Jazz | Fusion Vinyl 786 Items

Brian Auger's Oblivion Express

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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Live albums are often a "hit or miss" affair but "Live Oblivion 1 & 2" buck that trend. Recorded across 2 nights in 1974 at the Hollywood venue The Whisky A Go Go. Now released to mark the 50th Anniversary of their recording and release it"s the first ever vinyl reissue since the original releases in the 1970"s.

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Live Oblivion 2 Remastered Edition

2LP | 1974 | EU | Reissue (Soul Bank Music)

30,99 €*

LP | 1975 | AU | Reissue (Roundtable)

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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Brian Brown Quintet

Carlton Streets

33,99 €*

LP | 1976 | EU | Reissue (Sharp Flat)

Release: 1975 / AU – Reissue

Genre: Organic Grooves

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Composer and saxophonist Brian Brown produced some of the most refined Australian jazz recordings during the 1970s. A versatile musician whose distinct impressionist music melded modern jazz with the outer limits of free experimentation. Considered to be his greatest work was the 1975 concept album Carlton Streets, an ambitious recording that romanticised the sights, sounds and the nostalgia of this once-bohemian Melbourne neighbourhood. Differing from his eco-jazz composition Wildflowers heard on the recent Roundtable compilation Pyramid Pieces, Carlton Streets explores the polar opposite, offering jazz impressions of the urban environment. Comparable to other pioneering jazz-rock groups such as Ian Carr’s Nucleus and mid-period Soft Machine, the album is a mosaic of ecstatic jazz-rock groove, spirited free improvisation and expanded experimental textures. A potent fusion that owes as much to Australian 20th-century avant-garde composers as it does to the influence of the electric jazz innovators, specifically early Weather Report and Herbie Hancock’s Mwandishi. The Roundtable are pleased to showcase this important artist and offer a new edition of this landmark Australian jazz recording. Restored from the original master tapes and presented in a gatefold sleeve including liner notes and rare photos. Released for Record Store Day 2021.

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Broadway Quintet

Amalume

LP | 1971 | US | Reissue (Verve)

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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Beautiful Zambian Jazz/Rock LP. Huge Tip! Sharp-Flat Records presents the long-awaited restoration of The Broadway Quintet's cult classic Amalume – a hypnotic concoction of traditional Zambian sounds and jazz-rock grooves with a twist of 1970s African psychedelia.

Emerging to serve the entertainment needs of Zambia's United National Independence Party (unip) in the early 1960s, The Broadway Quintet gathered seasoned talent from Lusaka's best hotel bands to fashion its esteemed lineup. Starting as a quartet and later evolving into a quintet, the group's career spanned over twenty years as favourites on the cabaret circuit and boasted a myriad of prestigious collaborations.

The Broadway Quintet's jazz sensibilities set them apart from the rock sound that dominated the music landscape of the 1970s. Yet the formula behind Zamrock, fusing indigenous Zambian sounds with Western pop, shaped their one and only 1976 long-player. Featuring modern arrangements of traditional songs, Amalume blended congas with sax sounds, folk lyrics with electric keyboard shenanigans and show business staples with jazz guitar noodling. With its psychedelic fever dream illustrated cover, it was an explosive package of "originality and electrifying beauty" as the album's liner notes rightly attested.

Released on the Zambezi label, Amalume joined an exceptional run of mid-1970s offerings alongside Witch, Ricky Banda and Crossbones. Officially licensed, carefully restored and beautifully reproduced, Zambia's most requested reissue has finally returned for everybody to enjoy.

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Bruce Palmer

The Cycle Is Complete

20,99 €*

Rendez-Vous Black Vinyl Edition

Release: 1971 / US – Reissue

Genre: Organic Grooves

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180 Gram Pressing

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Bruno Nicolai

LP | 1975 | EU | Reissue (Sounds From The Screen Black Vinyl)

Rendez-Vous HHV Exclusive Green Vinyl Edition

Release: 1975 / EU – Reissue

Genre: Organic Grooves, Soundtracks

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Licensed in 1975 by Gemelli, Rendez Vous is possibly an holy grail in Nicolai long-running career as a composer. The orchestra director and musical editor is been active for at least 30 years and his majestic opus an overwhelming data for any avantgarde freak or moviegoer obsessed. While studying piano and composition at the Santa Cecilia Conservatory in Rome, he befriended Ennio Morricone and formed a long working relationship, with Nicolai eventually conducting for and co-scoring films with Morricone. Nicolai also scored a number of giallo exploitation films and wrote many scores for director Jesús Franco. His work was featured in the Quentin Tarantino films Kill Bill: Volume 2 and Once Upon a Time in Hollywood. Tension! Pretty much what this whole record is all about. An imaginary soundtrack that turned out to be an in-demand obscure library, Rendez Vous shows up the many skills of the composer and his alumni. Possibly Morricone is playing muted trumpet in several episodes – Diffidenza and Subdolamente – absorbing thrilling experiences similar to the Maestro soundtracks for Dario Argento early movies (not a case that Nicolai was the conductor for several adventures in movie sound theatre such as ‘L’Uccello Dalle Piume Di Cristallo’, ‘ Il Gatto A Nove Code’ or ‘4 Mosche Di Velluto Grigio’).

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Bruno Nicolai

LP | 1975 | EU | Reissue (Sounds From The Screen Black Vinyl)

LP | 1974 | EU | Reissue (Mr Bongo)

Release: 1975 / EU – Reissue

Genre: Organic Grooves, Soundtracks

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Green vinyl edition limited to 100 copies. Only available at HHV Records.

Licensed in 1975 by Gemelli, Rendez Vous is possibly a holy grail in Nicolai long-running career as a composer. The orchestra director and musical editor has been active for at least 30 years and his majestic opus an overwhelming data for any avantgarde freak or moviegoer obsessed. While studying piano and composition at the Santa Cecilia Conservatory in Rome, he befriended Ennio Morricone and formed a long working relationship, with Nicolai eventually conducting for and co-scoring films with Morricone. Nicolai also scored a number of giallo exploitation films and wrote many scores for director Jesús Franco. His work was featured in the Quentin Tarantino films Kill Bill: Volume 2 and Once Upon a Time in Hollywood. Tension! Pretty much what this whole record is all about. An imaginary soundtrack that turned out to be an in-demand obscure library, Rendez Vous shows up the many skills of the composer and his alumni. Possibly Morricone is playing muted trumpet in several episodes – Diffidenza and Subdolamente – absorbing thrilling experiences similar to the Maestro soundtracks for Dario Argento early movies (not a case that Nicolai was the conductor for several adventures in movie sound theatre such as ‘L’Uccello Dalle Piume Di Cristallo’, ‘ Il Gatto A Nove Code’ or ‘4 Mosche Di Velluto Grigio’).

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Burnier & Cartier

22,99 €*

Capon - Maté - Morris - Rahoerson

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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Sought-after Brazilian LP from 1974 that touches on MPB, soul, jazz, disco and boogie. Official Mr Bongo reissue. Replica original artwork. Extremely expensive theses days, this one has been on our list for a while. As
sampled by Andres on his ‘Sing About It’ collaboration with Kenny Dixon Junior aka Moodymann and on Kaytranada’s Janet Jackson flip, ‘Alright’. Championed by the likes of Jazzanova, Floating Points, Hunnee and co.
The record features Arthur Verocai and Luis Bonfa (composer Octavio Burnier’s uncle) on production/arrangement.

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LP | 1977 | EU | Reissue (Souffle Continu)

25,99 €*

7" | 1977 | EU | Reissue (Trad Vibe)

Release: 1977 / EU – Reissue

Genre: Organic Grooves

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In November 1976, Jef Gilson’s phone rang. What a surprise! It was Serge Rahoerson, one of the musicians he had met in Madagascar at the end of the 60s and who had played on his first album “Malagasy”. Rahoerson announced that he was in Paris for a few days.

Immediately, Jef wanted to organise a recording session, starting the next day. He thought of a trio including Serge, Eddy Louiss on organ and cellist Jean-Charles Capon, who had also been on one of the trips to Tananarive and so had also known Rahoerson there. Unfortunately, Eddy Louiss –who had already played with Gilson and Capon on the album “Bill Coleman Sings And Plays 12 Negro Spirituals” in 1968- had to drop out at the last minute: he was delayed by a session with Claude Nougaro. Jean-Charles Capon had also become a sought-after studio musician since his trip to Madagascar in 1969. He appeared on several key albums on the Saravah label including the now famous “Comme À La Radio” by Brigitte Fontaine, “Un Beau Matin” by Areski and “Chorus” by Michel Roques, without mentioning the album by his own Baroque Jazz Trio. He was also to be found with Jef Gilson for his album on Vogue with the ex-drummer from Miles Davis’ first great quintet, Philly Joe Jones, or also in the orchestra led by Jean-Claude Vannier for the album “Nino Ferrer & Leggs”. He also played regularly on albums by Georges Moustaki.

Jean-Charles Capon and Serge Rahoerson found themselves thus in the studio, with Jef at the controls. He had decided to record the rhythmic structure right away. He would find the soloists later, that didn’t worry him. Serge Rahoerson was on drums. Though a saxophonist by training, Jef remembered that Serge was also capable of great things behind a drum kit: he was the improvised drummer on their cover of “The Creator Has A Master Plan” on the album “Malagasy”... The great memories came flooding back (the nod on the title “Orly - Ivato”), and the old magic worked again.

Brought in momentarily from Europamerica, Gilson’s new big band, in which JC Capon also played, the saxophonists Philippe Maté, from France (another Saravah stablemate) and the American Butch Morris (soon to be a key member of David Murray’s band) were invited to record their parts later and Gilson mixed it all as if it had been one single session (as he had already done on other albums, with the tracks by Christian Vander recorded before the creation and success of Magma).

The album would not appear until 1977, on Palm, Jef’s own label, and was dedicated to the memory of Georges Rahoerson, Serge’s father, who had also played on the album “Malagasy” and who had died prematurely at the age of 51 in 1974. “I only received my own copy of the album in 1981 when I came to live in France definitively”, a still-moved Serge Rahoerson told us in 2013. “I was playing in a club one night and Jef turned up by surprise with a copy of the album for me, I was so pleased to see him again. When I arrived in France, I told everyone that I had played with Jef Gilson a few years previously, and I was surprised to learn that so few people knew of him. For us, he was of one of the great jazz visionaries.” (Jérôme "Kalcha" Simonneau)

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Caribou (Cortex)

Californie

16,99 €*

LP | 1985 | EU | Reissue (Morning Trip)

Release: 1977 / EU – Reissue

Genre: Organic Grooves

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Trad Vibe Records proudly presents a first-time reissue of Caribou, a side-project of Cortex, originally released in 1977. A great and rare double-sider jazz-funk 7inch, now available as a reissue.

French avantgarde Jazz-Funk pioneers Cortex released three milestone albums during the seventies including the iconic Troupeau Bleu. Their music has been sampled by Hip Hop artists such as MF Doom, Wiz Khalifa, Lupe Fiasco and Rick Ross and as a consequence is still very much alive today.

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Carl Erdman

Bizzarrophytes

Rise Of Atlantis Green Vinyl Edition

Release: 1985 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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

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

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

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Carter Jefferson

LP | 1979 | EU | Reissue (Music On Vinyl)

32,99 €*

LP | 1975 | EU | Reissue (Sommor)

Release: 1979 / EU – Reissue

Genre: Organic Grooves

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Carter Jefferson was an American jazz tenor saxophonist who first made name for himself as member of Woody Shaw's first working quintet. As a sideman, Carter played amongst many jazz icons, including Art Blakey, Walter Davis, Jr. And Jack Walrath. In 1978, he released his first and only solo studio album, The Rise Of Atlantis, which was produced by Woody Shaw. For the recordings, Jefferson is backed by Terumasa Hino, Harry Whitaker, Clint Houston, Victor Lewis, Steve Thornton, Lani Groves, Shunzo Ono and John Hicks. The Rise Of Atlantis is available as a limited edition of 1000 individually numbered copies on translucent green colored vinyl and includes liner notes by Michael Cuscuna on the back sleeve.

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Catch Up

Volume 1

LP | 1979 | CA | Original (Music Gallery Editions)

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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One of the best Jazz-Funk-Fusion albums from the 70s Euro scene, featuring such giants as Charly Antolini (famous for his MPS recordings) on drums, Max Greger jr. on electric piano, Moog, Hammond, Mellotron and Milan Pilar on electric bass. Top notch jamming & soulful funky-jazz sound with some kraut-prog touches, recorded at the legendary Studio 70 in Munich and originally released in 1975 on the Calig label.
Including the rare-groove classic “Onkel Joe” and more.
Original artwork and master tape sound.

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Ccmc

Free Soap Volume 4

Release: 1979 / CA – Original

Genre: Organic Grooves

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LP | 1974 | UK | Reissue (Pure Pleasure)

Cecil McBee

Mutima

LP | 1973 | UK | Reissue (Pure Pleasure)

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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Cecil Payne

Zodiac

LP | 1975 | US | Reissue (ORG Music)

Release: 1973 / UK – Reissue

Genre: Organic Grooves

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

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

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Cecil Taylor

Silent Tongues

33,29 €* 36,99 € -10%

Release: 1975 / US – Reissue

Genre: Organic Grooves

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LP | 1975 | UK | Reissue (Be With)

Cedar Walton

Mobius

LP | 1986 | EU | Reissue (Red)

Release: 1975 / UK – Reissue

Genre: Organic Grooves

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Don't judge a book by its cover. Judge a record by its cover.

And, perhaps, its title.

Cedar Walton's Mobius is as outrageously, disorientatingly brilliant as the stunning jacket design, featuring the legendary jazz pianist morphing into a mobius strip, set against a beautiful sky filled with cumulus clouds. A proper jazz-funk fusion slapfest, Mobius is a stellar electric set from - essentially - one *hell* of a SUPERBAND.

Yes, in addition to Walton's Fender Rhodes wizardry, Mobius is elevated by Ryo Kawasaki's stinging electric guitar, pristinely clear vocals by Adrienne Albert and Lani Groves, rootsy percussion by Ray Mantilla and Omar Clay, alto and baritone from Charles Davis, trumpet from Roy Burrowes, Gordon Edwards on bass and Frank Foster's tenor sax. Oh and did we mention STEVE GADD ON DRUMS?!?!

Gem after gem of looping, bliss-inducing gold, it's an incredibly revelatory album. It presents a thrilling synthesis of R&B, funk, blues and hard bop (with a hint of rock), all driven by an idiosyncratic electronic keyboard. Walton, a giant in the jazz world, got quite the workout every time he played, from piano to arp synthesizer to clarinet to electric piano to mini-moog and back again.

Mobius was Cedar Walton's debut for RCA in 1975. The versatile artist confirmed his abilities as a player, composer, interpreter and arranger with this stunning record, and his own bright compositions offered a springboard for the improvisations of the different soloists. Coltrane's "Blue Trane" is the first classic to be given the funkafied Mobius treatment, Ryo Kawasaki let loose all over neck-snapping Gadd-drum gold before the horns take a fiery turn and subsequently give way to Cedar's virtuosity. A sparkling b-boy break version of Thelonious Monk's "Off Minor" (featuring an absolutely *fire* solo from Walton) really sets proceedings alight. Of the three original pieces, the shuffling, percussive power of "Soho" is just absolutely mind bending Latin-influenced jazzy soul whilst the mellow vibes of "The Maestro" bring elegant, sumptuous soul. And then there's the effortlessly funky "Road Island Red". Just too, too good.

Cedar Walton was born in Dallas, Texas, on January 17, 1934 and began his professional career in 1959 when he began touring for several years with the J.J. Johnson Quintet. He later joined the Art Farmer-Benny Golson Jazztet and then Art Blakey's Jazz Messengers. Pretty solid credentials, right? While based in New York City, Cedar played with such luminaries as Donald Byrd, Eddie Harris, Blue Mitchell, Kenny Dorham, Lee Morgan, Freddie Hubbard, Jimmy Heath and Milt Jackson. Without question, he was one of the most complete and gifted musicians of his time and Mobius provides proof of that. The fresh, danceable tracks, all firmly rooted in the living tradition of blues and gospel, are skilfully presented by a master who enjoyed keeping abreast of contemporary tastes and was always keen to renew his language.

As the album notes state: “Mobius, which is the theoretical shape of the infinite universe, makes use of the most modern recording techniques and synthesizers. We mastered and mixed so that it’s hotter than the competition, which should help radio play and in-store demonstration.” Indeed. Mobius is really gorgeous mid-70s fusion, ranging from the funky to the ecstatic. It's an absolute MONSTER that will completely blow you away; and, yes, it's as wild and hypnotic as the cover. The audio for Mobius has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

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Cedar Walton

The Trio 3

45,99 €*

Release: 1986 / EU – Reissue

Genre: Organic Grooves

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LP | 1973 | UK | Reissue (Pure Pleasure)

Charles Brackeen

Rhythm X

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

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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Charles Mingus

Mingus At Antibes

55,99 €*

Charles Tolliver / Music Inc & Orchestra

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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

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

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

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Impact

LP | 1976 | UK | Reissue (Pure Pleasure)

East Coasting Clear Vinyl Edition

Release: 1976 / UK – Reissue

Genre: Organic Grooves

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

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Charlie Mingus

LP | 1975 | EU | Reissue (Sowing)

LP | 1974 | EU | Reissue (Speakers Corner)

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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

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Charlie Mingus

Oh Yeah

33,99 €*

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

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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

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

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

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Charlie Parker

2LP | 1977 | US | Reissue (Rockbeat)

59,99 €*

Release: 1977 / US – Reissue

Genre: Organic Grooves

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LP | 1984 | EU | Reissue (Red)

At Capolinea

56,99 €*

Release: 1984 / EU – Reissue

Genre: Organic Grooves

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LP | 1989 | EU | Reissue (Mono Jazz)

Chet On Poetry

Singin' In The Midnight Clear Vinyl Edtion

Release: 1989 / EU – Reissue

Genre: Organic Grooves

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

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Chet Baker Quartet

LP | 1987 | EU | Reissue (Klimt)

Release: 1987 / EU – Reissue

Genre: Organic Grooves

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

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

She Was Good To Me

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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

Sings Again

Release: 1986 / EU – Reissue

Genre: Organic Grooves

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Chet Baker With Bobby Jaspar

Chet Baker In Paris/Vol 3/Barclay/1956

LP | 1986 | EU | Reissue (Sam)

Release: 1986 / EU – Reissue

Genre: Organic Grooves

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LP | 1976 | US | Reissue (Shady Brook)

Cheyenne's Comin

16,99 €*

Release: 1976 / US – Reissue

Genre: Organic Grooves, Rock & Indie

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Suite Nihonkai Black Vinyl Edition

Chisato Yamada

LP | 1981 | EU | Reissue (Cinedelic)

Release: 1981 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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Suite Nihonkai Transparent Red Vinyl Edition

Chisato Yamada

LP | 1981 | EU | Reissue (Cinedelic)

LP | 1973 | US | Reissue (Catalyst)

Release: 1981 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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Limited edtion of 200 copies on transparent red vinyl.

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

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Chivo Borraro

Buenos Aires blues

Release: 1973 / US – Reissue

Genre: Organic Grooves

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2LP | 1984 | UK | Reissue (Soundway)

Circus Underwater

16,24 €* 24,99 € -35%

LP | 1975 | US | Reissue (Real Gone)

Release: 1984 / UK – Reissue

Genre: Organic Grooves, Electronic & Dance

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

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Cleveland Eaton

Plenty Good Eaton

Release: 1975 / US – Reissue

Genre: Organic Grooves

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LP | 1975 | US | Reissue (Black Jazz)

Cleveland Eaton

Plenty Good Eaton

Release: 1975 / US – Reissue

Genre: Organic Grooves

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

Clifford Jordan Quartet

Glass Bead Games

48,99 €*

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

Release: 1974 / JP – Reissue

Genre: Organic Grooves

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There are few saxophonists who were able to hold their own against the late great Eric Dolphy. Clifford Jordan is one of them. As a member of the Charles Mingus sextet on his legendary 1964 European tour with Eric Dolphy, Jordan is featured on iconic albums such as The Great Concert of Charles Mingus and Town Hall Concert. Born in 1931, the tenor saxophonist was a giant of the hard bop genre, with an adaptable style that could match the earthsy avant-blues of Mingus, or soar into space alongside Dolphy. Originally released in 1974 and recorded the year prior, Glass Bead Games was the fifth and final installment in Strata-East’s Dolphy series, and undoubtedly one of the fantastic series’ highlights. The recording features two different quartets, with only Billy Higgins (ds.) and Jordan (ts.) appearing on all tracks; Cedar Walton and Stanley Cowell take turns on piano, while Sam Jones and Bill Lee (father of Spike!) take turns on bass. Across 12 tracks and two sides, Clifford Jordan’s two quartets are consistent, with some of the tightest grooves and most spiritual playing of the 70’s being recorded during these two sessions. Album opener “Powerful Paul Robeson” is an homage to the legendary singer and activist, and is the kind of spiritual jazz that immediately sends chills down your spine. It opens with atmospheric piano rolls and percussion, over which Jordan’s free improvisations take on an almost devotional sound. Homages to great jazz men are frequent throughout, with half of the tracks being named after musicians, including the Lee penned “John Coltrane”. The song opens with a bass solo from Lee, before the quartet settles into a steady mid-tempo groove. Jordan plays the angular melody alone, and with every refrain, the melody takes on a haunting quality, until it descends into a subdued bass solo. The chant-like choral refrain that follows, laid gently over a repetitive bassline and delicate percussion is hypnotic, and as Jordan picks up the melody once more, you’ll feel as though this is somehow different. Glass Bead Games is undoubtedly one of the finest spiritual jazz recordings to come out of the 70s, and is one that you absolutely must not miss! We are proud to be reissuing Clifford Jordan’s Glass Bead Games, available on limited edition vinyl with an obi-strip, only from P-vine Records.

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Clifford Jordan Quartet

Glass Bead Games

50,99 €*

LP | 1986 | US | Reissue (Musique Plastique)

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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Colman

Daedalus

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

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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Company

Epiphany

12" | 1979 | EU | Reissue (Trad Vibe)

Release: 1982 / UK – Reissue

Genre: Organic Grooves

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

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

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

Epiphany, indeed.

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Cortex

Medley

14,99 €*

LP | 1975 | EU | Reissue (Trad Vibe)

Release: 1979 / EU – Reissue

Genre: Organic Grooves

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The first reissue of the famous and long-awaited "Medley Maxi 45" by Cortex. Originally released in 1979, this Medley is the perfect tool for DJs (Already played by MCDE at We Love Green Festival as the Final track…).
On B side the “Mary & Jeff (Fender Rhodes Version 77)” was released in 2010 on a very limited 7inch (TV003).
Never republished! Remastered from original tape by Trad Vibe records.

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Cortex

Troupeau Bleu

LP | 1977 | EU | Reissue (Trad Vibe)

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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Limited 2020 repress of this Euro-Jazz-Funk classic - this time with poster!

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Cortex

Volume 2

Postaeolian Train Robbery

Release: 1977 / EU – Reissue

Genre: Organic Grooves

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Final reissue, limited to 500 copies!

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COS

LP | 1974 | EU | Reissue (Wah Wah)

Courtial With Errol Knowles

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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An obscure classic from the 1970's Belgian jazzy prog scene that has become a much sought after piece in the collector's market since it was originally released in 1974. Highly inspired by both the UK's Canterbury scene and the zeuhl sound, the debut album by Cos has been compared to the likes of Soft Machine, Gong, Hatfield & The North, National Health, Gilgamesh, Egg, Placebo, Magma or Zao, with Pascale Son's unique wordless vocals and nonsense syllables singing in a voice that some sources have compared to Flora Purim's.

The origins of Cos date back to the second half of the sixties when Daniel Schell joined forces with Jean-Paul Musette, Pascale Son and Robert Pernet to form Classroom. When Classroom split, Daniel Schell and Pascale Son moved ahead and formed Cos together with Charles Loos, Alain Goutier and Bob Dartsch. They produced an experimental jazz rock sound linked to the influences above mentioned, but without being mere copycats since they always managed to keep to their own personality. The album was released on the small obscure label Plus, and has arised interest not only among prog-rock psych-heads and jazz experimentalists, but also among those looking for breaks and bits to sample.

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Don't You Think It's Time

LP | 1976 | EU | Reissue (Mad About)

25,99 €*

Journey To The Urge Within

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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

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Courtney Pine

LP | 1986 | UK | Reissue (Analogue October)

39,99 €*

Crash I Grazyna Lobaszewska

Release: 1986 / UK – Reissue

Genre: Organic Grooves

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Limited to 1000 copies.

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

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Senna Opowiesc Jana B.

LP | 1979 | EU | Reissue (Warner)

22,94 €* 26,99 € -15%

Release: 1979 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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LP | 1981 | UK | Reissue (Pure Pleasure)

Creative Arts Ensemble

One Step Out

2LP | 1981 | EU | Reissue (Outernational)

Release: 1981 / UK – Reissue

Genre: Organic Grooves

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

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Creative Arts Ensemble

One Step Out

32,99 €*

Cults Percussion Ensemble

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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The Cults Percussion Ensemble

LP | 1979 | EU | Reissue (Trunk)

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

Release: 1979 / EU – Reissue

Genre: Organic Grooves

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Limited Repress With NEW (original) Artwork. Legendary privately pressed 1979 LP from Scotland. This illusive, super rare and sublimely wonderful percussion album is like no other. Hypnotic, celestial, even cosmic and ambient in parts and totally unique in all ways, it was played by a group of 11 girls with an average age of 14. The group included Evelyn Glennie, who was destined to become one of the world’s greatest percussionists. This is her first ever record. The Cults Percussion Ensemble was a group formed by percussion teaching legend Ron Forbes in the mid 1970s. The ensemble must have one of the best group names of all time. To many it will immediately come across as something sinister, a touch spooky and possibly a bit dramatic too. They are certainly two of those but the use of the word “Cults” here is easily misinterpreted. Cults, in this case, is the suburb of Aberdeen. The average age of the students was just 14. They came from a few of the schools in the area, including the Cults Academy, Ellon Academy, Aboyne Academy, Inverurie Academy and Powis. My original copy of the album came from Spitalfields market in London. I loved the music the second it started, because it reminded me of Carl Orff and peculiar library. So I started to investigate it further, and eventually, thanks to the highly tuned world of percussion, was given the address of Ron Forbes. I got in touch with him and now we have this, a formal release of something quite lovely that was only previously available very briefly in 1979 at concerts when the young girls performed. The music here is really quite unique, with a celestial swirling hypnotic quality. The blend of glockenspiels, xylophones, vibraphones, marimba and timpani drums is quite intoxicating and can recall the shimmering warmth of the desert sun one minute (“Baia”) or freezing glacial ice caps the next (“Circles”). The Ensemble perform with an effortless tightness and deftness of touch, building textured layers with recurring percussive motives which appear simultaneously dense and yet sparse, almost sounding like modern sampling. In fact, while struggling to find a musical comparison, during the pulsating introduction to "Percussion Suite" I found myself recalling "Gamma Player", a piece of soulful Detroit techno minimalism from Jeff Mills (Millsart - “Humana” EP 1995) with its rhythmic percussion layered with complex emotion. Weirdly enough, other tracks on that EP also prominently feature xylophone and tuned percussion, although obviously synthesised and programmed, a good 20 years after the CPE first recorded. Sleevenotes also include a letter from Ron Forbes: “I decided to form a percussion group to provide an outlet for my percussion pupils to play music specially written for them. The group soon became well known in the region and as a result of winning the outstanding award at the National Festival of Music for youth on three occasions, they were invited to play at other festivals within Europe, one being in Erlangen in Germany - hence the Erlangen Polka - and Autun in France - hence the Autun Carillon. During these visits we were often asked if we had any recordings and so it was decided to make an LP”. Thanks to Ron Forbes and Trunk Records, more people can now enjoy the simple hypnotic musical charms of the Cults Percussion Ensemble

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Czeslaw Bartkowski

Drums Dream

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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LP | 1975 | PL | Reissue (Warner)

Czeslaw Niemen

Katharsis

Release: 1975 / PL – Reissue

Genre: Organic Grooves

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LP | 1976 | EU | Reissue (Mad About)

Dana Kaproff

LP | 1979 | EU | Reissue (Mad About)

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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

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Daniel Bechet

Songs To My Father

27,54 €* 28,99 € -5%

LP | 1973 | UK | Reissue (Mr Bongo)

Release: 1979 / EU – Reissue

Genre: Organic Grooves

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

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

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Daniel Salinas

Atlantis

22,99 €*

LP | 1979 | EU | Reissue (Wagram)

Release: 1973 / UK – Reissue

Genre: Organic Grooves

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

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

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

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

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Dave Brubeck

Take Five

15,99 €*

Release: 1979 / EU – Reissue

Genre: Organic Grooves

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LP | 1973 | EU | Reissue (ECM)

Dave Holland Quartet

Conference Of The Birds

25,99 €*

LP | 1970 | US | Reissue (Nature Sounds)

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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Dave Pike

The Doors Of Perception

The Doors Of Perception Record Store Day 2024 Blue Swirl Vinyl Edition

Release: 1970 / US – Reissue

Genre: Organic Grooves

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"The Doors Of Perception Is Presented In A Unique Blue Swirl Colored Vinyl Pressing. The Doors Of Perception is among the most experimental and innovative releases by famed jazz vibraphonist Dave Pike. Recorded in 1966 and released in 1970, the album finds Pike indulging in full fledged psychedelic jazz, with trippy grooves and a new sound. Produced by Herbie Mann, The Doors Of Perception features an all-star cast of musicians, including Eddie Daniels, Lee Konitz, Don Friedman, and Chuck Israel. Their talents are complemented by a wide range of sound effects, from echo chambers to piped-in applause to thunderstorms to fuzzy distortion, making for a dynamic and unique listening experience."

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Dave Pike

LP | 1970 | US | Reissue (Nature Sounds)

29,69 €* 32,99 € -10%

LP | 1971 | US | Reissue (RCA)

Release: 1970 / US – Reissue

Genre: Organic Grooves

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For RSD 2024 The Doors Of Perception Is Presented In A Unique Blue Swirl Colored Vinyl Pressing The Doors Of Perception is among the most experimental and innovative releases by famed jazz vibraphonist Dave Pike. Recorded in 1966 and released in 1970, the album finds Pike indulging in full-fledged psychedelic jazz, with trippy grooves and a new sound. Produced by Herbie Mann, The Doors Of Perception features an all-star cast of musicians, including Eddie Daniels, Lee Konitz, Don Friedman, and Chuck Israel. Their talents are complemented by a wide range of sound effects, from echo chambers to piped-in applause to thunderstorms to fuzzy distortion, making for a dynamic and unique listening experience.

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David Axelrod

Messiah

Release: 1971 / US – Reissue

Genre: Organic Grooves

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

David Wertman

Kara Suite

LP | 1974 | EU | Reissue (Mr Bongo)

Release: 1976 / UK – Reissue

Genre: Organic Grooves

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

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Dee Dee Bridgewater

Afro Blue

22,99 €*

Prelude Colored Vinyl Edition

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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If you collect vintage 70's soul-jazz vinyl, there is a good chance that you already own a record that features the amazing vocal talents of Dee Dee Bridgewater. Whether it be Roy Ayers, Norman Connors, Billy Parker or Carlos Garnett - Dee Dee is the glue that fuses these artists together. Although best known for her jazz work, Dee Dee has had a wonderfully rich and varied career encompassing soul, musicals, gospel, and underground disco from the 70's to the present day. She is still active as a vocalist, composer, and producer and remains one of our favourite vocalists at Mr Bongo HQ. We take things back to the early years of Dee Dee's career with her debut album 'Afro Blue'. Recorded in Tokyo in 1974, the album was released exclusively in Japan via two different Japanese labels (Trio Records in 1974 and All Art in 1985 respectively). Each release had unique cover art and we have opted to present the album in its original 1974 form.
'Afro Blue' features an exquisite collaboration of American and Japanese musicians, such as Cecil & Ron Bridgewater, Motohiko Hino and producer Takao Ishizuka. The result is a sublime deep soul-jazz masterpiece with timeless versions of 'People Make The World Go Round', 'Love From The Sun', and 'Afro Blue'. It is arguably one of the finest albums in its genre. This record has long been a sought-after item for DJs and collectors alike, so we are delighted to finally make this wonderful music from an understated great available to all.

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Deodato

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

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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Derek Bailey And Andrea Centazzo

Drops

LP | 1977 | EU | Reissue (Ictus)

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

Release: 1977 / EU – Reissue

Genre: Organic Grooves

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

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

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

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Derek Bailey & Tony Coe

Time

Descendants Of Mike And Phoebe, The

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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A Spirit Speaks

LP | 1974 | UK | Reissue (Pure Pleasure)

LP | 1981 | EU | Reissue (Petit Cherie)

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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Dewey Jeffries

This Is For You

Dieter Bihlmaier Selection

Release: 1981 / EU – Reissue

Genre: Organic Grooves

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

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Maskerade

LP | 1974 | EU | Reissue (Sonorama)

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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LP | 1986 | EU | Reissue (BeauMonde)

Digital Caresse

Demain

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

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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Django Reinhardt

Nuages

23,99 €*

Release: 1984 / UK – Reissue

Genre: Organic Grooves

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Dollar Brand (Abdullah Ibrahim)

The Journey

LP | 1977 | US | Reissue (Chiaroscuro)

Release: 1977 / US – Reissue

Genre: Organic Grooves

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LP | 1977 | US | Reissue (Chiaroscuro)

Dollar Brand

Cape Town Fringe

LP | 1975 | US | Reissue (Chiaroscuro)

Release: 1977 / US – Reissue

Genre: Organic Grooves

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180 gram pressing!

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Dollar Brand

Soweto

Release: 1975 / US – Reissue

Genre: Organic Grooves

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Brown Rice Brown Vinyl Edition

Don Cherry

LP | 1975 | EU | Reissue (Klimt)

Hear & Now Yellow Vinyl Edition

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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

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Don Cherry

LP | 1977 | EU | Reissue (Klimt)

20,99 €*

LP | 1970 | UK | Reissue (Charly)

Release: 1977 / EU – Reissue

Genre: Organic Grooves

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

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Don Cherry

Mu. Second Part

Release: 1970 / UK – Reissue

Genre: Organic Grooves

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Black Byrd Back To Black Edition

LP | 1973 | EU | Reissue (Blue Note)

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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Electric Byrd Opaque Turquoise Blue Vinyl Edition

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

49,99 €*

Release: 1970 / US – Reissue

Genre: Organic Grooves

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LP | 1975 | EU | Reissue (Blue Note)

Places And Spaces

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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Donald Byrd’s 1975 album Places and Spaces featuring the hits “Wind Parade” and “Dominoes” was the culmination of the great trumpeter’s fusion period.

It was the fifth consecutive Byrd album to be produced by visionary producer Larry Mizell, and the second to last session Byrd would cut for Blue Note, the label he had recorded for since 1958 that had followed him along his remarkable evolution from top-notch hard bop trumpeter to pioneer of R&B/Funk fusion.

This Blue Note Classic 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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Street Lady Black Vinyl Edition

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

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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The Rubaiyat Of Dorothy Ashby Verve By Request

Dorothy Ashby

LP | 1970 | EU | Reissue (Verve)

Release: 1970 / EU – Reissue

Genre: Organic Grooves

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12" | 1981 | EU | Reissue (Funkscapes)

Dortmund

Titanic / The Deep

18,99 €*

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

Release: 1981 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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

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

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Doug Carn

Adam's Apple

23,74 €* 24,99 € -5%

Release: 1974 / US – Reissue

Genre: Organic Grooves

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Doug Hammond & David Durrah

Reflections In The Sea Of Nurnen

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

Doug Hammond & David Durrah

Release: 1975 / US – Reissue

Genre: Organic Grooves

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

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Reflections In The Sea Of Nurnen

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

33,99 €*

Indigos Black Vinyl Edition

Release: 1975 / US – Reissue

Genre: Organic Grooves

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

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Duke Ellington

2LP | 1989 | US | Reissue (Impex)

76,99 €*

Release: 1989 / US – Reissue

Genre: Organic Grooves

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Indigos Indigo Purple Vinyl Edition

Duke Ellington

2LP | 1989 | US | Reissue (Impex)

99,99 €*

Release: 1989 / US – Reissue

Genre: Organic Grooves

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

Dutch Treat

Tranquility

39,99 €*

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

Release: 1977 / EU – Reissue

Genre: Organic Grooves

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

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

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

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

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

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Eddie C. Campbell

King Of The Jungle

36,09 €* 37,99 € -5%

On The Way To Eden White Vinyl Edition

Release: 1977 / US – Reissue

Genre: Organic Grooves

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

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Eden Rose

LP | 1970 | EU | Reissue (Guerssen)

I'm Here Black Vinyl Edition

Release: 1970 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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Limited to 200 copies on white vinyl!

Proto-progressive, groovy instrumental psychedelia, recorded in France in 1969 by this pre-Sandrose band and released on the tiny Katema label. Swirling Hammond grooves by keyboard virtuoso Henri Garella, top guitar playing by Jean-Pierre Alacen and a tight, funky rhythm section create one of the best early prog/psych French albums ever. First reissued on Guerssen back in 2016 and out of print for many years, here's a repress in hard cardboard sleeve + OBI - resealable outer sleeve.

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Edward Vesala

LP | 1973 | EU | Reissue (Svart)

For Children Black Vinyl Edition

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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

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

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

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

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

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

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

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

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

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

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

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Eero Koivistoinen

LP | 1970 | EU | Reissue (Svart)