Jazz | Fusion Vinyl 634 Items

Release: 1985 / US – Reissue

Genre: Organic Grooves

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LP | 1985 | EU | Reissue (Black Sweat)

Moon On The Water

The Charles Lloyd Quartet

Release: 1985 / EU – Reissue

Genre: Organic Grooves

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A mysterious sound aurora on the magical paths of the infinite universe of percussion, originally released in 1985 and then almost completley lost. The well-educated drummer Tiziano Tononi, together with David Searcy and Jonathan Scully, while working at the temple of the classical music Teatro alla Scala in Milano decides to realize a personal compendium of sounds using only purcussion instruments. The recordings offer us an amazing concert of sounds with acoustic purity in perfect balance between wild rhythm and deep relaxation. Ecstatic elements of Japan ambient minimalism dialogue with contemporary music solutions (Varese, Ligeti), in the stream of a harmonious fusion of ancient and modern. It’s a propitiatory ceremony of supernatural things that open portals of blissfulness, tribal and shamanic darkness, timeless jungles. Between amazon fires and African safaris, we float in the Asian rivers of meditation, lost in water games, echoes of caves and rocks in the night, synergies of frogs, birds, snakes, marimbas, chimes, gongs, and tubular woods.

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The Flowering

LP | 1971 | EU | Reissue (Speakers Corner)

32,99 €*

Release: 1971 / EU – Reissue

Genre: Organic Grooves

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LP | 1974 | CA | Reissue (Return To Analog)

Ted Moses Quintet

Sideral Time

Release: 1974 / CA – Reissue

Genre: Organic Grooves

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Cecil McBee

Mutima

LP | 1975 | US | Reissue (Black Jazz)

Release: 1974 / UK – Reissue

Genre: Organic Grooves

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

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Cleveland Eaton

Plenty Good Eaton

Release: 1975 / US – Reissue

Genre: Organic Grooves

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Still Way (Wave Notation 2)

Satoshi Ashikawa

LP | 1982 | EU | Reissue (WRWTFWW)

LP | 1974 | IT | Reissue (Four Flies)

Release: 1982 / EU – Reissue

Genre: Organic Grooves

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Artwork by Hiroshi Yoshimura, 350gsm Sleeve with selected UV High Gloss Varnish, Liner Notes by Midori Takada, Satoshi Ashikawa, and Gareth Quinn Redmond. Official reissue of Satoshi Ashikawa’s highly sought after Japanese ambient/environmental masterpiece Still Way (Wave Notation 2), originally released in 1982.

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Alessandro Alessandroni

Spontaneous

LP | 1970 | US | Reissue (Blue Note)

Release: 1974 / IT – Reissue

Genre: Organic Grooves

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Maybe the best Alessandroni’s album ever. A true holy-grail for any collector and worldwide music lover, which we can consider nowadays as the most sought-after record of the whole legendary RCA SP 10000 series, and as the rarest album from the king of Italian libraries.
Jazz, mellow-funk, downtempo breaks, and incredible rock blends, make this record a refined portrait of the 70’s American way of life, viewed through the fully Italian lens of Alessandroni’s sensitivity.
The magic around Spontaneous is that this album is not only beautiful and astonishing, but is certainly on of those amazing records to which time gives new life and freshness, making it sounds unbelievably contemporary.
After five years of exhausting research, and three years later the finding of the original master tapes of the album, finally Four Flies can give a light to this obscure and fascinating mystery, rescuing it from the darkness. It’s not just another piece of Alessandroni’s legacy that is finally put back in the right place. This should be considered as the definitive act to re-estabilsh Alessandroni's leadership into the library music scene, and beyond.
Available again from July 19, coming in 180gr black vinyl, housed in a hard tip-on sleeve cover.
Limited Edition 500 copies

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Reuben Wilson

Blue Mode

LP | 1971 | UK | Reissue (Pure Pleasure)

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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Stanley Turrentine

Sugar

Paul Baillargeon & Dean Morgan

Release: 1971 / UK – Reissue

Genre: Organic Grooves

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

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Viens, Mon Amour

LP | 1970 | EU | Reissue (Tresor National)

19,79 €* 21,99 € -10%

LP | 1970 | EU | Reissue (Mr Bongo)

Release: 1970 / EU – Reissue

Genre: Organic Grooves

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Tresor Notional is a new Montreal-based record label dedicated to reissuing long lost gems recorded in Quebec (Canada). Their inaugurational release will be o 180g vinyl-only official reissue of the 1970 cult classic “maple syrup porn” soundtrack “Viens, mon amour’ (Love in a 4 letter World), composed by Paul Baillargeon (Star Trek TV series, Jean- Pierre Ferland's Soleil, Curious Georges) and Dean Morgan.
Between 1968 and 1974, Quebec was exposed to unabashed exploitation cinema. Erotic and taboo, these B-movies took on the name of films de fesses (titty films) or “maple syrup porn”. The genre produced some of the most delectable and collectable soundtracks at the time while “Viens, mon amour” easily stands out as one of the sexiest example ever recorded in La Belle Province! Original pressings are scarce and have been highly sought-after for decades by collectors from around the world. This remastered reissue highlights every sensual, psychedelic and
funky side, where rare grooves mix with delicate pop songs and Moog- infused, fuzz-driven titles with hard-hitting brass. A true gem for cinephiles, DJs and all diggers of exotic sounds... with a distinctive Québécois feel.
This first-ever reissue also includes extensive liner notes, rare artwork and exclusive commentaries from the composers. Pressed at 1000 copies, the album will be released in June 2019.

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Minoru Muraoka

Bamboo

LP | 1970 | EU | Reissue (Amercia)

Release: 1970 / EU – Reissue

Genre: Organic Grooves

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Japanese jazz/breakbeat, folkloric mega-rarity as hallowed the likes of DJ Shadow, Cut Chemist, Egon and co. Uniquely combines traditional Japanese instrumentation with Western jazz influences. Minoru Muraoka plays ‘shakuhachi’ – a traditional bamboo Japanese flute – joined by his band members accompanying him on the ‘koto’ (strings) and ‘tsu-tsumi’ (drum) amongst others, to create their ‘Shakuhachi Jazz’ sound.

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Noah Howard

Space Dimension

41,99 €*

LP | 1972 | EU | Reissue (Be With)

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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John Cameron

Jazzrock

LP | 1972 | US | Reissue (Return To Analog)

Release: 1972 / EU – Reissue

Genre: Organic Grooves

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

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Billy Robinson

Evolution's Blend

Release: 1972 / US – Reissue

Genre: Organic Grooves

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LP | 1974 | EU | Reissue (Croatia)

Tihomir "Pop" Asanovic

Majko Zemljo

LP | 1981 | US | Reissue (Pure Pleasure)

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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This release comes on 180 gram vinyl in a fold out cover with an insert.

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Adele Sebastian

Desert Fairy Princess

Karlton Hester And The Contemporary Art Jazz Movement

Release: 1981 / US – Reissue

Genre: Organic Grooves

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

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Hesterian Musicism

LP | 1982 | EU | Reissue (Cool Cult)

14,99 €*

Haruomi Hosono, Takahiko Ishikawa & Masataka Matsutoya

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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The Aegean Sea

LP | 1979 | EU | Reissue (Victory)

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

Release: 1979 / EU – Reissue

Genre: Organic Grooves

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1979’s The Aegean Sea is somewhat of a companion piece to the previous year’s Pacific. A beautiful piece of Japanese smooth fusion-jazz with elements of traditional Greek music and Balearic grooves, it’s one of Hosono’s cleanest and most focused works to date. Long sought after by collectors this record is nearly impossible to find in original pressings outside of Japan and this is a welcome reissue of one of the greatest titles in Hosono’s seemingly infinite catalog. Essential Japanese jazz fusion.

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Clifford Jordan Quartet

Glass Bead Games

50,99 €*

LP | 1973 | UK | Reissue (Pure Pleasure)

Release: 1973 / US – Reissue

Genre: Organic Grooves

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

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

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

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

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Charles Brackeen

Rhythm X

LP | 1979 | EU | Original (Nyami Nyami)

Release: 1973 / UK – Reissue

Genre: Organic Grooves

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

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New Tutenkhamen

I Wish You Were Mine

LP | 1973 | EU | Reissue (Verve)

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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Stan Getz & Bill Evans

LP | 1989 | EU | Reissue (Joe Tossini Music)

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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More information coming soon.

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Joe Tossini And Friends

Lady Of Mine

LP | 1980 | UK | Reissue (Pure Pleasure)

Release: 1989 / EU – Reissue

Genre: Organic Grooves

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A download code is included. Carefully ReEdited, 100% Original Lady of Mine is the 1989 debut LP by self-made Italian-American Joe Tossini. An astoundingly honest, passionate record of cosmopolitan lounge music, he willed this charming suburban oddity into existence without any formal musical training.

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John Hicks

Hells Bells

2LP | 1979 | EU | Reissue (Honest Jon's)

Release: 1980 / UK – Reissue

Genre: Organic Grooves

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

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Derek Bailey & Tony Coe

Time

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

Release: 1979 / EU – Reissue

Genre: Organic Grooves

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Multi-reedist Tony Coe was born in 1934, four years after guitarist Derek Bailey. He cut his teeth as a career jazzman with Humphrey Lyttleton, before an extended stint with the Kenny Clarke/Francy Boland Big Band. On this rare 1979 duo outing, he sticks to clarinet. And though that instrument has an illustrious jazz pedigree, Coe’s playing here is something else.

It’s worth noting that the clarinettist has also played under the baton of arch-modernist Pierre Boulez, the kind of composer Derek Bailey enjoyed taking to task in his book Improvisation. You might think the Frenchman’s uncompromising serialism and the free playing Bailey defended with such passion all his life would have little in common, yet both men were hugely influenced by Anton Webern. It’s an influence you can hear right through Bailey’s career in his obsessive exploration of tight parcels of registrally-fixed pitches, notably those trademark ringing harmonics. Meanwhile, Coe’s meandering semitones and sinuous arabesques here recall both Boulez’s clarinet writing in Domaines, and the harmonic world of Boulez’s own teacher Olivier Messiaen.

Still, no traditional classical musical notation could ever render the extraordinary rhythmic subtlety and timbral complexity of this music. It’s at one and the same time dazzlingly virtuosic — Coe and Bailey are on stellar form throughout, and have enough sense to, yes, accompany each other where needs be — and supremely lyrical and spacious.

An absolute delight.

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Herbie Hancock

Crossings

29,99 €*

An Evening With The Devil

Release: 1972 / EU – Reissue

Genre: Organic Grooves

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

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Wendell Harrison

LP | 1972 | UK | Reissue (Pure Pleasure)

LP | 1980 | EU | Reissue (Out-Sider)

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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Tony Branker

For The Children

LP | 1971 | EU | Reissue (Musik Produktion Schwarzwald)

Release: 1980 / EU – Reissue

Genre: Organic Grooves

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First ever vinyl reissue of this Spiritual / Modal Jazz private album from 1980, originally released on the RPC custom label from the US. Including top modal tracks like “Do Dat” or “Circles”, the terrific jazz-funk of “Unicorn” and more.
"For The Children" was written and produced by Anthony "Tony" Branker while he was a senior in the Princeton University Department of Music in 1980. It features Branker on trumpet, a young Stanley Jordan on guitar (this is his earliest recorded work), Glenn Cashman on alto, soprano and tenor sax, Gary Monhein on piano, Dan Krimm on bass and Jeff Penney on drums.
Remastered sound, original artwork.

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Michael Naura Quartett

Call

Release: 1971 / EU – Reissue

Genre: Organic Grooves

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LP | 1971 | EU | Reissue (Musik Produktion Schwarzwald)

Volker Kriegel

Spectrum

Release: 1971 / EU – Reissue

Genre: Organic Grooves

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LP | 1973 | EU | Reissue (Aguirre)

Black Artists Group

In Paris, Aries 1973

2LP | 1981 | EU | Reissue (Outernational)

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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Outstanding free jazz session recorded in 1973 in Paris by Chicago outfit BAG. It was Lester Bowie, trumpeter with the Art Ensemble of Chicago, who suggested that the Black Artists’ Group (BAG) should head for Paris. In 1972 several members of BAG took his advice and flew to France for an extended stay. The following year a concert featuring saxophonist Oliver Lake, trumpeters Baikida Carroll and Floyd LeFlore, drummer Charles Bobo Shaw and trombonist Joseph Bowie (Lester’s younger brother) was recorded and subsequently issued as In Paris, Aries 1973, a strictly limited edition LP on the group’s own label. Since the formation of Black Artists’ Group in 1968, the home of this multidisciplinary arts collective had been St Louis, Missouri, the city where the Bowie brothers had grown up. It was there that Lester Bowie had started to investigate the expanding horizons of jazz before moving, in 1966, to Chicago where he joined the recently established Association for the Advancement of Creative Musicians (AACM). His close friend Oliver Lake visited Bowie, attended AACM concerts and meetings and was inspired not only by their artistic vision and integrity but also by their efficient organisation. In Chicago musicians were making things happen for themselves, taking control of their own destinies and giving shape to their lives as creative artists.

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Creative Arts Ensemble

One Step Out

32,99 €*

LP | 1981 | EU | Reissue (Rebirth On Wax)

Release: 1981 / EU – Reissue

Genre: Organic Grooves

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

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

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

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

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

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

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Louis Xavier

Ladja

22,99 €*

LP | 1971 | EU | Reissue (Cree)

Release: 1981 / EU – Reissue

Genre: Organic Grooves

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Recorded in 1981 in France.. Great compositions here, Jazz with West Indies soul!

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Modern Sound Quintet

Otinku

16,99 €*

Release: 1971 / EU – Reissue

Genre: Organic Grooves

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Alan Hawkshaw & Brian Bennett

Synthesizer And Percussion

LP | 1974 | UK | Reissue (Be With)

LP | 1974 | UK | Reissue (Be With)

Release: 1974 / UK – Reissue

Genre: Organic Grooves

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

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

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

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

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

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James Clarke

Mystery Movie

LP | 1979 | EU | Reissue (Sommor)

Release: 1974 / UK – Reissue

Genre: Organic Grooves

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James Clarke’s Mystery Movie was released in 1974 as “modern, small group compositions in various moods. Ideally suited to the new Americanised style of T.V. and cinema film where music is used to create the mood and carry the action”.

So this collection covers a lot of bases, but it does so brilliantly and has absolutely no right to be such a fantastic listen from start to finish.

Mystery Movie is best known for the slick drum breaks underpinning the top-notch jazz-funk chase theme “Car Patrol”, the fuzz riffing and ARP soloing of “The Heavies” and the slow-mo strut of “Mystery Moll”. “Study In Fear” and “Empty Streets” are horror soundtrack fodder of the finest sort.

However, it’s the understated, plaintive pieces that we find the most rewarding. Ambient feels and strung-out fried-folk treats, full of cyclical naïve melodies. Music that evokes the ‘downlifting’ Ronnie Lane and Ron Wood instrumentals from their great Mahoney’s Last Stand LP, as well as the beautiful soundtrack work of Jack Nitzsche and Ry Cooder. You might also recognise “Waiting Game” from being sampled by melodic downbeat masters Express Rising.

Check “Relaxed Theme”, “Quiet Girl”, “Routine Procedure” and “Quietness Sustained” for a melodic, melancholic set, with the last three performed on just acoustic guitar and harp. Gorgeous work.

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

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Benoit Widemann

Tsunami

LP | 1975 | UK | Reissue (Be With)

Release: 1979 / EU – Reissue

Genre: Organic Grooves, Electronic & Dance

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Second album, released in 1979, by French keyboard wizard Benoit Widemann (ex-Magma). “Tsunami” is an incredible mix of electronics and jazz-fusion with prog / avant-garde /minimal elements. Treated Minimoog, Oberheim synths, Rhodes, early computer sequencing plus bass, drums, guitar, sax… Featuring Jean-Pierre Fouquey (ex-Magma), Jean-Pierre Grasset (Verto) and Jean-Paul Ceccarelli among others.
"Digital computer-based sound in 1979! We were the avant-garde!" - Benoit Widemann.

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Francis Coppieters

Piano Viberations

Big Business / Wind Of Change

Release: 1975 / UK – Reissue

Genre: Organic Grooves

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Piano Viberations’ “small group jazz featuring piano and vibes with rhythm” makes for a gorgeous Francis Coppieters showcase, surely one of Belgium’s best-kept musical secrets. Released in 1975, and arguably the most low-key of the KPM and Themes records we’re re-issuing, this is easily our current favourite.

“The Open Highway” is the appropriately-named opener, and immediately demonstrates Coppieters’ dexterous interplay between piano and vibes in assured, joyous fashion. The shuffling bossa of “Sales Notes” is a jaw-dropper, well-mined by samplers with impeccable taste. The mellow head-nod drum-break that is “Funky Chimes” brilliantly demonstrates Coppieters’ quiet majestic side with its slow-motion funk rhythm with beautifully reflective notes throughout.

The upbeat and joyful “Cross Talk” closes out side A. Vibes and piano are definitely at the heart of the arrangement here. The quick cut movement of “Piano In Transit” is another gem, driven principally by piano but those vibes along for more than just the ride. On a more gentle, elegiac note, “To Shearing With Love” is a warm, slow, romantic piece in the style of George Shearing. It’s plaintive and sublime.

Piano Viberations is one of those rare library records the original description of which makes as much sense now as it did when it was first released. Piano and vibes with rhythm indeed.

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

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V.A.

LP | 1973 | UK | Reissue (Be With)

Keith Mansfield & John Cameron

Release: 1973 / UK – Reissue

Genre: Organic Grooves

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

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

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

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

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

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

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

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Voices In Harmony

LP | 1973 | UK | Reissue (Be With)

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

Release: 1973 / UK – Reissue

Genre: Organic Grooves

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

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

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

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Erik Andresen Quartet

Gip

Release: 1971 / EU – Reissue

Genre: Organic Grooves

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Melodic Energy Commission

Migration Of The Snails

LP | 1980 | EU | Reissue (Telephone Explosion)

LP | 1986 | EU | Reissue (BeauMonde)

Release: 1980 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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Melodic Energy Commission is a Canadian gem and an interesting branch of the Hawkwind family tree (featuring Del Delmar on electronics.) Hailing from British Columbia, their unique blend of space rock, progressive and hippie psychedelia began in 1977 as a recording-only project titled "The Melodic Energy Commission of Collected Artists."

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Digital Caresse

Demain

LP | 1986 | US | Reissue (Musique Plastique)

Release: 1986 / EU – Reissue

Genre: Organic Grooves

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

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Colman

Daedalus

2LP | 1983 | EU | Reissue (BBE)

Release: 1986 / US – Reissue

Genre: Organic Grooves, Electronic & Dance, Classical Music

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

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Takeo Moriyama

East Plants

41,99 €*

LP | 1971 | UK | Reissue (Pure Pleasure)

Release: 1983 / EU – Reissue

Genre: Organic Grooves

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Originally released in 1983 on the Japanese VAP
label, ‘East Plants’ is an essential album in the J
Jazz canon. It’s an album that distils several key
characteristics of Moriyama’s music: clearly
articulated and inventive rhythms, open yet orderly
arrangements, and an accessible groove balanced
with a graceful control.
‘East Plants’ features no piano, just percussion,
bass and reeds. From the luxurious raga-like build
of the album’s hypnotic title track and the fierce
post-bop workout of ‘Fields’, to the stately modal
track ‘Kaze’ ( as featured on the sell-out BBE
compilation, ‘J Jazz: Deep Modern Jazz From Japan
1968-1984’), the album was, until now, a rarely
acknowledged masterpiece. ‘East Plants’ shows
Moriyama’s quintet at their most transcendent:
delicate layers of percussion by Yoji Sadanari, a
warm and pliant bass from Hideki Mochizuki, with
colour and texture provided by the eloquent reed
work of Shuichi Enomoto and Toshiko Inoue. And,
overseeing it all, Moriyama’s discreet yet
commanding drumming.
The BBE J Jazz Masterclass Series is curated by
Tony Higgins and Mike Peden and is dedicated to
presenting the very finest in Japanese jazz. The
series will feature rare, long-lost and unreleased
material presented in the highest quality
reproductions of the original releases, fully licensed
and authorised.

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Music Inc.

LP | 1971 | UK | Reissue (Pure Pleasure)

Release: 1971 / UK – Reissue

Genre: Organic Grooves

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

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Phil Ranelin

Vibes From The Tribe

2LP | 1980 | UK | Reissue (BBE)

Release: 1971 / UK – Reissue

Genre: Organic Grooves

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

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Ralph Thomas

Eastern Standard Time

LP | 1973 | US | Reissue (Cobblestone)

Release: 1980 / UK – Reissue

Genre: Organic Grooves

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Following hard on the heels of BBE delving into the archives of
Detroit’s Strata Records and delivering their widely acclaimed
and hugely in-demand exploration of J-Jazz, comes another
crate digger’s delight- Ralph Thomas’ ‘Eastern Standard Time’,
which dropped the USA back in in 1980, on the obscure Zebra
Jazz imprint.
This is the is the kind of “spiritual’ jazz gem that appears on You
Tube and upon checking it out on Discogs reveals a price well in
excess of £150.00. To have it widely available in its original
vinyl format, as well as digitally and on CD, is a real treat. So,
who is Ralph Thomas?
The self-produced ‘Eastern Standard Time’ features Thomas on
baritone, alto and tenor saxophones as well as flute and
percussion. He describes himself as a practicing ethnomusicologist
who’s musical vision evolved during the Sixties and
it’s Thomas’ multifaceted, global approach that gives the music
on Eastern Standard Time’ an engaging and distinct flavour.
"My music has always been open to different cultures and
sounds Afro-Cuban, Brazilian, Mexican, Peruvian, American,
Hebrew, Turkish, African, Indian and Japanese,” declares the
Chicago born musician. While attending the Chicago
conservatory of music in 1969 he became a member of the
Chicago A.A.C.M, studying with master musicians Phil Cohran
and Richard Muhal Abrams. He also recorded with well-known
blues legends, Howlin' Wolf and Mighty Joe Young for the Cadet
imprint of Chess records.
In 1974, he moved to Los Angeles and was employed as a
session player with both 20th Century Fox and Motown – where
he recorded with Marvin Gaye, Jermaine Jackson, Smokey
Robinson and Rick James. In the early Eighties he was working
for Quincy Jones Productions appearing on the soundtrack of
Roots and The Color Purple but a passion for reggae music led
him to Jamaica where he recorded with producer Jack Ruby and
artists like Augustus Pablo and Gregory Isaacs.
In ’86 he moved to NYC where he collaborated with Boogaloo
legend Johnny Colon and played with like-minded musical
explorers Sun Ra, Don Cherry and Olatunji. However, by 1993
his restless spirit carried him to Paris where studied
Ethnomusicology and performed with trumpeter Mra Oma and
film-maker Ranaivo-Rajaona Hery. There were also gigs with
percussionist Trilok Gurtu as well as drummer Sunny Murray
and saxophone legend Archie Shepp. Upon moving to the
South of France Thomas ran an art gallery and initiated his
MusArt project – which has since toured in the US, Canada and
Japan
After a productive stint in Chiang Mai, Thailand – where he
immersed himself in Issan culture – Ralph Thomas recently relocated
back to the US to live and work.

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Norman Connors

Dark of Light

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

Release: 1973 / US – Reissue

Genre: Organic Grooves

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180 gram vinyl!

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Billy Cobham

Spectrum

29,99 €*

12" | 1983 | EU | Reissue (Best Record Italy)

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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Billy Cobham is one of the greatest jazz-fusion drummers from
the last decades. Shortly after he left the band Mahavishnu
Orchestra he released his debut solo album Spectrum. Influenced
by the music of Miles Davis he combines elements from the jazz
with rock and psychedelia. From the subtle parts to the more
aggressive moments, it’s an album in which Cobham shows his
identity to the public. The music quartet recorded some lengthy
pieces, out of which “Stratus” is the absolute masterpiece. The
funky grooves and effective guitar melodies blend together very
well and the jazz comes alive in the outstanding drum play by
Cobham. “Quadrant 4” is another great track in which the music
erupts and the synergy between the musicians can be felt.
As a member of the Mahavishnu Orchestra and in his
collaboration with Miles Davis, Billy Cobham earned recognition
for his impressive playstyle and live performance.

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Tullio De Piscopo

Stop Bajon

16,99 €*

LP | 1974 | US | Reissue (BMG)

Release: 1983 / EU – Reissue

Genre: Organic Grooves

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Originally released in 1983 Stop Bajon (Primavera) became a favourite in Rimini Discotheques, Balearic Islands and even Chicago during the early house days. It was an anthem on what went on to become the Italo Disco movement. The vocal mix is still revered and played to this day by DJ's such as DJ Harvey at his Mercury Rising night at Pikes, Ibiza. This special limited edition release from Best Record Italy features for the first time the original acapellas (tracked down during tape restoration) plus the song Stadera that was available only on the first italian pressing and of course the original extended club vocal and instrumental.

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Weldon Irvine

Cosmic Vortex

LP | 1975 | US | Reissue (Chiaroscuro)

Release: 1974 / US – Reissue

Genre: Organic Grooves

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180 gram vinyl!

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Dollar Brand

Soweto

Release: 1975 / US – Reissue

Genre: Organic Grooves

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LP | 1981 | EU | Reissue (Warner Music Poland)

Stanislaw Sojka

Blublula

18,99 €*

Release: 1981 / EU – Reissue

Genre: Organic Grooves

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LP | 1973 | EU | Reissue (Warner Music Poland)

Novi Singers

Rien Ne Va Plus

26,99 €*

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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This is 180g vinyl.

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Harold Vick

Don't Look Back

Release: 1974 / UK – Reissue

Genre: Organic Grooves

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Norman Connors

Love From The Sun

Release: 1974 / UK – Reissue

Genre: Organic Grooves

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LP | 1974 | US | Reissue (Muse)

Pat Martino

Consciousness

Max Roach & Clifford Brown

Release: 1974 / US – Reissue

Genre: Organic Grooves

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Muse 5039

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Daahoud

LP | 1972 | US | Reissue (Mainstream)

18,99 €*

Release: 1972 / US – Reissue

Genre: Organic Grooves

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LP | 1971 | US | Reissue (Kudu)

Johnny Hammond

Breakout

Release: 1971 / US – Reissue

Genre: Organic Grooves

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LP | 1979 | US | Reissue (CTI)

Joe Farrell

Outback

Release: 1979 / US – Reissue

Genre: Organic Grooves

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LP | 1973 | UK | Reissue (Pure Pleasure)

Billy Harper

Capra Black

Release: 1973 / UK – Reissue

Genre: Organic Grooves

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Shamek Farrah

First Impressions

Release: 1974 / UK – Reissue

Genre: Organic Grooves

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Jazz At The Philharmonic: Lester Young Carnegie

Lester Young

LP | 1985 | US | Reissue (Verve)

37,99 €*

Release: 1985 / US – Reissue

Genre: Organic Grooves

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2LP | 1971 | US | Reissue (Now-Again)

The Lightmen Plus One

Fancy Pants

Sings The Duke Ellington Songbook

Release: 1971 / US – Reissue

Genre: Organic Grooves

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Revolutionary, spiritual jazz from Houston, reissued for the first time – expanded reissue of The Lightmen Plus One’s Spiritual Jazz classic, on sale and shipping now. (Worldwide release in March.) The second in a series of four expanded reissues of drummer and bandleader Bubbha Thomas’s lauded catalog.

Now-Again Records celebrated the expanded reissue of The Lightmen’s Fancy Pants with a pop-up record shop at Rappcats on February 24th. The sale was hosted by Egon of Now-Again, with records sourced from Bubbha Thomas and his Lightmen bandmates: saxophonist Doug Harris and bassist Don Patterson’s collections, one-of-a-kind rarities and classic soul, funk, jazz and rock LPs and 45s that inspired Thomas and his band.

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Ella Fitzgerald

2LP | 1975 | EU | Reissue (Waxtime)

28,99 €*

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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LP | 1973 | UK | Reissue (Pure Pleasure)

Cecil Payne

Zodiac

LP | 1971 | EU | Reissue (Nelson)

Release: 1973 / UK – Reissue

Genre: Organic Grooves

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

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

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I Marc 4

G.L.P. 1007

LP | 1974 | EU | Reissue (Discmedi)

Release: 1971 / EU – Reissue

Genre: Organic Grooves

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The best and most valued volume of GLP series featuring the fantastic modal madness of "André", "Peroche", "Suoni Distorti" and the milestone “Alfio” feat the flute by Alfio Galigani. The music goes from insane Psychedelic tunes to Jazz, Funk and more Bossa and Lounge tracks with plenty of Fuzz guitars, amazing Hammond job, and totally catching drum Breaks. An insane trip into early gold Italian Psychedelic and Underground vibes with loads of laden beats and grooves with the mark of the legendary Italian quartet. Simply essential!

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Tete Montoliu

Boleros

Billy Parker's Fourth World

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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A reissue of a fine Spanish jazz-album, recorded in 1975. Here Tete Montoliu is accompanied by Manuel Elias (bass), Peer Wyboris (drums) and Rogelio Juárez (percussion).

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Freedom Of Speech

LP | 1975 | UK | Reissue (Pure Pleasure)

LP | 1971 | EU | Reissue (Musik Produktion Schwarzwald)

Release: 1975 / UK – Reissue

Genre: Organic Grooves

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

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Monty Alexander

Here Comes The Sun

Release: 1971 / EU – Reissue

Genre: Organic Grooves

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Very Special Stash: Best Of Reefer Songs

V.A.

LP | 1981 | US | Reissue (Stash)

Descendants Of Mike And Phoebe, The

Release: 1981 / US – Reissue

Genre: Organic Grooves

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Originally released in 1981, now available again on vinyl, this is a very stoned collection of jazz tunes about - or dedicated to - grass, weed, marihuana, Marie-Jane or whatever you call it in your neighborhood.

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A Spirit Speaks

LP | 1979 | EU | Reissue (Far Out)

Release: 1974 / UK – Reissue

Genre: Organic Grooves

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

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Antonio Adolfo

Viralata

LP | 1974 | EU | Reissue (BBE)

Release: 1979 / EU – Reissue

Genre: Organic Grooves

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Far Out Recordings are honoured to be working with master composer, arranger and pianist, Antonio Adolfo for the first time since releasing his Destiny album in 2007. This time we present the first ever vinyl reissue of his era-defining Viralata LP: An essential album from Brazil's majorly progressive heyday of late seventies jazz-funk. Viralata is a sacred artefact of Brazilian music, which Antonio himself describes as ‘a product of my hybrid musical influences that joins together flavours of marchinhas de carnaval, frevo, toada, classical, baião, mpb and jazz, etc’.
The album’s first track ‘Cascavel’ is the emotionally charged, celebratory dance anthem, which became a London jazz-dance classic in the early ‘90s after Far Out label boss Joe Davis discovered a handful of copies in a second hand shop in Sao Paulo and brought them back to London to sell to DJs like Gilles Peterson and Patrick Forge. In recent years the track has been played out by the likes of Floating Points, Mr Scruff and Andrew Ashong, it was also the last song ever to play on the hallowed soundsystem of London’s beloved club Plastic People…

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Bert Myrick

Live N' Well

20,99 €*

LP | 1982 | EU | Reissue (High Jazz)

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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Rescued from relative obscurity by DJ Amir’s 180 Proof Records, BBE is delighted to present a gem from the tiny yet highly influential catalogue of Strata Records, Bert Myrick’s ‘Live ‘n Well’. This is the first in a long line of reissues focusing on the Strata catalog details attached.

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Potter & Tillman

…Space…Rapture

29,99 €*

LP | 1972 | EU | Reissue (Wagram)

Release: 1982 / EU – Reissue

Genre: Organic Grooves

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Reissue from this soul/jazz-funk fusion album originally released in 1982 on Poet Records. 500 copy LTD edition!
This sought-after album is an amazing and unique creative project produced and composed by David Eric Tillman including outstanding performances by some of the highest-level musicians whose common thread was their ability to kill up tempo and modal bop and excel in this jazz-funk/fusion style thanks to their up bop think quick knowledge.

This gem contains nothing but brilliant tracks like “…Space…Rapture”, “Love Is How”, “New Anniversary Waltz”, “It Must Be E.S.P.” and “(Sing) A Simple Song Of Praise”. Incredible golden lead and backing vocals, a super tight rhythm section, forward thinking arrangements, and an amazing combination of piano, Rhodes and various remarkable synthesizers makes this recording timelessly fresh. The beautiful “Time Is Love”, a tune of positive outlook written during her jazz composition studies, is performed by the one and only Carmen. Killer from the beginning to the end, one of our all-time favorite soul/jazz-funk LPs.

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Billie Holiday

Strange Fruit

15,99 €*

Release: 1972 / EU – Reissue

Genre: Organic Grooves

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LP | 1979 | EU | Reissue (Wagram)

Dave Brubeck

Take Five

15,99 €*

Release: 1979 / EU – Reissue

Genre: Organic Grooves

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LP | 1972 | EU | Reissue (Strut)

Mulatu Astatke

Mulatu Of Ethiopia

Israel Suite / Dominante En Bleu

Release: 1972 / EU – Reissue

Genre: Organic Grooves

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Strut present the first official reissue of a landmark album in the field of African music, Mulatu Astatke’s ‘Mulatu Of Ethiopia’ from 1972. Recorded in New York, the album arrived at a time when Astatke had begun to master the delicate fusion of styles needed to create Ethio jazz.

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Rupture

LP | 1973 | EU | Reissue (Sommor)

LP | 1972 | EU | Reissue (Speakers Corner)

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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Impossible to find Spiritual Jazz / Funk / Groove / Psych rarity from France, 1973.

Rupture was born when famous French songwriter Boris Bergman (France Gall, Dalida, etc) decided to record a conceptual album about the history of Israel. He approached ace drummer and singer Sylvain Krief (Airto Fogo, Michel Fugain, Aznavour, Clark Terry, Bud Powell, etc) and soon, other musicians joined: Jean-François Jenny-Clark (Don Cherry, Steve Lacy, etc) on bass, Georges Locatelli (Total Issue) on guitar, Jean-Pierre Mas (piano, organ, guitar, vocals…) In resume, Rupture was a kind of super-group featuring some of the best musicians from the Euro jazz / progressive / fusion scene. It also included collaborations by Michel Fugain and Nicole Croisille.

The album was recorded over a period of three months and the result was released as a very limited private pressing with help from the Futura label. Arranged by Sylvain Krief and Jean-Pierre Mas, “Israel Suite” included a side-long suite on side A and shorter songs on Side B. An incredible mix of vocal / spiritual jazz, funk, progressive, jazz-pop, psych…

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Herbie Hancock

Crossings

33,99 €*

Gary Burton & Chick Corea

Release: 1972 / EU – Reissue

Genre: Organic Grooves

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In the 1970s, Herbie Hancock’s "Crossings" was to be found on every IKEA record shelf in the student pads of jazz-fusion fans. The cover, with its psychedelic touch, also contributed significantly to its popularity – although it was unclear where the crossing was going to take us …
Nevertheless, the excellent trumpeter Eddie Henderson – often underestimated as an improviser and composer, and Benny Maupin – who like Hancock had grown up under Miles Davis’s wing, present a wide range of sound-generating instruments – as was all the rage in those days. Synthesizer and Mellotron (a polyphonic tape replay keyboard and as such practically the prototype of the sampler) were permanent members of the group – and even produce here melodic arches of sound! Whether Bennie Maupin’s "Quasar" launches the group and us into extraterrestrial territory (as stated in one review) is a moot point.
This LP is a contemporary historical document, though it certainly doesn’t sound antiquated. That’s why younger listeners too will find pleasure in this experiment from the previous millennium.

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

Recording: February 1972 at Pacific Recording Studios, San Mateo, CA., by Patrick Gleason
Production: David Rubinson

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Crystal Silence

LP | 1973 | EU | Reissue (ECM)

2LP | 1972 | EU | Reissue (ECM)

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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The Corea/Burton duo was brought together by producer Manfred Eicher, and “Crystal Silence” brought a new chamber music sensibility into jazz improvisation, distinguished by an effervescence of melody and countermelody, with synchronized cascades of sound in continually changing harmonic movement.

It all begins here, with “Crystal Silence”. The title says it all: silence crystallized into dazzling melodic gems, each its own prismatic doorway into improvisatory translucence. Corea offers a fine set of five compositions (the most notable being the slick opener "Señor Mouse"), along with three beautifully realized tunes by bassist Steve Swallow ("Arise, Her Eyes" being a personal favorite), and another by Mike Gibbs (the somber "Feelings And Things"). In spite of the variety of voices represented here, the album grows like one long, extended story, a dynamic that seems to shadow the musicians wherever they set foot.

The title track is a subdued tour de force in style, presentation, and content. "Falling Grace" (Swallow) is one of the shorter pieces on tap, but what it lacks in time it makes up for in exhilaration. The album ends with an instrumental version of another Return classic, "What Game Shall We Play Today." Each piece is rendered with such dynamic sensitivity that one can immediately recognize the effect Crystal Silence must have had when originally released, and no doubt continues to have to this day. Connected as they are by the same mellow fuse, these tunes need hardly a spark to set them to glowing.

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Circle

Paris Concert

34,99 €*

LP | 1973 | EU | Reissue (ECM)

Release: 1972 / EU – Reissue

Genre: Organic Grooves

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

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

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

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Dave Holland Quartet

Conference Of The Birds

LP | 1975 | EU | Reissue (ECM)

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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

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Ralph Towner

Solstice

LP | 1975 | EU | Reissue (Underdog)

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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

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

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

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Janko Nilovic

Funky Tramway

LP | 1972 | EU | Reissue (Souffle Continu)

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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Following the recent reissues of Pop Impressions, Super America, Soul Impressions, and Chorus, Underdog Records label follows-up to the series with another brilliant album by French underrated composer and producer, JANKO NILOVIC.

JANKO NILOVIC certainly was one of the greatest studio talents of Europe in the 70s!
He is a musician who devotes himself to music, which resulted in a great number of published works, but most of them made for library music labels and also not available for sale.
His oeuvre stretches from classical, jazz and funk to pop, psyche and easy listening. And has been sampled many times by hip-hop artists such as JAY-Z, DRE, DAFUNIKS or GUTS...

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Cohelmec Ensemble

22,99 €*

2LP+DVD | 1972 | EU | Reissue (Souffle Continu)

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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Barney Wilen

Moshi

39,99 €*

A Me Stesso Con Simpatia Limited Colored Edition

Release: 1972 / EU – Reissue

Genre: Organic Grooves

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In 1970 Barney Wilen assembled a team of filmmakers, technicians and musicians to travel to Africa in order to record the music of the native pygmy tribes. Upon returning to Paris, two years later, he created 'Moshi', a dark, eccentric effort fusing avant-jazz sensibilities with African rhythms, ambient sound effects and melodies rooted in American blues traditions. Cut with French and African players, including guitarist Pierre Chaze, pianist Michel Graillier and percussionist Didier Leon, this is music with few precedents or followers, spanning from extraterrestrial dissonance to earthbound, streetlegal funk. The set includes a 20-page booklet with rare pictures, sheet music and original liner notes. The DVD includes Caroline de Bendern's movie 'A L'Intention De Mlle Issoufou A Bilma', documenting this incredible African journey.

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Giacomo Dell’Orso

LP | 1975 | EU | Reissue (Cinedelic)

LP | 1985 | EU | Reissue (Orbeatize)

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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

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

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

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Armando Bertozzi

Fantastic World

12,99 €*

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

Release: 1985 / EU – Reissue

Genre: Organic Grooves

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Orbeatize first release remastered limited gatefold edition 180g, features one of the biggest italian drummers Armando Bertozzi who has made a significant contribution to the world percussion literature and considered the Polyritmia Maestro for his style of playing different ryhthms at the same time. This Album from 1985 is a true jurney into Jazz and electronic music full of ambient landscapes and atmospheres. Drums and percussions are heavy on all the songs!

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Miles Davis

Black Beauty

33,99 €*

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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2LP | 1979 | US | Reissue (Herb Alpert Presents)

Herb Alpert

Rise

28,99 €*

Release: 1979 / US – Reissue

Genre: Organic Grooves

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

Miles Davis

Big Fun

33,99 €*

LP | 1971 | EU | Reissue (Four Flies)

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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Originally released in 1974, Big Fun presents music from three different phases of Miles Davis's early-seventies "electric" period. Sides one and four ("Great Expectations" and "Lonely Fire") were recorded three months after the Bitches Brew sessions and incorporate sitar, tambura, tabla, and other Indian instruments. "Ife" was recorded after the 1972 On the Corner sessions, and the framework is similar to tracks from that record. Recorded in March 1970, "Go Ahead John" is an outtake from Davis's Jack Johnson sessions.

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The Green Birds

Diapason