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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Albert Ayler Quartet

The Hilversum Session

Ray Stephen Oche And His Mutambo

Release: 1980 / EU – Reissue

Genre: Organic Grooves

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Jazz iconoclast Albert Ayler took the experimental leanings of contemporaries like John Coltrane and Ornette Coleman as a starting point and then blasted them to stratospheric extremes, creating some of the most polarizing and brilliant music of the 20th Century. In particular, 1964 was a pivotal – and well documented – year in the free jazz artist’s career. After returning to New York, Ayler assembled a brilliant group with Sunny Murray on drums and Gary Peacock on bass, recording Spiritual Unity, Ayler’s first record for the legendary ESP-Disk’ label, that summer.

Soon after that session, Ayler took his trio to Europe where they were joined by cornetist Don Cherry for a tour of The Netherlands, Sweden, and Denmark. The Hilversum Session is a live radio session recorded on November 9th, 1964. At that point the quartet was months into its European tour and the interplay is extraordinary. On classic Ayler compositions like “Spirits” and “Ghosts” the band absolutely rip, with a kind of intuition and connectivity rarely heard, creating some of the most untethered and undeniably powerful music in the history of free jazz. Our Swimmer is pleased to present the first official vinyl reissue of The Hilversum Session in over thirty years.

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Interpretation Of The Original Rhythm

LP | 1970 | EU | Reissue (Favorite)

15,99 €*

LP | 1976 | US | Reissue (We Are Busy Bodies)

Release: 1970 / EU – Reissue

Genre: Organic Grooves

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High on everyones afro-jazz wishlist!

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Pat Matshikiza

Sikiza Matshikiza

LP | 1973 | EU | Reissue (Mad About)

Release: 1976 / US – Reissue

Genre: Organic Grooves

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Recording for the As-Shams/The Sun label in the 1970s, Pat Matshikiza released the collaborative album Tshona! with sax giant Kippie Moeketsi in 1975. The album was followed in 1976 by Sikiza Matshikza, Pat's solo debut with Moeketsi appearing as a featured artist. The personnel on the album were an early iteration of the group that would become Spirits Rejoice in 1977, with Duke Makasi on tenor sax, George Tyefumani on trumpet, Sipho Gumede on bass, Gilbert Mathews on drums and Sandile Shange (who appears alongside Matshikiza and Moeketsi on the album's cover photo) on guitar.Pat Matshikiza's mid-70s recordings mark a high point in his career and are essential documents in the history of South African jazz on vinyl. With these reissues, we hope to bring his artistic legacy to prominence and share his work with lovers of jazz around the world.

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Appendix

Space Trip

29,99 €*

LP | 1975 | UK | Reissue (Matsul)

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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"Space Trip" is a cult record released in 1973 on the legendary Amigo catalog, the longest-running independent label in Sweden.

This amazing Spiritual Jazz-Funk/Fusion LP was very hard to find. Finally available again, fully licensed and remastered, with original artwork.

This album is a killer one in its entirety, with no fillers. Some of the best spiritual jazz on record!

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Allen Kwela

Black Beauty

Et Synchro Rhytmic Eclectic Language

Release: 1975 / UK – Reissue

Genre: Organic Grooves

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• Allen Kwela, the legendary guitarist and composer central to the story of South African jazz, channels Wes Montgomery and overlays home-grown marabi, setting the benchmark for what became known as “70s township jazz”. • Black Beauty features four tracks composed and led by Kwela with a stellar line-up of musicians including Kippie Moeketsi, Barney Rachabane, Gilbert Matthews, Dennis Mpale, Sipho Gumede and others. • First ever vinyl reissue, a deluxe 180g edition with printed inner sleeve and pressed at Pallas in Germany. Audio mastered and cut for vinyl by Frank Merritt at The Carvery. • Liner notes by Kwanele Sosibo featuring key musician interviews, new insights and unseen photos.

'The cream of Johannesburg’s jazz musicians gathered at state-of-the-art Satbel studios to create Black Beauty for the “Soweto” label. Led by guitarist extraordinaire Allen Kwela and featuring the godfather of South African jazz Kippie Moeketsi, the album successfully straddles producer pressure to emulate the commercial success of Abdullah Ibrahim’s Mannenberg, against the musicians’ own impetus to play a jazz they wanted. While the title track “Black Beauty” nods at Ibrahim’s stylings, the magic happens in the three remaining tracks where Kwela and his top-notch band lay down new directions.

Producer Patric van Blerk, sounded disappointed when asked about the sessions, saying that Kwela was his usual strong-willed self, unwilling to be nudged towards the pop trends of the day. “He was a monster talent and deserved much more than he got at the time.”

Matsuli is proud to restore this special album to its rightful place in the pantheon of South African jazz.'

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Franck Valmont

LP | 1976 | EU | Reissue (Sommor)

2LP | 1980 | UK | Reissue (Matsuli)

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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

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

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Hugh Masekela & Company

Live In Lesotho

LP | 1974 | EU | Reissue (Souffle Continu)

Release: 1980 / UK – Reissue

Genre: Organic Grooves

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

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

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

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

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Baikida E.J. Carroll

Orange Fish Tears

LP | 1983 | EU | Reissue (Not Now)

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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In 1972, trumpeter Baikida Carroll and some of his colleagues from the Black Artists Group took the advice of their friends in the Art Ensemble Of Chicago and left Missouri to discover the bright lights of Paris. The following year they would even get the chance to record their only album which would rapidly attain mythical status and a collector’s item: »In Paris, Aries 1973«, an essential album if you are a fan of free-wheeling avant-garde music from the Art Ensemble of Chicago to Sonic Youth and including Shabaka Hutchings and Rob Mazurek

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Sarah Vaughan

Best Of

22,99 €*

Special Sound Series - Volume 3: Pathetique

Release: 1983 / EU – Reissue

Genre: Organic Grooves

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"The Queen", they called her and Dinah Washington's regality was nowhere more apparent than in the recording studio, where she was uncompromising in her demands for the best in material and in backing. She is marvelous in this recording, which dates from 1957, for not only did she have some great standards to sing in arrangements by Quincy Jones and Ernie Wilkins, two of the best around at that time, but she also had behind her a star-spangled band (the trumpet section alone is sufficient indication of its quality) that gave her every opportunity to be at her best.

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Shigeo Sekito

LP | 1976 | EU | Reissue (Holy Basil)

27,54 €* 28,99 € -5%

LP | 1972 | EU | Reissue (Endless Happiness)

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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We are very happy to continue the reissue series of Shigeo Sekitō's iconic "Sepcial Sound" series with its 3rd instalment, "Pathétique", a mesmerizing musical journey crafted by the visionary Japanese musician Shigeo Sekitō. Released in the 1970s, this album stands as a testament to Sekito's innovative genius and his ability to seamlessly blend genres, resulting in a captivating and groundbreaking sonic experience.

"Pathétique" showcases Sekitō's masterful fusion of jazz, funk, and electronic elements, creating a unique and otherworldly soundscape that transports listeners to a realm of musical exploration. The album features a series of compositions that are not only technically impressive but also emotionally resonant, evoking a range of feelings from nostalgia to euphoria.

The album's title, "Pathétique," is a nod to Tchaikovsky's renowned "Pathétique Symphony," and it hints at the emotional depth and complexity found within the music. Sekito's virtuosity on various instruments, including keyboards, synthesizers, and guitar, is on full display throughout the album, as he weaves intricate melodies and harmonies that take listeners on a sonic adventure.

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Christian Zysset

Cosmogonie

LP | 1976 | EU | Reissue (Mad About)

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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Mandala

2LP | 1978 | US | Reissue (Modulus)

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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Mandala made only one eponymous album, recorded in 1971 but released only in 1976. A very rare and influential album, featuring future members of Grupo Um (Nazário and Zeca Assumpção who also played with Hermeto and Egberto Gismonti) and Pau Brasil (Nelson Ayres) - two seminal bands from the Brazilian instrumental scene of the 80s. The sound is a mix of Jazz Fusion with a Brazilian footprint - with a dash of psychedelic atmosphere and the spiced influence of oriental music.

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Het Pandorra Ensemble

III

43,99 €*

LP | 1974 | EU | Reissue (Easy Tempo)

Release: 1978 / US – Reissue

Genre: Organic Grooves, Rock & Indie

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

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Genius

Voices And Rhythms Of The Creative Profile

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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Extremely obscure ‘Rare Groove’ album recorded in Argentina in 1974 and produced by great radio and music producer Mochin Marafioti. It has been impossible to learn who the musicians of the amazing session were. Soul, funk, psychedelia and latin melt into a sort of funkadelic sound. Spoken intro, sensual vocals and a monster rhythm section flirt with wah wah guitars and catchy melodies. A truly hidden treasury brought back to life by legendary Easy Tempo crew and destined to please the worldwide Rare Groove clubbing nation. To the original recording were added Edits by Andrea Passenger done in the spirit of the classic disco music manipulators like Tom Moulton, Danny Krivit and Walter Gibbons. To be played very loud.

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Harold McKinney

LP+7" | 1974 | EU | Reissue (P-Vine)

48,99 €*

2LP | 1980 | EU | Reissue (RCA)

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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The sole solo album from Harold McKinney! Originally released in 1974 from vaunted spiritual jazz label Tribe, Voices & Rhythms of the Creative Profile sees the pianist, who was the backbone of many a Tribe recording, in tip-top shape. Opener “Ode to Africa” is a nine-minute, groove session, with African rhythms that would fit on any Tribe recording. Congas interplay with writhing basslines, for a track that feels as fresh now as it did nearly half a century ago. The Eddie Harris penned “Freedom Jazz Dance” is just as groovy, with amazing showings from the typical Tribe cadre of musicians, including Wendell Harrison (ts.) and Marcus Belgrave (tp.). But from the gospel-inflicted “Heavenese”, to Herbie Hancock’s classic “Dolphin Dance”, the groove never lets up, with eight hard hitting tracks showing exactly why McKinney was the go-to pianist for Tribe. P-vine is proud to be reissuing Voices & Rhythms of the Creative Profile along with a reissue of a 7-inch containing “Ode To Africa (single version)” and “Jelly Loa”, initially also released around the same time. This deluxe edition LP+7-inch is available on limited edition vinyl, now with an obi-strip and modern digital remastering! Make sure to get this while it’s hot!

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Perigeo

Alice Red Vinyl Edtion

Release: 1980 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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Event 76 Live Clear Vinyl Edition

Area

LP | 1979 | EU | Reissue (Cramps)

23,99 €*

Release: 1979 / EU – Reissue

Genre: Organic Grooves

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LP | 1979 | EU | Reissue (ECM)

Sam Rivers

Contrasts

Release: 1979 / EU – Reissue

Genre: Organic Grooves

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LP | 1970 | EU | Reissue (Amercia)

Noah Howard

Space Dimension

41,99 €*

Un Drame Musical Instantane

Release: 1970 / EU – Reissue

Genre: Organic Grooves

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Noah Howard was born in 1943 in New Orleans and, like many of his contemporaries, first played music in church as a child. In his 2010 book, 'Music in My Soul', Howard reflected upon his childhood in New Orleans and the influence the city had on him: “Growing up in New Orleans was like receiving a steady diet of music, and my taste in music became increasingly more sophisticated. In the neighborhood where I grew up kids around me were listening to Rhythm and Blues and Jazz; Rock came only much later. One of the great moments of my life was when I was around 13 years old and heard Duke Ellington with Paul Gonsalves playing a twenty-some minutes chorus solo on tenor sax at Newport. We had never heard anything like this before; a saxophone player doing so many choruses, this was years before Coltrane opened up. That experience meant there was no turning back; my ears were open and my desire was burning for music.”
He first learned to play the trumpet before moving on to alto, tenor and soprano saxophone. And his musical journey initially took him to Los Angeles where he worked with Dewey Johnson and then later moved to New York to join the Sun Ra Arkestra. Like most forward thinking saxophonists of the time, Howard was influenced by the evolving expressionism of John Coltrane and Albert Ayler and it wasn't long before he became a key member of the mid-60s free jazz movement, a stepping stone to his elevation into one of the world’s most notable saxophonists.
Howard's debut LP as leader, 'Noah Howard Quartet' was recorded in 1965, and the follow up, 'Noah Howard at Judson Hall', in 1966 but not issued until 1968, both for the groundbreaking ESP Records label (incidentally, both albums featured British trumpeter Ric Colbeck). However, Howard's view of ESP was not positive, calling it “ a monster of deception... I am aware of ESP's adventures...they continue to make money off the artists and they refuse to pay any royalties.”

Like many of the black jazz musicians of the 60s, Howard left the USA and settled in Europe (making the permanent move to Paris in 1972). In an interview in 2005, Howard explained his move: “When I first came to Europe it was 1969 and I came to play in a big festival and after that we had a lot of concerts, recalls Howard. "Then we left and we came back to the States, I was based in New York at that time. About six months later, we had some more concerts, we came back and this went on for years, going back and forth and back and forth and back and forth... I decided that instead of going back and forth all the time, it was more advantageous for me to stay over here and live and work.”
It was in Paris that Howard took part in sessions for the Frank Wright albums 'One For John', cut for the leading French free jazz label BYG Actuel and another Wight session, 'Uhuru Na Umoja', for the America label. Another album on America that featured Howard was Archie Shepp's 'Black Gipsy'. This session also featured , among others, Sunny Murray on drums and Clifford Thornton on trumpet.
America Records was to be home to Howard's third album, 'Space Dimension'. On this album, Frank Wright was reunited with Howard once more, and Wright also composed one track, 'Church Number Nine' (Wright would also do his own version as the title track on his 1970 album, initially only released in Japan. That album would also feature Howard.) 'Space Dimension' also features bop drummer Art Taylor on three tracks, with Muhammed Ali (brother of Rashid), on one. They're joined by alongside pianist Bobby Few, longtime member of Frank Wright's group and an alumnus of Archie Shepp's band.
'Space Dimension' has never seen an official reissue since its original release in 1970 and remains, among a few aficionados, one of the most in demand - and little known - albums in Howard's discography. The blend of free improvisation with a tough rhythmic foundation make for an edifying listening experience. The spectral disjointed afro-blues of the title track, with Howard's soaring, searing horn, introduces an exceptional album of weight and significance, a real statement piece. 'Viva Black' starts as a lush groove, rich with texture and tone. Bobby Few's piano is sparse and disciplined, allowing space for the interweaving angles of the horns and drums to cross and jostle and build in intensity, with Muhammad Ali's drum solo acting as a cathartic release.
'Song for Poets' is blistering in its attack, an intense assault from the whole group – urgent and imperative, a call to action that seemed to resonate with the tumult of the late 60s and early 70s and, perhaps, still resonates now. The album closes with the extended piece 'Blues for Thelma'. It starts like a sort of angular, shattered New Orleans first line march band; Howard visceral horn and Few's piano joust and punch like fighters in a ring; Ali's drums hammer a solid undertow of power and energy, relentless in its fire.
All in all, 'Space Dimension' announced Howard's arrival into a new decade, a decade that was to see not just jazz but music and wider society undergo profound change.
Howard's third record was the widely acclaimed 'Black Ark', which featured Arthur Doyle on his first recording. 'Black Ark' soon became a landmark free jazz recording and elevated Howard into the first division of globally renowned free jazz players.

He spent much of the next decade or so exploring new ideas and places to work, including Europe and Africa, moving to Nairobi in 1982 and finally Brussels, where he had a studio and ran a jazz club.
In his autobiography, Howard described going to Africa: “It was a Sunday morning with bright blue skies and I reached down and grabbed a handful of earth, holding it in my hands. It was red earth. As the first of my family to make this voyage back to my community, I was filled with emotion and started to cry – thinking about all those before me who didn’t survive the middle passage and slave trade. I thanked the few strong survivors of which I’m a descendant and was grateful to be a live and to make it back to Africa in my lifetime. The feeling of coming back home, after generations had gone through abuse and suffering, was upon me. I would put some of this into music later on when recording with James Emmanuel, the poet on 'Middle Passage'”
He recorded steadily through the 1970s and 1980s, mostly with his own label AltSax and continued to expand his repertoire, exploring a range of sounds from ethno-funk to world music in his latter decade. He returned to his free jazz roots in the 90s, mixing the myriad of influences and styles he had encountered throughout his journey.
Noah Howard recorded 35 albums, and their styles reflect the ceaseless musical searcher he was: blues, free jazz, world music. He covered it all.
Noah Howard died on September 3rd, 2010 while on holiday in the South of France. He died a day before finishing the first draft of his autobiography.

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À Travail Égal Salaire Égal

LP | 1982 | EU | Original (Grrr)

LP | 1972 | Reissue (Be With)

Release: 1982 / EU – Original

Genre: Organic Grooves

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Deadstock copy in Mint or NM condition

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Pierre-Alain Dahan

Continental Pop Sound

Pierre-Alain Dahan & Mat Camison

Release: 1972 / Reissue

Genre: Organic Grooves

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A Tele Music CLASSIC from 1972, Pierre-Alain Dahan's Continental Pop Sound is of those library albums with something for everyone. Breaks? Check. Fuzz guitar? Check. Slower, jazzy stuff? Double check. It's a stunning collection of psychedelic rock, soulful funk and retro pop stylings that's currently going for over £200 on Discogs. And with good reason. French drummer, percussionist and composer Pierre-Alain Dahan was a key member of the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou and Sauveur Mallia) and Jef Gilson Septet. So, you know this Be With reissue is nailed on essential.

Skip the by-numbers opener "Rock Extra" and head straight to the deeeeeep, minimalist groove of "Slowrama", a humid masterclass in low-slung, creeping crime funk with weighty breaks and beefy bass complimented by hypnotic wah-wah and warm electric piano. Sensational. It was sampled by Prince Po in 2004 for his "Love Thang" track. The galloping "Latin Pop Sound" is a percussive, Santana-esque tour de force featuring fantastic guitar shreds over a bassline to die for. "Morning Melody" is a lightweight amble whereas the brief but deliciously psych-rock heavy "Islam Blues" is a must for your mixes when requiring short segue tracks. The A-Side closes out with "Phasing Drums N° 1, 2 & 3", all completely ace. For us, N° 3 is the pick of the bunch, with particularly slooooow and deliberate drums underpinned by a droning, sinister organ. Hip-hop, before hip-hop, no less.

The genuine monster "Pacific Rock" blasts out the gate to usher in Side B, a thrilling and unrelenting pop-rock instrumental that really drives. "Quasimodo Pop" contains great slow mo funk breaks and scratchy guitars that alternate with pretty heavy riffing to create a compelling base track. "Carmel Beach" is as beautiful as the location it's named after, as insouciant guitars glide over super slo-mo beats and dramatic organ before it breaks down to a laconic, reflective electric piano showcase. Sumptuous. "Auto Moto Rallye" is a brief driving funk gem, as you might expect, complete with revved up guitars tuned and played to emulate the irresistible sound of growling race cars.

The upbeat, piano-led rock stomper "V.S.O.P Rock" is all well and good but, what you might really be here for is the trio of tracks that ensure the LP ends on an almighty high. The three most famous tracks “Rythmiques 1, 2 & 3” all come complete with *ultra*-dope breaks. N° 2 is probably our favourite, with the shuffling bassline and breaks combo augmented by the wonderful cowbell. Though on any other day, it could be N° 3! This album is often considered as the “baby brother” to Tele Music's Rythmiques, and this triptych is all the proof you need. Outstanding.

One of the very best French drummers ever, Pierre-Alain Dahan began his career at the Blue Note in Paris with Sonny Stitt, Dexter Gordon and Daniel Humair. Some start, eh?! He also participated in the recording of Serge Gainsbourg's cult album 'La Ballade de Melody Nelson' before going on to make countless KILLER library funk records and be a key member in the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou, Sauveur Mallia et al), Jef Gilson Septet (alongside Henri Texier) and many more. Some pedigree.

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

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Rythmiques

LP | 1973 | Reissue (Be With)

Governor's State University Jazz Band

Release: 1973 / Reissue

Genre: Organic Grooves

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Part of Tele Music Reissue Campaign, 2023 first time reissue, 140g vinyl

Wow! Pierre-Alain Dahan & Mat Camison's Rythmiques is another iconic release in the hallowed Tele Music catalogue. First appearing in 1973, it features tense funk, blunted jazz and heavy breaks all the way. Considered the rightful sequel to Continental Pop Sound, it's a vital album for producers and DJs; and you can probably guess that RHYTHM is central to the record's presentation. And you can really taste what's rhythm, to borrow a phrase. French drummer, percussionist and composer Pierre-Alain Dahan was a key member of the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou, Mallia et al!) and Jef Gilson Septet whilst his partner here, Mat Camison, was a pioneering synth LORD. So, you know this Be With reissue is absolutely crucial.

The album picks up from where Continental Pop Sound left us, opening with the tense, stabbing thriller-funk of "Rythmiques N° 4". The dubbier "Rythmiques N° 5" is no less electric and definitely has a spacey air of wonky funk about it with the slightly off-kilter rolling piano. "Rythmiques N° 6" is more percussive-focussed with a brilliantly hypnotic opening that really stretches the drama out. “Rythmique N° 7” alternates between fast-paced, skipping drums and slo-mo funk, always with the clavinet high up in the mix. Wicked. The dope jazz of “Rythmique N° 8” truly mesmerises with licks of electric piano, funky bass flourishes and varied percussion. “Rythmique N° 9” has great, sloppy-yet-hard intro drums which sound like something Daft Punk could've pilfered circa Human After All, punctuated by a guitar rock refrain that repeats til the end but is never overdone. The A-Side closes with the beautiful, melancholic "Piano + Piano", a reflective jazzy piano track which could easily open a wide-ranging set this autumn and many after it. Stunning.

Opening Side B, "Auto Rythmiques" is a hectic yet compelling funk workout but it's all about the frankly devastating breakbeats on “Rythmiques N° 10 & N° 11” with effortlessly twisted funk bass lines over open drum breaks and enough tension and rhythmic switch-ups to keep your neck-snapping and your mind lifted. Downright essential. Taking leave from the heavy funk break action, the pastoral "Océan Horizon" is perhaps an unfairly overlooked highlight. A gorgeous, softly-aquatic, ambient gem, it's gently percussive with warm, floaty keys decorating the mellow rhythmic bed. The mercifully brief "Super Carrousel" is harmless fun-fair-funk but perhaps best skipped over whilst the intriguingly titled "Gay Shopping" is another throwaway exercise in inexcusable jaunt whilst. To close out this memorable set, thankfully, we're left with "Suspense N° 1" to get us back on course with its unsurprisingly tense mix of urgent stringed instruments that flirt with rhythm and melody yet the longer the track goes on. Deep.

One of the very best French drummers ever, Pierre-Alain Dahan began his career at the Blue Note in Paris with Sonny Stitt, Dexter Gordon and Daniel Humair. Some start, eh?! He also participated in the recording of Serge Gainsbourg's cult album 'La Ballade de Melody Nelson' before going on to make countless KILLER library funk records and be a key member in the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou, Sauveur Mallia et al), Jef Gilson Septet (alongside Henri Texier) and many more. Some pedigree.

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

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Gsu Jazz Live!

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

Butterfly HHV Summer Of Jazz Exclusive Clear Vinyl Edition

Release: 1974 / JP – Reissue

Genre: Organic Grooves

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This is a live albumperformed by a band of college students from the Governor's State University in Chicago under the direction of Warwick L. Carter.Although therewere many college bands that existed at the time, this is one quite unlike any other and under the strong leadership of Carter, the group rose to towering heights in a performance very fortunate to be recorded to tape.

The almighty jazz-funk cover of "Freedom Jazz Dance" under the title of "Listen Here" bursts with a strong break, and is full of intense jazz-funk that crosses the bounds of amateur performance into something else entirely. College band performances are often seen as just a means to an end; a necessary development stage before embarking on a career, but this doesn't apply here with renditions packed full of skillfully realised creative ambition owing greatly to the teaching of Carter. The originaledition which was released in 1974is hardly foundinmarkets becauseof its rarity. One of the long awaited reissuesforRare Groove fans is arriving at last on vinyl for the first time in the world!

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Bra Sello

LP | 1975 | EU | Reissue (Afrodelic)

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

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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Limited edition of 100 copies for the 2023 Summer of Jazz campaign, focused on South-African jazz. Only available at HHV.

With one foot planted in jazz and the other in the township groove of Mbaqanga, saxophonist Sello Mmutung was a powerful crossover figure in the history of popular music in South Africa. Using the stage name Bra Sello, meaning “brother” and used as a term of affection and respect in the jazz community, he came up in the era of shellac 78s as an exponent of the 1960s sax jive sound that brought the swinging rhythm of kwela into the domain of South African jazz. Despite the injection of American rhythm and blues into South African pop in the late-1960s, Bra Sello’s first releases on vinyl on the
CBS label saw him backed by the group Abafana Bentuthuko and holding down an unapologetic township sound.
Joining the independent Soweto label under producer Cambridge Matiwane in the mid-1970s, Bra Sello recorded two records in the hit-making bump jive style popularised by serious jazz musician Dollar Brand on the one hand and prolific studio group The Movers, operating in funk and soul territory, on the other. Blending modern American and traditional African elements into joyful hip-swinging rhythms, Butterfly (1975) and The Battle of Disco (1977) reflect the vivacity of urban life in South Africa and document an era when dance music was performed by bands as extended jams laced with jawdropping solos. With music trends shifting dramatically in the late-1970s, the title of The Battle of Disco was an ironic call to arms in response to the territory that group musicians were beginning to cede to synthesisers and DJs.
For enthusiasts of African music from the 1970s, a full appreciation of the continent’s output is incomplete without South Africa’s pop-jazz sound providing a regional counterpoint to the funk experimentation of West Africa. Reissued for the very first time, Bra Sello returns in 2023 with limited replica editions from Afrodelic using master tape sources from the As Shams / The Sun collection. Afrodelic’s unique edition of Butterfly features a previously unreleased track on Side B.

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Virgilio Armas

De Repente

33,99 €*

Release: 1970 / US – Reissue

Genre: Organic Grooves

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Pan Afrikan Peoples Arkestra

Flight 17

LP | 1978 | UK | Reissue (Pure Pleasure)

LP | 1976 | EU | Reissue (Black Sweat)

Release: 1978 / UK – Reissue

Genre: Organic Grooves

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

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Folk Magic Band

Nana Nelson Angelo Novelli Black Vinyl Edition

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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Naná Vasconcelos

LP | 1975 | Reissue (Altercat)

Release: 1975 / Reissue

Genre: Organic Grooves

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An Evening With The Devil

Wendell Harrison

LP | 1973 | JP | Reissue (P-Vine)

37,99 €*

The Rova Saxophone Quartet With Andrea Centazzo

Release: 1973 / JP – Reissue

Genre: Organic Grooves

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Tribe co-founder and saxophone legend Wendell Harrison’s 1973 leader debut!

Following the 1972 release of Message From The Tribe, the second release from vaunted spiritual jazz label Tribe, was co-founder Wendell Harrison’s solo debut, An Evening With The Devil. Originally included on the A-side of Message From The Tribe’s first version (the edition featuring a photo of a quay on the cover), the release of An Evening With The Devil in 1973 saw the suite fully realized, with two additional songs and studio knowhow making the album a true spiritual jazz masterpiece. Opener “Mary Had An Abortion” is part-spoken word poetry and part-free jazz freak out, but as Harrison’s gravelly baritone intermingles with atonal piano lines, it transcends the limitations of both. “Consciousness” is in a similar vein, with cymbal crashes and drum fills serving as a backdrop for a poem with references to police brutality and racism that seem as relevant now as they were 50 years ago.

“Angry Young Men”, originally recorded on Message From The Tribe, is now split into two parts and placed at the end of the A-side and opening of the B-side, physically and musically bridging the original suite with the new compositions. A horn line that could only be described as angry descends over an aggressive drum pattern, and as Tribe regulars Marcus Belgrave, Phil Ranelin, Charles Moore, and William Austin take turns soloing, the rhythm section seems to get more aggressive, undulating under these solos that take the song’s message and express it through simple notes. But it’s Harrison’s extended solo on the B-side that truly makes the song. He starts out almost subdued, playing fairly standard hard-bop lines over minimal accompaniment. But he quickly picks up, letting his horn honk and screech, with flurries of notes that almost sound like screams. The rhythm section matches him, building and building until Harrison plays the head once more - finally allowing the band to return to normalcy.

In comparison, album closer “Rebirth” is almost calm, with Marcus Belgrave playing a somber melody over a bed of rumbling percussion. It practically sounds like a requiem, until five major chords are struck by the band, ending the album on a literal joyous note. If Harrison hoped to express death and rebirth with this final song, the juxtaposition of the two completely disparate sections does a perfect job.

The hallmarks of a Tribe album are all over An Evening With The Devil. It’s spiritual and technical, and words simply don’t do it justice (despite my best attempts). Yet it also stands out among the Tribe releases by being one of the first. The DIY aesthetic and iconic design language are all there, but when presented with a sound that could only be described as raw, these early recording techniques are just right. The only way to truly experience the album is to put the needle to the groove, and let the music of Wendell Harrison wash over you. P-vine is proud to be reissuing Wendell Harrison’s An Evening With The Devil with modern remastering and an obi-strip on limited edition black vinyl.

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The Bay

LP | 1979 | EU | Reissue (Ictus)

22,99 €*

LP | 1978 | EU | Reissue (Ictus)

Release: 1979 / EU – Reissue

Genre: Organic Grooves

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On the same trip to the United States that produced “U.S.A. Concerts” and “Environment for Sextet”, Andrea Centazzo also connected with the San Francisco-based Rova Saxophone Quartet, formed the previous year by Jon Raskin, Larry Ochs, Andrew Voigt and Bruce Ackley (all playing various saxophones). While not as well-known now as they once were, over the last 40+ years the ensemble has produced dozens of albums and collaborated with diverse figures like Anthony Braxton, Alvin Curran, Terry Riley, and Henry Kaiser. The first of those collaborations captured on tape was "The Bay", recorded in California during December of 1978.

In Centazzo’s own words: “At the end of the 1970s this group (R.O.V.A.) of four saxophone players appeared on the scene of improvised and jazz music, bringing with them a gust of fresh air in their unusual approach to themes, technical dexterity and daring choices of language contamination”. Launching in with the almost symphonic piece, “Trobar Clus”, which takes up the majority of the first side and deploys complex clusters tones and rhythms to startling effect, the album progresses through a series of pieces that follow Centazzo’s disposition toward working across diverse arrangements of players, breaking down into trios, duos, and full ensemble works, each composed by the quartet, Centazzo, or in collaboration between the two.

Utilizing compositional structures that allow broad spaces for improvisation, while highlighting each player’s highly individual skill set within a various ensembles, trios, duets and solos, to underline the soloist skills of the musicians, and organizes the sound situations into ensembles, trios, duets and solos, “The Bay” is a stunning piece of much neglected creativity, riding the American and Italian scenes, from the mid to late 1970s, as well as drawing the ear back toward the origins of The Rova Saxophone Quartet.

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Andrea Centazzo

U.S.A. Concerts

20,69 €* 22,99 € -10%

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

Release: 1978 / EU – Reissue

Genre: Organic Grooves

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The Italian Ictus imprint was founded in 1976 by percussionist and composer, Andrea Centazzo, and his wife Carla Lugli. Running for just under a decade, until relaunching during the mid-2000s, the label produced a couple of dozen highly celebrated releases, the majority of which loosely fall under the banner of free jazz. Ictus’ second batch of releases from the label’s historic archives logically begins with Andrea Centazzo’s “U.S.A. Concerts”, originally issued in 1978 and out of print on vinyl for the majority of the time since.

“U.S.A. Concerts” draws on the same rough period when Centazzo was working in the United States at “Environment for Sextet”, which was reissued in the previous batch, and features many of the same players - Polly Bradfield on violin, Eugene Chadbourne on guitar, Tom Cora on cello, and Toshinori Kondo on trumpet, and John Zorn on saxophone - in different configurations. In fact, the first, second, and seventh tracks - “Sextet Improvisation”, “Duet Improvisation # 1”, “Duet Improvisation # 4” - were all recorded on the same day at the same location - Wkcr Radio in New York on November 7, 1978 - as the aforementioned album.

Beginning with the brilliant textural and tonal explorations of the full ensemble encountered in “Sextet Improvisation”, the album quickly moves toward quieter and more restrained investigations of roughly similar ground, moving through a series of duo improvisations between the percussionist and Eugene Chadbourne, Tom Cora, and the under-celebrated saxophonist, Jack Wright, whose howling horn is transformed to otherworldly effect by the reverberance of the space within which he works.

From here Centazzo embraces the trio form with an improvisation with two more under-celebrated figures from the American scene - Davey Williams playing guitar and banjo, and LaDonna Smith on violin, viola, and voice - capturing a performance in Jackson, Mississippi on November 19, 1978, during which the three fire responsive statements that hang like barbs in the spacious air, before conceding the LP with a brilliant suite of duos with Toshinori Kondo, Williams, and Smith.

Offering incredible insight into Centazzo’s unique sensibility, as well as into the work of a new generation of stunning improvisers as they emerged at the tail end of the 70s, before going on to help define the 80s free jazz sound, “U.S.A. Concerts” is a crucial artefact of free music at the juncture; fire on the boundaries of outright noise. An endlessly surprising journey between shifting between airy open passages that feature striking combinations of players, it’s sure to knock the socks off more than a few well-seasoned fans.

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Phil Ranelin

The Time Is Now!

48,99 €*

Karlton Hester And The Contemporary Art Jazz Movement

Release: 1974 / JP – Reissue

Genre: Organic Grooves

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After Motown left Detroit for Los Angeles in 1972, trombonist Phil Ranelin was largely left without work or direction, until he co-founded Tribe with Wendell Harrison later that same year. Two years after forming Tribe, Phil Ranelin would release his first album as a solo leader, The Time Is Now! The record contains all of the hallmarks of the best Tribe recordings: spiritual-leaning improvisations, soulful grooves, and appearances from Tribe regulars: Wendell Harrison, Marcus Belgrave, Reggie Fields, and more! The album opens with a 13 minute improvisation titled “The Time Is Now For Change”. As Ranelin , Belgrave, and Harrison exchange flurries of notes and squeaks over improvised chaos from the rhythm section, the group builds to a spiritual high that calls to mind the best Albert Ayler recordings. Bebop lines and unison phrases occasionally rise to the surface, offering a glimmer of familiarity in what is largely a harsh soundscape. Yet what sets Ranelin (and indeed, all of his Tribe contemporaries) apart from the larger free and spiritual jazz scene at the time is their sense of rhythm. Even as Harrison evokes sounds that would make a Meditations era Coltrane blush, the drums stay in time, and the looping bass and piano riffs take on an almost hypnotic quality, repeating quietly under a whirlwind of sound. Later tracks see the ensemble veer into soul jazz, and jazz-funk, with “Black Destiny” perfectly highlighting the group’s ability to meld the avant-garde with grooves that you won’t be able to stop yourself from tapping your foot to. Members of the Tribe were well known for their appreciation of African American popular music, and the influence of groups such as Sly And The Family Stone is clear in the song’s edgy rhythms and dense sound. This double LP reissue also contains alternate versions and outtakes that are so good you’ll be wondering why they were originally left out! With modern remastering, three bonus tracks, and an obi-strip, you don’t want to miss the definitive version of Phil Ranelin’s The Time Is Now!

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Hesterian Musicism

LP | 1982 | EU | Reissue (Cool Cult)

14,99 €*

LP | 1979 | EU | Reissue (Holy Basil)

Release: 1982 / EU – Reissue

Genre: Organic Grooves

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Musicism is the core concept of transcultural artistic research that rose to prominence at the beginning of the 80s thanks to the ingenious mind of Karlton Hester. Composer, flautist and saxophonist Hester set himself as the promoter of a multidisciplinary idea in which musicians, visual artists and poets collaborate in a synergic manner to produce new art forms. Hesterian Musicism is an avant-garde spiritual jazz record composed and issued by Hester on his San Francisco based label Hesteria in 1982.

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Oscar Rocchi Quintet

Alchemy In Jazz

The Advanced Cookbook Of Mr Selig And Kanzler Z

Release: 1979 / EU – Reissue

Genre: Organic Grooves

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Besides being a leading session musician in Milan's jazz scene between the 60s and 90s, Italian pianist Oscar Rocchi created a number of exquisite library albums in the pop-jazz genre. These include among others "Erbe Selvatiche", "Pop-Paraphrenia" and "Woman's Colours" (the latter co-written with his friend Giancarlo Barigozzi) as well as "Alchemy in Jazz", which is now available in digital format for the first time ever. Originally released on Ring, an imprint of Edizioni Minstrel, the album was recorded by a quintet featuring Rocchi on piano plus long-time collaborators Hugo Heredia (sax and flute), Sergio Fanni (trumpet), Gianni Cazzola (drums) and Furio Di Castri (double bass), and has since become a cult record in countries from the US to Japan, where it was released for the first time on CD in 2013. With a palette ranging from frenzied post-bop echoes("Gold-Fast", "Nigredo") to sentimental nocturnal ballads ("Solution", "Rubedo") to cheerful modern-jazz vibes ("Mercury", "Silver-Bop", "Sulphur"), here Rocchi paints an elegantly syncopated musical fresco that, like the magical, alchemical process referred to in the title, transmutes the harsher aspects of jazz syntax into a graceful and more euphonic style that is approachable for jazz neophytes and yet enjoyable for seasoned jazz lovers.

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Niemand Tanzt

12" | 1989 | EU | Reissue (Thank You)

14,99 €*

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

Release: 1989 / EU – Reissue

Genre: Organic Grooves, Electronic & Dance

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Andreas Koeper is a German contemporary/experimental composer and drummer with a background in Philosophy and Art history. “Niemand Tanzt” was originally released in 1989 and in the past years it has become a sought after obscurity amongst diggers ever since Chee Shimizu put it on the radar after unearthing it throughout inspection rounds in Berlin record stores. Although the A-side might have been the essence of the single at the time, it's the B-side's “Pink Rhythm” that puts this release on the map for DJs, the track's gradient from an empty half tempo to rich 4 on the floor patterns serves any well versed DJ as an on-ramp for new gears to be put into place as the track grows into various ramifications of Andreas' studio production techniques: playful percussive elements, provocative guitar riffs over a solid rhythm section. Freshly remastered by manmade in Berlin.

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Karin Krog

We Could Be Flying

2LP | 1987 | UK | Reissue (BBE)

Release: 1975 / JP – Reissue

Genre: Organic Grooves

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

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Wütrio

32,79 €* 40,99 € -20%

Release: 1987 / UK – Reissue

Genre: Organic Grooves

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LP | 1975 | EU | Reissue (Seriewoc)

Saheb Sarbib

Evil Season

39,99 €*

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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LP | 1988 | EU | Reissue (Studio Mule)

Doctor Umezu Diva

Diva Feat. Midori Takada

LP | 1976 | EU | Reissue (Mad About)

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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Dana Kaproff

LP | 1979 | EU | Reissue (Mad About)

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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Daniel Bechet

Songs To My Father

26,09 €* 28,99 € -10%

LP | 1987 | JP | Reissue (Lawson)

Release: 1979 / EU – Reissue

Genre: Organic Grooves

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French drummer and Jazz musician/composer Daniel Bechet dedicated 1979 “Songs to My Father” to his father, the famous Sax/Clarinet player Sydney Bechet.

Sydney Bechet’s son-only LP is a hidden treasure we are proud to reissue. The base is a solid Fusion and Jazz Funk sound. Still, the mellow and soulful moment is wonderfully groovy with arrangements reminding George Duke’s albums, or Cortex plenty of funky Fender Rhodes.

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Marica

Jellyfish Jelly Fish

39,99 €*

Release: 1987 / JP – Reissue

Genre: Organic Grooves

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LP | 1973 | EU | Reissue (Sonor Music Editions)

Mandrassi & Zollinger

Rhythm & Sound

28,79 €* 31,99 € -10%

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

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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Sonor Music Editions proudly announces a previously unknown Italian Library killer session from the golden era - Rhythm AND Sound by the mysterious 'Mandrassi & Zollinger', backed by 'I Beati' studio band. Mandrassi, alias for Anna Maria Assunta Andreassi, is one of the very first female composers of Library Music in Italy while Zollinger is linked to Sergio Pagano, brother of the famed Italian author, composer and singer Mario Pagano. Originally released in 1973 for the private studio label ‘Ludo Record’, this album remained in the obscurity for almost 50 years, it’s so rare that only very few hardcore record collectors know it, we even doubt about its existence at all.. so we're now glad to bring it back to life! A countless breaks galore, filled with outstanding funk grooves and chasing beats. The jam sounds like a missing link between The Fine Machine ‘Habitat’ and the legendary Arawak ‘Accadde a..’ recordings, with its uptempo rhythms allover and the coolest funky instrumentation played by a mysterious studio group.

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Giovanni Tommaso

Indefinitive Atmosphere

36,99 €*