Jazz | Fusion Vinyl 775 Items

Journey To The Urge Within

Release: 1974 / JP – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

The second release by Tsuyoshi Yamamoto, one of the most popular works on the TBM label. A definitive disc by a Japanese piano trio, packed with lyricism, powerful swing and a variety of other jazz delights! (From series supervisor Koki Hanawa).

Remastered and cut by Bernie Grundman. Includes original reissue liner notes.

Go to Item

Courtney Pine

LP | 1986 | UK | Reissue (Analogue October)

LP | 1979 | JP | Reissue (P-Vine)

Release: 1986 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

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.

Go to Item

Ira Nepus

Trombone Feeling

LP | 1975 | EU | Reissue (Seriewoc)

Release: 1979 / JP – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

This is a superb Hawaiian fusion album released in 1979 by trombonist Ira Nepus. He graduated from the University of Hawaii and worked as a trombonist there. This album was produced by Kirk Thompson, known for his work with bands such as Kalapana and Lemuria, using the same techniques as Lemuria and has a funky sound with a mix of soul, jazz and AOR.

The dancelike 'Trombone Feeling', with its wonderful background chorus, and the mellow fusion 'Trickey Mickey' are Hawaiian masterpieces that recall the atmosphere of those days! The debut album by this beloved musician, who was the first director of the marching band at Tokyo Disneyland and has frequently visited Japan with the Clayton-Hamilton Orchestra, is now available again on vinyl record for the first time in 43 years!

Go to Item

Saheb Sarbib

Evil Season

Release: 1975 / EU – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Artistry White Vinyl Edition

Sirone

LP | 1979 | UK | Reissue (Moved By Sound)

Maliks Emerging Force Arts Trio

Release: 1979 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Artistry was Sirone's first album as a leader, recorded in 1978, just after the split of the Revolutionary Ensemble. Artistry has an Atypical combination of instruments, bass, cello , flute and percussion and delivers aplenty. Listen and you will know.

Sirone ( Norris Jones) had an enormously prolific career as a bassist, both as a member of the Revolutionary Ensemble and playing with many of the best musicians of the 20th century - from Pharoah Sanders, Albert Ayler, John Coltrane, Gato Barbieri, Noah Howard, William Parker, Cecil Taylor, Sun Ra, Sonny Sharrock,Marion Brown ... and the list goes on.

Go to Item

Time & Condition Yellow Vinyl Edition

LP | 1983 | UK | Reissue (Moved By Sound)

Mattanza Record Store Day 2022 Orange Vinyl Edition

Release: 1983 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Malik King was an important part of the St Louis jazz scene of the 70's & 80's.

He studied under Albert Ayler in NY in the early 70s before returning to the Midwest. He was a member of the Shirley Le Flore's ensemble "Free N' Concert". He also served as musical director of The Creative Arts & Expression Lab, The African Peoples Continuum, & The Black Arts Alliance, The worrier poets, The Human Arts Ensemble, as well as various Emerging Force Ensembles.

Zimbabwe Nkenya (1953-2022), a creative artist and innovative musician, was brought up on army bases in the USA and Spain. He spent 30 years traveling and performing in New York, New Mexico, Arizona and St Louis. playing with a who's who of jazz. In New Mexico he became an integral part of the scene, producing and hosting the Kunm's radio show "the House That Jazz Built" .

Luckily Malik self released "Time & Condition" in 1982, capturing his work together with Qaiyim Shabazz. It's not just a crate diggers Holy Grail, but an important artistic and historic document of the St Louis scene. Time & Condition stands alone as a (very) individual, spiritual jazz classic.

We hope this reissue will finally grant these musicians the wider acknowledgement & credit they deserved during their life time.

Go to Item

Napoli Centrale

LP | 1978 | EU | Reissue (Ricordi)

Release: 1978 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

LP | 1974 | Reissue (Nicole)

Jim Marks

Touching Your Feelings

Release: 1974 / Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Live In Tokyo Colored Vinyl Edition

Weather Report

2LP | 1972 | EU | Reissue (Music On Vinyl)

Release: 1972 / EU – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Afro Blue Impressions Back To Black Edition

John Coltrane

2LP | 1977 | EU | Reissue (Pablo)

Release: 1977 / EU – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

LP | 1976 | JP | Reissue (P-Vine)

Phil Ranelin

Vibes From The Tribe

LP | 1984 | JP | Reissue (P-Vine)

Release: 1976 / JP – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

The final release from Tribe! Released in 1976, shortly before Phil Ranelin’s departure to Los Angeles, Vibes from The Tribe is a spiritual jazz / rare groove classic!

By 1976, Tribe had grown to be something much different than what it had started out as. A popular magazine and releases from a cadre of the most promising musicians Detroit had to offer had allowed the collective the space and finances needed to develop, and by the time of their final release, they had changed both in shape and scope. Yet their philosophy of “getting out the message” remained the same.

Since the early days of the Tribe, the influence of funk and popular music had been more evident in Ranelin’s music than that of his partner, Wendell Harrison. Even on Message From The Tribe’s first edition, Ranelin’s love for funk was clear, with songs such as “What We Need” featuring a mellow groove and horn lines that would sound at home on any Motown record. Phil Ranelin’s second album as a leader, Vibes From The Tribe sees those funk influences on full display. Opening track “Vibes From The Tribe (Prelude)” has the kind of steady snare beat that hip-hop producers would later kill for, and a bassline so groovy that you won’t be able to stop yourself from nodding along.

For The Children is breezy bossa nova of the finest degree. Ranelin’s voice is subdued and relaxed, probably taking more notes from Joao Gilberto than any of the poetry readings on Message From The Tribe. But when he begins his trombone solo, the edges of his more avant-garde past start to peek through. Lines that would sound right at home on any post-bop album are a-plenty, and as a sunny riff closes out the album, it seems like the perfect soundtrack for a warm summer night.

But the heart of the album lies in the closing track “He The One We All Knew (Parts 1 & 2)”. Here, Ranelin’s smorgasbord of influences seem to come together, creating an 18 minute long track that combines elements of Indian classical music, free jazz, funk, and more. The track begins with the gentle psychedelic sitar playing of Daud Abdul Kahafiz, creating a drone over which layers of percussion, piano, bass, and horns combine. Frequent collaborator and Tribe co-founder Wendell Harrison’s solo comes first, with the sparse arrangement giving him space to stretch out beyond the limits of conventional harmony or rhythm. It’s clear that these musicians were improvising in the truest sense of the word, and as they go from playing over ambient sitar, to what can only be described as “swing”, they never lose count or break rank. You can practically picture each of the musicians in the studio, deeply concentrated but supremely in tune with one another, communicating with nods and eye movement. Vibes From The Tribe takes everything that made the Tribe great: free jazz, funk, pop influences, and a tight-knit community and preserves it as one of the greatest spiritual jazz albums of all time.

With modern remastering and an obi-strip, this album has never looked or sounded this good! Make sure to get your copy while stock lasts!

Go to Item

Jun Miyake

Especially Sexy

LP | 1983 | JP | Reissue (P-Vine)

Release: 1984 / JP – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Recent years have seen a resurgence in popularity for Japanese jazz fusion, with YouTube videos and Spotify streams attracting millions of listeners. An essential, if underrated, part of that scene was Jun Miyake, whose debut album, June Night Love (1983) featured some of Japan’s most talented jazz musicians playing some of the finest jazz fusion of the 80s. Jun Miyake’s second album, Especially Sexy (1984), is a continuation of what he started with June Night Love. It opens with “June Night Love” (oddly enough, the song was not featured on the album of the same name), a glitzy fusion track, in which Miyake’s mellow flugelhorn playing soars over mellow strings and vocal harmonies. Miyake’s trumpet gives way to the unmistakable saxophone of David Sanborn, whose style of playing practically defined an era! But Sanborn is hardly the only noticeable guest on the album. “Twist to Open”, features the one and only Michael Brecker, playing with the ferocity and technical prowess of a man who would inspire a generation of saxophonists. All the hallmarks of great fusion are immediately apparent, with slap bass, horn choruses, and twinkly synths aplenty. B-side opener “jfk Express” sees another solo from Brecker, who trades choruses with Miyake over a smooth synthesizer groove. Miyake’s playing is decidedly different from Randy Brecker’s, yet there’s no doubt that Miyake and Michael have a chemistry that’s hard to beat. Fans of Miyake’s softer side will find plenty to love on the album as well, with album closer “Becoming To You” once again showing off Miyake’s sensitive flugelhorn playing. He’s backed by an all-star rhythm section of Roland Hanna (pf.), Al Foster (ds.), and Ron Carter (b.), whose smooth acoustic jazz is in sharp contrast to the electrifying fusion that prefaced it. Yet Miyake’s playing remains consistent throughout, and with support from some of the biggest names in jazz across all eight tracks, there’s no doubt that all fans of jazz will find something to love on this album. Reissued for the first time ever, we’ve replicated the original liner notes and booklet to get as close to the original as possible. Make sure you don’t miss this fantastic record, available only from P-vine Records!

Go to Item

Jun Miyake

June Night Love

LP | 1985 | JP | Reissue (P-Vine)

Release: 1983 / JP – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Japan has a proud tradition of hiring prominent Western talent to promote relatively mundane products in absurd TV commercials. Whether it’s Tommy Lee Jones starring as an alien in canned coffee commercials, or Arnold Schwartzenegger promoting instant ramen while wearing a kimono, the Japanese commercial featuring Western actors has become well-known through video sharing services and films such as Lost In Translation (2003). One of the first, and lesser known commercials featured Andy Warhol advertising video tapes. “Aka, midori, ao, gunjoiro, kudei” he says, while holding a TV. Yet it stands out from other bizarre commercials for its soundtrack - a jazz fusion number with some of the finest trumpet playing to ever grace the silver screen. The 15-second version of the commercial reveals who’s behind it - the one and only Jun Miyake. Released in 1982 (only one year after Casiopea’s legendary Mint Jams), June Night Love by Jun Miyake (tp.) is one of the most underrated fusion albums to come out of Japan. With some of the most talented musicians in Japan’s jazz scene featured prominently, the album is filled with some of the tightest, most energetic grooves this side of the Pacific. Freshly back from New York City, Miyake and saxophonist Yasuaki Shimizu’s playing on songs such as “I Knew I Was” (featured in the Warhol commercial) is firmly in the style of the Brecker Brothers, with elaborate lines played at finger-blurring speed. Yet fans of old school jazz need not worry. “You Would Smile So” is an acoustic ballad dedicated to Terumasa Hino, one of the leading trumpeters in Japan’s jazz scene at the time, and one of Miyake’s first teachers. Miyake’s tone, practically explosive on other tracks, is smoky, taking on a Chet Baker-like quality over piano fills, a subdued upright bass, and gentle brushes on the drums. Jun Miyake is a musician whose many aspects have made him something of a legend in his native Japan. His collaborators range from Dave Liebman to Ichiko Aoba, and as his unique brand of third wave jazz continues to find fans across the world, his debut album, June Night Love, is an absolutely essential part of the Jun Miyake legend. P-vine is proud to be reissuing June Night Love for the first time ever, faithfully recreating it to be as close to the original as possible!

Go to Item

Wendell Harrison

Reawakening

LP | 1971 | JP | Reissue (P-Vine)

Release: 1985 / JP – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Established in 1985 by Tribe co-founder Wendell Harrison, Rebirth Records would become something of a rebirth for Harrison. The label’s inaugural release, ‘Reawakening’ saw him expressing a renewed interest in jazz, beginning with album opener ‘Winter’. Tribe and Wenha contemporary Harold McKinney’s magnificent piano playing, forms the basis of the rhythm section, over which Harrison plays fiery clarinet lines previously unheard of outside of New Orleans. In sharp contrast to the energizing spiritualism of ‘Winter’, ‘Love Dream’ is a laid-back bossa. The brawny baritone of Leon Thomas, Harrison’s sunny flute, and backing vocals from a who’s who of Detroit’s Jazz scene all combine to make the ultimate Bossa tune. Throughout the album, Wendell Harrison leads a rotating cast of musicians, including Tribe co-founder Phil Ranelin, Harold MicKinney, and Pamela Wise (Harrison’s second wife and the , bringing together their immense talents to create a spiritual jazz album quite unlike anything else. Remastered with contemporary technology and techniques, and reissued with an Obi-strip ‘Reawakening’ is a record you absolutely must not miss!

Go to Item

Joe Pass

Better Days

Kippie Moketsi & Hal Singer

Release: 1971 / JP – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Joe Pass plays funk? Check out the master of mellow guitar, Joe Pass, as he takes on the only thing scarier than a broken string - jazz funk!

Originally released on session legend Carol Kaye’s short lived California label, Gwyn Records, in 1970, the album saw Joe Pass as he explored a genre that was quickly making waves - jazz funk. From album opener and title track “Better Days”, it’s immediately clear that this isn’t your average Joe Pass album. As Kaye’s iconic Fender bass mingles with Marvin Gaye collaborator Paul Nelson Humphrey’s simple yet solid drumming, it’s impossible to mistake this for Pass’s earlier works. Yet his tone is as sweet and mellow as ever, with his masterful bebop soloing a welcome respite from the wah’d out funk guitar playing of the time. Despite his gentle tone, the grooves are deep and rhythmic - ranging from the bossa-inspired “Balloons”, to the lively bass-driven funk of “Head Start”. Of course, it wouldn’t be a Joe Pass record without a solo track. Album closer “We’ll be Together Again” sees Pass alone - his masterful chord-melody techniques and phrasing on full display as he manipulates tempo and time. The subtle tape hiss practically accompanies Pass until the rhythm section comes in - with the quartet’s simple, elegant playing bringing the album to a gentle close. Whether you’re on the dance floor, or in a cafe, this is one album that you absolutely must not miss. P-vine is proud to be reissuing Joe Pass’s Better Days on limited edition vinyl for the first time ever!

Go to Item

Blue Stompin'

LP | 1977 | US | Reissue (We Are Busy Bodies)

LP | 1978 | UK | Reissue (Pure Pleasure)

Release: 1977 / US – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Blue Stompin' is a collaborative album between Kippie Moketsi and Hal Singer that was organized and produced by Rashid Vally, owner of The Sun record label. The album prominently features both influential saxophonists as well as other iconic South African players Barney Rachabane and Pat Matshikiza. It was originally released by The Sun in 1977 and is being reissued by We Are Busy Bodies in partnership with the original label. The album has been remastered by Noah Mintz at Lacquer Channel. ---- 'Kippie Morolong Moketsi will appear very prominently in any history of jazz in South Africa. He will span the period from the frantic years when the sounds of the Charlie Parker's and the Dizzy Gillespie's first hit our shores to the now. And into this story some will read a curve: from Kippie teaching himself music by imitation, to a climax of artistic achievement and renown in this country, and then the decline... Others will read a lifetime of involvement, in spite of personal problems. Count me among the latter. A life-time of involvement: Kippie was among the few who understood bebop while the rest of us were still doing the jitterbug to the sounds of swing. In his way he made us see what it was all about. He has seen a generation of colleagues go to join the Orchestra Up Yonder, or merely leave their horns to spiders and their webs while they got on the straight and narrow path of grandfather-hood and six to six jobs at factories. Kippie continues on the wide, wide ' often unappreciated - road, creating music.' Notes by JOE Thloloe (Jazz Critic Drum Magazine)

Go to Item

Horace Tapscott

The Call

LP | 1984 | UK | Reissue (Pure Pleasure)

Release: 1978 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Through his dedication to the Los Angeles grassroots projects that gave so much stability and focus to many younger musicians, artists and the community, Horace Tapscott became a neighbourhood hero at a time when the world wanted his presence. He stayed in Los Angeles and focused instead on building a community, rarely giving interviews and instead focusing on passing on the message from his mentors. He shaped a unique sound with his arkestra and community minded musicians. It was a close-knit family that emanated a sound that was deep and unique, flowing with a creative spirit that definitely comes through on this album. In 1961 he founded the Pan-African Peoples Arkestra, which aimed to preserve, develop and publicise African-American music through the ever-growing family that emanated within many of the deprived areas of Los Angeles. Through his subsequent collaboration with Bruce Albach, a producer and founder of Nimbus West Records, they sought to document the importance of this music alongside many artists who were energetically linked to the ethos and understanding which came from the collective dialogue. Here the composer leads four extensive arrangements through his 16 piece orchestra, featuring many of the Nimbus West artists including Adele Sebastian, Jesse Sharps and Linda Hill. The music weaves the sound of afro-futuristic music through changing tempos and a relentless dynamic expressive sound that is complex and beguiling with a deep spiritual sound throughout all four tracks. The ceremonial "Peyete Song no. Iii" is a great swirling evocative piece from the large collective, with amazing solos from especially Horace Tapscott who seems to find a sound from the piano that is from another dimension. The arrangement airs an important message of a people and their rituals. Horace Tapscott gives Cal Massey’s composition "Nakatini Suite" a splendid futuristic big band interpretation. The composition had been earlier illuminated by both Lee Morgan on his "Lee-Way" album and John Coltrane on his "Believer" album titled "Nakatini Serenade". Through the more expansive soundscape, the interpretation allows for some great interplay between saxophonist Jesse Sharps and drummer Everett Brown Jr. with the whole orchestra led by Horace Tapscott capturing the essence of Cal Massey’s message. Vocalist Adele Sebastian opens up the free probing arrangement "Quagmire Manor At 5am" composition with a similar delivery as with her "Day Dream" from the classic "Desert Fairy Princess" album before the music takes off onto the mothership adding a sense of what time and space within the manner was about amongst many great musicians and artists. Their journey and moments encapsulated within the music. There are certain albums you hear something new every time you revisit the music and this is one of those albums. An important part of Afro-American history; the politics and art which surrounded the album. If you get a chance check out the film "Horace Tapscott, Musical Griot", by filmmaker Barbara McCullough, or buy the book "Songs Of The Unsung": The Musical & Social Journey of Horace Tapscott’. Mark Jones/UK Vibe

Go to Item

Nate Morgan

Retribution, Reparation

Jazz At The Philharmonic: Lester Young Carnegie

Release: 1984 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Pianist Nate Morgan (1964-2013) was a central figure on the Los Angeles jazz undergound. A core member of the circle around the legendary bandleader, pianist and community organiser Horace Tapscott, Morgan had been part of Tapscott’s U.G.M.A.A. (Union Of God’s Musicians and Artists Ascension) since he was just a teenager, and was a key member of the Pan Afrikan People’s Arkestra, known as ‘The Ark’. Through the 1980s and 1990s he kept the Papa flame alive, organising the Ark’s sprawling songbook, running legendary jam sessions, and keeping LA’s deep jazz roots well watered. By the early 2000s he was bringing hard won knowledge to a new generation as part of the Build The Ark collective. He was a musician’s musician, at the beating heart of the radical, community-minded Los Angeles jazz network that Tapscott and his associates had first put together in the early 1960s. "Retribution, Reparation" was the second of the two LPs Morgan recorded for Tom Albach’s storied Nimbus West imprint. His first, "Journey Into Nigritia" had been a declaration of arrival laced with energies drawn from Cecil Taylor and Coltrane. One year later, with nods to Herbie Hancock ("One Finger Snap") and Ellington ("Come Sunday"), "Retribution, Reparation" was a confident statement of purpose. Politically charged with pan-Africanist and Black nationalist sentiments inspired by Marcus Garvey, and titled with uncompromising directness, the album focusses the sound world of the Ark into a surging, restless masterpiece of spiritualised modal jazz. With Danny Cortez on trumpet and Ark stalwart Jesse Sharps on saxophones the frontline is explosive (this set is also one of the few places the extraordinary Sharps can be heard in a small group setting), while Fritz Wise and Ark regular Joel Ector hold down the rhythm section. Morgan’s forceful, Tyner-like chords and virtuosic solos and bind the music together. From the poised drama of the opening dedication to Tapscott’s U.G.M.A.A. ("U.G.M.A.A.GER") to the propulsive militancy of the title track, "Retribution, Reparation" spreads the word: »Advance to Victory, Let Nigritia Be Free!«

Go to Item

Lester Young

LP | 1985 | US | Reissue (Verve)

Release: 1985 / US – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

LP | 1977 | US | Reissue (Craft)

Pleasure

Joyous

Release: 1977 / US – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

LP | 1971 | US | Reissue (Craft)

Idris Muhammad

Black Rhythm Revolution!

Release: 1971 / US – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

LP | 1975 | US | Reissue (Craft)

Johnny Hammond

Gears

Release: 1975 / US – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

LP | 1982 | US | Reissue (Craft)

Azymuth

Telecommunication

Release: 1982 / US – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

LP | 1982 | JP | Reissue (P-Vine)

Fumio Itabashi

Watarase: Echo

37,99 €* 39,99 € -5%

AFTAPATI (40th Anniversary Edition) White Vinyl Edition

Release: 1982 / JP – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Watarase" is one of jazz pianist Fumio Itabashi's most famous compositions from the 1980s. This compilation is a collection of previously unreleased versions of the song and takes that were released only as independent recordings and were not widely known. Minoru Wakasugi, one of the pioneers of the Japanese jazz scene, compiled this unknown take on "Watarase," now in the limelight of jazz fans around the world, from the contemporary perspective. Composed by Fumio Itabashi in the early 80's, the beautiful melody of this song is reminiscent of the music of Pharaoh Sanders, Ahmad Jamal, and Dollar Brand, or even surpassing them, it is a superb and super spiritual jazz anthem of Wamono Jazz. When this song was first released, it gradually gained popularity in the jazz scene, and it was a popular song in the scene. This album looks back over 40 years of history and carefully selects "Watarase" to be heard today. We can enjoy a fragment of his life here as he continues to express the ultimate in the art of jazz with all his might.

Go to Item

IDYLI TSALIKI

LP | 1983 | UK | Reissue (Veego)

37,99 €* 39,99 € -5%

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

Release: 1983 / UK – Reissue

Genre: Organic Grooves, Pop

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Remastered from the original analog tapes especially for this first ever re - issue, Aftapati” (Illusion) is the only studio album by Idyli Tsaliki.
Tsaliki’s poetic style and distinct voice along with moody jazz - funk rock arrangements are beyond comparison to any other 80s Greek album.
Immerse yourself in this musical journey and discover one of the rarest albums of the Greek jazz scene.
Released by Philips Greece in 1983 and never been released before not even on CD.
Reissue by Veego Records for the 40th anniversary of this holy grail of Greek Jazz Masterpiece.

Go to Item

Eddie C. Campbell

King Of The Jungle

LP | 1974 | US | Original (Craft)

Release: 1977 / US – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

* 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.

Go to Item

Jack DeJohnette

Sorcery

Release: 1974 / US – Original

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

AFTAPATI (40th Anniversary Edition) Black Vinyl Edition

IDYLI TSALIKI

LP | 1983 | UK | Reissue (Utter)

37,04 €* 38,99 € -5%

LP | 1985 | UK | Reissue (Theresa / Pure Pleasure)

Release: 1983 / UK – Reissue

Genre: Organic Grooves, Pop

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Go to Item

Pharaoh Sanders

Shukuru

Discovers Hoagy Carmichael's Music Shop

Release: 1985 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

180g, standard sleeve, re-mastering by: Cicely Baston at Air Mastering, London

Pharoah Sanders' "Shukuru" is noteworthy as being the album that reunited Sanders with vocalist Leon Thomas, who sang on some of Sanders' most endearing and powerful compositions-- among them the legendary "The Creator Has a Masterplan".

Thomas only joins the band on two tracks-- "Mas in Brooklyn (Highlife)" and "Sun Song". The former gets a full calypso reading complete with steel drum sounds and chanted vocals traded between Sanders and Thomas. It's a lot of fun, but by and large, throwaway. The latter is one of the true gems on the album-- a pretty ballad that serves as both a launching point for Sanders' best balladry and Thomas' vocal, with the latter soaring in his upper register wordlessly between verses intoned in his trademark baritone. It's by and large simply stunning.

The rest of the record has got its issues however, and by and large this comes in the part of Henderson's synthesizer-- while his piano tone is virtually indistinguishable from an acoustic piano, several tracks receive irritating synth vocals or strings (it's really hard to tell which, it's fairly indistinct and obnoxious), mangling otherwise fine performances of traditional tenor feature "Body and Soul", Sanders-penned "Jitu" (although admittedly the leader manages such a powerful solo it gets past it) and an absolutely breathtaking reading of "Too Young to Go Steady". At least opener "Shukuru" and closing funereal piece "For Big George" are spared this as the use of synths of them are far more tasteful (although one questions Sanders' choice to intone his wife's name over the former's smokey lines, but that's another story). by Vine Voice

Go to Item

Stark Reality

2LP | 1970 | US | Reissue (Now-Again)

Discovers Hoagy Carmichael's Music Shop Black Friday Record Store Day 2022 Edition

Release: 1970 / US – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Definitive reissue of the album Mojo Magazine called “one of the most prized 'funk’ artifacts of all time... a project that allies Hendrix-stoned guitars, heavily-fuzzed vibraphone and Bitches Brew rhythms…” Lacquered by Bernie Grundman in an all-analog transfer directly from the master tapes. Contains an extensive, oversized booklet with rare photos, liner notes and annotation. The story of The Stark Reality’s Discovers The Hoagy Carmichael’s Music Shop begins in Boston the late 1960s, with a wild jazz – as psychedelic as they were modal, as funky as they were swinging - band based in Boston landing a deal with Ahmad Jamal’s nascent AJP imprint after the legendary jazz pianist heard their demo recordings. They had been tasked by the great American songsmith Hoagy Carmichael’s son, Hoagy Bix Carmichael, to create interpretations of the elder Carmichael’s children songs for a Mr. Rogers-themed show that the younger Carmichael was producing for local PBS affiliate Wgbh. The quartet - Monty Stark on vibes, Phil Morrison on bass, Vinnie Johnson on drums and a very young John Abercrombie on fuzz guitar – recorded an album that flopped upon its initial release and went on to become one of – as Mojo Magazine noted - “the most prized 'funk’ artifacts of all time... a project that allies Hendrix-stoned guitars, heavily-fuzzed vibraphone and Bitches Brew rhythms…” Now-Again Records, who has kept the Stark Reality’s music in print since 2002, presents the definitive reissue of The Stark Reality’s Discovers The Hoagy Carmichael’s Music Shop. Lacquered by Bernie Grundman in an all-analog transfer directly from the master tapes maintained by the Stark Reality’s photographer Jim Bourne, it’s presented in a replica gatefold sleeve, and contains an extensive, oversized page booklet with rare photos, liner notes and annotation.

Go to Item

Stark Reality

2LP | 1970 | US | Reissue (Now-Again)

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

Release: 1970 / US – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Late arrival, coming next week.
Black Friday Record Store Day 2022 Reissue. Color: Black. Limitation: The story of The Stark Reality’s Discovers The Hoagy Carmichael’s Music Shop begins in Boston the late 1960s, with a wild jazz – as psychedelic as they were modal, as funky as they were swinging - band based in Boston landing a deal with Ahmad Jamal’s nascent AJP imprint after the legendary jazz pianist heard their demo recordings. They had been tasked by the great American songsmith Hoagy Carmichael’s son, Hoagy Bix Carmichael, to create interpretations of the elder Carmichael’s children songs for a Mr. Rogers-themed show that the younger Carmichael was producing for local PBS affiliate Wgbh. The quartet - Monty Stark on vibes, Phil Morrison on bass, Vinnie Johnson on drums and a very young John Abercrombie on fuzz guitar – recorded an album that flopped upon its initial release and went on to become one of – as Mojo Magazine noted - “the most prized 'funk’ artifacts of all time... a project that allies Hendrix-stoned guitars, heavily-fuzzed vibraphone and Bitches Brew rhythms…” For RSD Black Friday, Now-Again Records, who has kept the Stark Reality’s music in print since 2002, presents the definitive reissue of The Stark Reality’s Discovers The Hoagy Carmichael’s Music Shop. Lacquered by Bernie Grundman in an all-analog transfer directly from the master tapes maintained by the Stark Reality’s photographer Jim Bourne, it’s presented in a replica gatefold sleeve, and contains an extensive, oversized page booklet with rare photos, liner notes and annotation.

Go to Item

Penny Goodwin

Portrait Of A Gemini

Arthur Verocai 50 Years Gold/Black Marbled Vinyl Edition

Release: 1974 / JP – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

“What might’ve been, is dead and is done,” so begins the opening track on Penny Goodwin’s ‘Portrait of a Gemini’. The words are surprisingly somber for an album as beautiful as this, but oddly prophetic. Despite Goodwin’s unmistakable talent, her sole album “Portrait of a Gemini” only ever received a private pressing of 2000 copies, and she quickly faded into obscurity afterwards.

Yet, one listen is enough to make it immediately obvious why original pressings of this album have attracted expensive premiums. From the orchestral string arrangements on “Today Is The First Day”, to the heavenly Hammond organ playing on album closer, “Amazing Grace”, the immense talent of Goodwin and the musicians supporting her is constantly clear. Even when they take on covers of songs such as Marvin Gaye’s “What’s Goin On” and Gil Scott Heron’s “Lady Day & John Coltrane”, the singular voice of Goodwin seems to make the songs her own. Perhaps the greatest testament to this album’s timelessness is rapper and notorious crate digger, Tyler, the Creator’s sampling of the latin-jazz infused “Slow Hot Wind” on his most recent album.

Don’t miss this pinnacle of 70s soul, available for the first time in over a decade on limited edition vinyl, now with an iconic Japanese obi-strip!

Go to Item

Arthur Verocai

LP | 1972 | UK | Reissue (Mr Bongo)

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

Release: 1972 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

A complete album masterpiece in every sense of the word, considered by many people to be one of the greatest ever made, regardless of genre. Recorded at Studio Somil, Rio De Janeiro in 1972, the album was produced, arranged, directed by the self-taught, Arthur Verocai.

Previously he had worked on many records in various capacities, with artists including Jorge Ben, Ivan Lins and Celia, but this album gave him the chance to do his thing in it’s most pure form.

The 29 minute masterpiece, perfect in it’s arrangement and fusion of sonics, epitomises the sound of Brazil at the time; strings, guitars, pianos, break beats, bass lines, synthesizers, vocals from the wonderful Célia, Carlos Dafe and Oberdan (Banda Black Rio), plus percussion from Pedro Santos and Paulo Moura on sax. Bossa nova, samba, jazz, MPB, psychedelics and funk sit side by side effortlessly.

The album transcends the genre of Brazilian music, and infact all genres. Highlighted in part by the number of artists that have sampled from it; MF Doom, Ludacris & Common, Little Brother, Jneiro Jarel aka Dr Who Dat?, Dibiase and Action Bronson amongst others.

The original Continental version of the album now fetch around $2000. Our definitive re-issue is an exact replica of the gatefold original LP and the source master is taken from the Continental tapes, re-mastered in 2012 under Arthur’s supervision

Go to Item

Four-Um

Just Us

LP | 1979 | JP | Reissue (P-Vine)

Release: 1972 / JP – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Ordinarily, private press albums by groups of unknown musicians don’t make their way back into circulation - they are lost due to their inaccessibility for public consumption and routine home clearouts. Little is known about Four-Um, the group who released the covers album Just Us in 1972, other than their association with Buffalo, New York and their own short-lived label Libra 7 Records. Just Us, however, has clung onto record collector shelves owing to the creativity of its jazz and soul-packed interpretations of classic tracks, and its strong cult-following.

Be prepared to be surprised by the shape of these reimagined classics. Aretha Franklin’s 'Day Dreaming' with its lush vocal arrangements echoes through halls of reverb, and sounds spritely psychedelic. Simon & Garfunkel’s 'Scarborough Fair' is stretched over seven minutes with warm break-out organ solos. Other highlights include covers of The Spiral Staircase's 'More Today Than Yesterday' and Burt Bacharach’s 'What The World Needs Now'. P-vine is delighted to reissue Just Us on limited edition vinyl for the first time ever with an obi strip attached.

Go to Item

Les Demerle Transfusion

Transcendental Watusi!

LP | 1978 | JP | Reissue (P-Vine)

Release: 1979 / JP – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Hot on the heels of reissuing Les Demerle’s debut album in 2021, Groove-Diggers keeps up pace with this reissue of Transcendental Watusi!, the first album he released under his Les Demerle Transfusion moniker in 1979. Across these six tracks, the drummer delivers his trademark Jazz-funk sound, spanning the aural terrain of horn-infused ballad “Once Upon a Time” to the darting bass and percussion-driven sounds of penultimate track “Daggerpoint”. The album’s crisp and intimate sound is indebted once again to its live recording at Howard Rumsey’s Concerts By The Sea in Redondo Beach, California - the same iconic jazz club that hosted his previous year’s live album. P-vine is thrilled to be producing the reissue on its Groove-Diggers imprint with a limited edition LP pressing, and an iconic Japanese obi strip attached.

Go to Item

Les DeMerle

Concerts By The Sea

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

Release: 1978 / JP – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

From the opening announcement of the MC, the first live album of jazz drummer Les Demerle’s glowing career jumps right into the thick of it. Live At The Concerts By The Sea was originally released in 1978, and showcases the live performance of Demerle’s band at Howard Rumsey’s iconic jazz club Concerts By The Sea; a club which produced a series of concerts from 1971 to 1985 in Redondo Beach, California. From the jazz-fusion opener “Quetzal” to the pacy jazz-funk of “San Quentin Quail,” Les Demerle leads his band through a memorable set of genre-hopping jazz with a steady and exemplary command of his kit. P-vine is thrilled to be producing the first official reissue on its Groove-Diggers imprint with a limited edition LP pressing, and an iconic Japanese obi strip attached.

Go to Item

Sandro Brugnolini

Utopia

LP | 1978 | UK | Reissue (Spiritmuse)

Release: 1972 / EU – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

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

Go to Item

Abdullah Sami

Peace Of Time

Alice Coltrane with Pharoah Sanders

Release: 1978 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

An ultra-rare, spiritual jazz Holy Grail from Abdullah Mudon Sami and
New York’s & Chicago’s late 70s underground jazz scene, that has acquired
mythical status.

Go to Item

Journey in satchidananda

LP | 1971 | US | Reissue (Impulse!)

Takeshi Inomata & Sound Limited

Release: 1971 / US – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Alice Coltrane’s Journey in Satchidananda, named for her spiritual adviser Swami Satchidananda, is just that: a journey: one of transition and transcendence; it is one of emotion, and one of being human and of divine flow.

Go to Item

New Rock In Europe

LP | 1971 | JP | Reissue (Universal Music Japan)

Release: 1971 / JP – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Preorder shipping from 2024-08-30

LP | 1978 | EU | Reissue (Tokuma)

Akio Niitsu

I/O(I･O)

Reflections Record Store Day 2024 Clear Vinyl Edtion

Release: 1978 / EU – Reissue

Genre: Organic Grooves, Electronic & Dance

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

(Japanese pressing, Official reissue) Brilliant synth prog weirdness from the late 1970s Tokyo. Recorded by the guitarist Akio Niitsu who was compared, not without reason, to Manuel Göttsching. Niitsu has a fairly small discography of only three full-length albums, but his second one - “Pet Step” - was on Tomita’s label and supposedly with the involvement of Haruomi Hosono (this is according to Chee Shimizu who lists it in his “Obscure Music”).

Akio Niitsu's first album, "i/o(i･o)" released in 1978, was produced in a homemade studio that had been converted from a storeroom in his home, and he spent three years doing everything from composition to engineering by himself, using overdubbed guitar recordings. 's first analog re-release has been decided.As a guitar multi-recording album, the idea was realized six years earlier than the album "e2-e4" released in 1984 by Manuel Göttsching, the central figure of "Ash La Tempel", but it was too early. A hidden experimental/ambient gem!The paradoxical sound that makes you feel as if you are lost deep in a labyrinthine forest, combined with Tadanori Yokoo's artwork, is a piece that allows you to enjoy Akio Niitsu's worldview with your ears and eyes.

Go to Item

Amancio D'Silva

LP | 1971 | CZ | Reissue (Decca)

Release: 1971 / CZ – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Surgeon Of The Nightsky Restores Dead Things Byteh Power Of Sound

Jon Hassell

LP | 1987 | EU | Reissue (Intuition)

Release: 1987 / EU – Reissue

Genre: Organic Grooves, Electronic & Dance

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Through The Looking Glass

Midori Takada

2LP | 1983 | EU | Reissue (WRWTFWW)

36,09 €* 37,99 € -5%

Release: 1983 / EU – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

2023 repress, limited to 500 with Original Stoughton Tip On Sleeve!

Go to Item

The Piano Choir

Handscapes Volume 2

Release: 1975 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Lol Coxhill & Totsuzen Danball

LP | 1983 | JP | Reissue (P-Vine)

Fred Frith & Totsuzen Danball

Release: 1983 / JP – Reissue

Genre: Organic Grooves, Rock & Indie

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Only a year after their collaboration with Fred Firth, Totsuzen Danball teamed up with English saxophonist Lol Coxhill to record this monster of an album! Reissued on analog vinyl for the first time ever!

Without DAWs and online file sharing (or really, the concept of online), Totsuzen Danball and Coxhill painstakingly sent each other tapes, overdubbing repeatedly to make the off-kilter rock and roll you hear on this album. Immediately, you can tell that every second of effort was worth it. The opening track “Moyou” (lit. pattern) is oddly charming, with a bouncing bassline, motorik-esque drum beat, and lyrics about being on all-fours at a pedestrian crossing. But Coxhill’s improvisations bring the song to another level, and as he squeaks notes out over a repeating guitar riff, you won’t be able to stop yourself from nodding your head.

Totsuzen Danball classic “Natsu wa Kagerou” (Also included on their first album, Can I?) also takes on a new dimension of freakiness when played with Coxhill, whose free improvisations seem to soar over the simple beat and vocals from Totsuzen Danball. Combined, they create a sound that is both pop and avant-garde, if only in spirit.

Reissued on analog vinyl for the first time ever, the collaboration between Totsuzen Danball and Lol Coxhill is new wave, avant-garde, and everything in between!

Go to Item

LP | 1982 | JP | Reissue (P-Vine)

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

Release: 1982 / JP – Reissue

Genre: Organic Grooves, Rock & Indie

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

The combined powers of Fred Firth (ex. Henry Cow) and Totsuzen Danball! Originally released on cassette in 1982, the collaborative album is getting its first release on vinyl!

The first album from Totsuzen Danball, Can I? (1981) made waves with its experimental new wave sound, and the band suddenly found themselves with more overseas fans than they knew what to do with. Chief among them was Fred Frith, guitarist and co-founder of British art-rock group Henry Cow, who played with Totsuzen Danball during what was no doubt a legendary live show at Shinjuku Loft on July 23rd 1981. The recording from that night, originally released on cassette from Totsuzen Danball’s own label Floor - is finally getting an analog release! Listen as the sounds, and occasional noises, of two guitars, a pump organ, and drums intermingle to create something that’s never been heard before or since!

Go to Item

Karin Krog

We Could Be Flying

Masahiko Togashi / Don Cherry / Charlie Haden

Release: 1975 / JP – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

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

Go to Item

Song Of Soil

LP | 1979 | EU | Reissue (Wewantsounds)

LP | 1970 | JP | Reissue (P-Vine)

Release: 1979 / EU – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

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

Go to Item

Sonny Stitt

When Sonny Blows Blue

LP | 1977 | US | Reissue (Etats-Unis)

Release: 1970 / JP – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Groove Diggers is delighted to present a reissue of When Sonny Blows Blue by the legendary saxophonist Sonny Stitt for the first time on limited edition vinyl. Originally released in 1970, this album featured a star-studded line-up with the likes of Herbie Hancock, Grady Tate and Ron Carter backing Stitt across a number of jazz standards. By force of its cast, ‘Summertime’ and ‘Out of This World’, have never sounded quite like this. The gold sleeve returns along with an iconic Japanese obi strip.

Go to Item

V.A.

Blorp Esette Volume One

LP | 1976 | US | Reissue (Etats-Unis)

Release: 1977 / US – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Los Angeles Free Music Society (lafms) formed in the mid-1970s as a loose-knit experimental music collective and multimedia publishing vehicle. Founded by teenage Le Forte Four members Chip Chapman, Joe Potts and Rick Potts and soon joined by Tom Recchion of Doo-Dooettes, Lafms incorporated free improvisation, modular synthesizers, tape music, sampling, musique concrète, homemade instruments, noise, mail art and avant-rock in permissive and anarchic sessions at the Raymond Building and Poo-Bah Record Shop in old Pasadena. Inspired by The Residents, Lafms self-released records and periodicals, organized performances and connected with fellow outsiders via post in the years before punk. Their uninhibited, egalitarian ideal of music-making and DIY distribution would influence generations of underground musicians. In 1977, Lafms released Blorp Esette, one of several compilations tracking the collective's growth and wild-eyed experimentation. Ace Farren Ford, an early Lafms recruit from the Poo-Bah circle, produced the album and solicited cover artwork by Don Van Vliet (Captain Beefheart). Ford appears in various configurations alongside members of Smegma, Le Forte Four and "unknown artist" (as the credit for more than one piece reads). The Residents, showing their affinity with Lafms, contributed "Whoopy Snorp" for their first non-Ralph Records release. Blorp Esette shows the artists grasping for new, non-idiomatic voicings and collaborative modes, anticipating Lafms affiliates and offshoots such as Airway, Human Hands and Monitor. A second volume would come out in 1980, featuring Ford's punk band The Child Molesters. If you're looking for the missing link between mid-'70s art practice and outsider music, then look no further. This first-time vinyl reissue is limited to 500 numbered copies. Comes with inserts.

Go to Item

V.A.

I.D. Art #2 L

Release: 1976 / US – Reissue

Genre: Organic Grooves, Electronic & Dance

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Los Angeles Free Music Society (lafms) formed in the mid-1970s as a loose-knit experimental music collective and multimedia publishing vehicle. Founded by teenage Le Forte Four members Chip Chapman, Joe Potts and Rick Potts and soon joined by Tom Recchion of Doo-Dooettes, Lafms incorporated free improvisation, modular synthesizers, tape music, sampling, musique concrète, homemade instruments, noise, mail art and avant-rock in permissive and anarchic sessions at the Raymond Building and Poo-Bah Record Shop in old Pasadena. Inspired by The Residents, Lafms self-released records and periodicals, organized performances and connected with fellow outsiders via post in the years before punk. Their uninhibited, egalitarian ideal of music-making and DIY distribution would influence generations of underground musicians. Lafms primarily reached outside Los Angeles via word-of-mouth and the United States Postal Service, foreshadowing the self-publishing and cassette trading networks of post-punk and industrial subcultures. In 1976, Joe Potts solicited recordings from Lafms affiliates and admirers to edit and compile I.D. Art #2, utilizing correspondence art's technique of "assemblings." (The first installment in this series was a magazine, and the third was a coloring book.) Potts received dozens of pieces by members of Le Forte Four, Doo-Dooettes, Smegma and Ace & Duce as well as painters, filmmakers and non-artists with few recording credits to their name, creating a delirious, winking sound-art collage of field recordings, voicemails and improvisations. Participants purchased time on the record and received one copy each of the finished LP, realizing the philosophy contained in Lafms' motto: "The music is free, but you have to pay for the plastic, paper, ink, glue and stamps." This first-time vinyl reissue is limited to 500 numbered copies. Comes with insert.

Go to Item

Ben Webster

Live At Pio's

Pan Afrikan Peoples Arkestra

Release: 1974 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

A great small club date from Ben Webster – different than some of his European concerts of his final years, in that this one was done at a lounge in Rhode Island, and maybe has a bit more bite and focus overall! The tracks are short, and Webster gets superb rhythm accompaniment from the trio of Junior Mance on piano, Bob Cranshaw on bass, and Mickey Roker on drums – who really come out swinging, and push Ben to take some of his boldest solos of the period – plenty of bite throughout, and a fire that you don't always hear on his other 60s recordings. Titles include "Cookin For T", "Sunday", "Pennies From Heaven", "How Long Has This Been Going On", and "Gone With The Wind".

Go to Item

Flight 17

LP | 1978 | UK | Reissue (Pure Pleasure)

Sextet: Music From The Source

Release: 1978 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

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

Go to Item

Cecil McBee

LP | 1978 | UK | Reissue (Pure Pleasure)

Music Inc.: Live At Slug's Volume 2

Release: 1978 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

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

Go to Item

Charles Tolliver

Release: 1972 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

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

Go to Item

Stanley Cowell

Musa-Ancestral Streams

Shamek Farrah & Sonelius Smith

Release: 1974 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

"Musa-Ancestral Streams" remains a relative oddity in the pantheon of jazz's black consciousness movement -- a solo piano set of stunning reach and scope, its adherence to intimacy contrasts sharply with the bold, multi-dimensional sensibilities that signify the vast majority of post-Coltrane excursions into spiritual expression, yet the sheer soulfulness and abandon of Stanley Cowell's performance nevertheless vaults the record into the same physical and metaphysical planes. Cowell's energy and touch are remarkable, as if guided by divine power, and for all the music's structural spaciousness and rhythmic freedom, not a note feels out of place, let alone excessive. Most intriguing is "Travelin' Man", an overdubbed 'duet' featuring Cowell on both acoustic and electric piano that underscores his uncommon affinity for space and presence.

Go to Item

The World Of The Children

LP | 1977 | UK | Reissue (Pure Pleasure)

LP | 1983 | UK | Reissue (Pure Pleasure)

Release: 1977 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

An amazing session of spiritual soul jazz – and one of the rarest albums on Strata East! Shamek Farrah's soulful alto is matched with the free spiritual piano of Sonelius Smith, for a totally memorable session that virtually defines the essence of the Strata East sound! The music is free, but not too free; lyrical, but never indulgent; and always turning over with a fresh sense of imagination, and a soaring groove that's very much in the classic Strata East mode!

Go to Item

Nate Morgan

Journey Into Nigrita

LP | 1983 | UK | Reissue (Pure Pleasure)

Release: 1983 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

At the dawn of the Reagan years, LA jazz pianist Nate Morgan recorded his first album for Nimbus West. "Journey Into Nigritia" portrays an artist marked by the icons of his day, and striving for reinvention. Although he came from a solid jazz background, coming up through the Pan Afrikan People's Arkestra, Morgan found more exciting work with pop bands in the seventies, including glory years with Rufus w/Chaka Khan. On "Journey Into Nigritia", Morgan re-embraces jazz. Included in the band are Jeff Littleton on bass, Fritz Wise on drums, and Dadisi Komolafe on alto sax. The collection opens with the Trane-ish "Mrafu". Komolafe blasts off in short order, and while the modal chording recalls Tyner, Morgan shows flashes of the nimble loquacious gift that define him. While Alice Coltrane incense perfumes "Morning Prayer", Morgan's devotional sincerity and personnel expression triumph. Suitably complex with yearning minors, "Mother" features the trio performing a memorable composition. Littleton's deep-note sustain contrasts Wise's shimmering cymbals, while Morgan tells heart-wrenching truth. With a somewhat solemn theme, "He Left Us A Song" regularly bursts through into straight-ahead fast break sprints up and down the court. The unexpected "Study In C.T." offers an homage to Cecil Taylor and Morgan's musical roots with free improvisations on a dense and spiky theme. The exhilarating result has Morgan exploring his own way, with a winking slinging of jagged bass chords halfway through. While a quarter century's experience has nurtured Morgan's prodigious gifts beyond this ambitious debut, "Journey Into Nigritia" offers enjoyable insights into his artistic evolution, while adding another precious title to the discography of one of the most woefully under-recorded greats of our time. Review by Rex Butters

Go to Item

Rickey Kelly

Limited Stops Only

Music Inc.: Live At Slug's Volume 1

Release: 1983 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

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

Go to Item

Charles Tolliver

Ruben Rada & Eduardo Mateo

Release: 1972 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

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

Go to Item

Botija De Mi Pais

LP | 1987 | EU | Reissue (Little Butterfly)

LP | 1979 | UK | Reissue (Pure Pleasure)

Release: 1987 / EU – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Recorded between 1985 and 1987, this album brings together the two founders and leading performers of candombe-beat, Ruben Rada and Eduardo Mateo. They hadn´t collaborated in a project since 1969. Both artists had reached their creative prime, with Mateo having released “Cuerpo y Alma” and Rada, “La yapla mata” (which included the classic song ‘Tengo un candombe para Gardel’). 140 gram vinyl with OBI & Insert This initiative sprang from the artists themselves. But when it was time to create, they rarely got together in the studio, preferring to work on their own. Once finished, the album failed to make an impact, since neither of them promoted it. This revival brings that semi-hidden treasure to light. It includes two tracks of the artists strictly performing a duet, the only recordings of Mateo and Rada working alongside each other and no one else. It also contains two additional tracks where you can relish Rada accompanied by Mateo’s guitar and Mateo backed by Rada’s percussion. It includes a track where Mateo commands the instruments (as in Mateo solo bien se lame) and another with Rada’s solo on vocals and percussion. There are instances when Rada’s band of that moment and “super-group” (with Osvaldo Nolé on keyboards, Ricardo Lew on electric guitar, Urbano on the bass and Osvaldo Fattoruso on drums), makes an appearance. Sometimes, Urbano comes forth as lead singer, completing the triad of singers of “El Kinto”. All excellent songs. This album is exceptional and one-of-a-kind, an overflow of talent, musicality, swing, imagination, rhythm, spark, and transcendence. Guilherme de Alencar Pinto

Go to Item

Babatunde And Phenomena

Levels Of Consciousness

Norman Williams And The One Mind Experience

Release: 1979 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

This reissue of an LP cut for the Theresa label contains plenty of exciting music. Percussionist Babatunde Lea takes stirring solos and constantly inspires the ensembles and soloists during a generally high-powered set. The musicians were all based in San Francisco at the time, including guest soloists trumpeter Eddie Henderson and trombonist Julian Priester. The music is Afro-Cuban jazz with bits of 1970s electronics and funk added to the mix. But despite some R&B-ish vocals (which dominate a bit during the last few tracks) and commercial moments, the music is excellent, there are some strong solos.

Go to Item

The Bishop

Charles Tolliver / Music Inc & Orchestra

Release: 1976 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Bishop Norman Williams is an amazing musician. He not only has command of his instrument and music, but a great spirit that reflects a knowledge and love of his people and what they give the world — the same spirit shared by Satchmo, Bird, and Trane. Reign on, Bishop. Michael Howell Bishop Norman Williams is one of those unique talents in music. He has the gift of being able to say what he wants and at the same time say something always significant. He has many influences because he is open to all of the good music of the world. When you hear him play, you feel that he has assembled all of these 'world ideas' in music to speak through his horn. John Handy It’s time. It’s time for all to hear the Bishop proclaim spiritual truths in his church, the One Mind Temple, dedicated to the spirit of John Coltrane. The time is also overdue for all to hear the Bishop proclaim musical truths through the medium of his alto saxophone. My first few gigs in 1962 were with the Bishop’s band. I’ll never forget what an inspiration it was for me learning how to play while standing next to the Bishop, who already had it together. I’m sure after hearing the Bishop, you will also agree that his time has come. Eddie Henderson

Go to Item

Impact

Release: 1976 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

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.

Go to Item

Rahsaan Roland Kirk

Blacknuss

Lonnie Liston Smith & The Cosmic Echoes

Release: 1972 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

As deep as a soul record can be and as hot as any jazz record has a right to call itself. deep

Go to Item

Visions Of A New World Remastered Edition

Release: 1975 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

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

Pianist Lonnie Liston Smith began his true professional career with Pharoah Sanders and then moved on to the very electric Miles Davis band before embarking on his own journey -- one that took him deep into the waters of pop music and disco by the late '70s. On Visions of a New World, Smith, accompanied by his working unit the Cosmic Echoes, digs deeper into the soul-jazz vein that he had begun exploring on Expansions and Funk Extraction in 1973 and 1974, respectively. In 1975, Smith was looking for a smoother, more soulful groove than he had displayed previously. Elements of the earlier band are in evidence: Vocalist Donald Smith is still on board, as are Dave Hubbard and Cecil Bridgewater on horns. Reggie Lucas even helps out on guitar in one or two places, and Ray Armando helps the percussion section. Despite these fiery players, the music here is strictly a late-night seduction/meditation groove. Tracks like the opener, "A Chance for Peace," keep the funk in mid-tempo while rounding off the edges, but "Love Beams" sounds exactly like its name. "Colours of the Rainbow" is a duet between Donald and Lonnie on keyboard and vocals, and "Devika" is the first place where the groove exceeds the mood. Latin rhythms, loosely woven horn lines, funky backbeats, and a slinky melody bring the whole thing up a couple of notches. The only other place the album heats up is on the final two tracks: the second part of the title suite -- when Donald Smith stops singing -- and "Summer Nights," when the concentration is on pure movement and sweaty, shimmering late-night funk. - ThomJurek/AMG

Recorded in 1975 at Electric Lady Studios

Go to Item

Cecil McBee

Mutima

Release: 1974 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

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.

Go to Item

Stanley Turrentine

Sugar

An Evening With The Devil

Release: 1971 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

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

Go to Item

Wendell Harrison

Release: 1972 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

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

Go to Item

Music Inc.

Release: 1971 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

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

Go to Item

John Gordon

Step By Step

Release: 1976 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

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

Go to Item

Phil Ranelin

Vibes From The Tribe

Release: 1971 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

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

Go to Item

Shamek Farrah

First Impressions

Release: 1974 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Harold Vick

Don't Look Back

Release: 1974 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Norman Connors

Love From The Sun

Release: 1974 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Stanley Cowell

Regeneration

Billy Parker's Fourth World

Release: 1976 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Around the time of this recording, Stanley Cowell had achieved a degree of prominence as the pianist for the advanced bop quartet Music Inc., which he co-led with trumpeter Charles Tolliver, as well as for unusual projects like his Piano Choir. With Regeneration he chose another path, essentially trying to produce a jazz-infused pop album with strong African roots, perhaps owing a little bit to Stevie Wonder. He assembled an extremely strong cast of musicians for the venture, including Marion Brown, Billy Higgins, and Ed Blackwell, as well as several African string and percussion masters and, by and large, succeeded conceptually if not commercially. A few songs use vocals in a fairly standard pop framework, and, while they are performed capably enough, the lyrical content leaves something to be desired in typical mid-'70s fashion. But much of the rest of the music makes up for this with, among other things, a delightful fife and drum piece by Brown and strong bass work by Bill Lee (Spike's dad). Regeneration is an interesting, often enjoyable album which, aside from its own small pleasures, provides a snapshot of some of the cross-fertilization in genres occurring at the time.

Go to Item

Freedom Of Speech

Descendants Of Mike And Phoebe, The

Release: 1975 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

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

Go to Item

A Spirit Speaks

Release: 1974 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

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.

Go to Item

Freddie Hubbard

Straight Life

Release: 1971 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Thad Jones & Mel Lewis Orchestra

Consummation

LP | 1970 | UK | Reissue (Pure Pleasure)

Release: 1970 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Stan Getz

Captain marvel

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

Release: 1975 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

limited remastered edition 180 gram vinyl

Go to Item

Picture
Coming Soon

Mulatu Astatke

Ethio Jazz

2LP | 1975 | EU | Reissue (BBE Music)

Release: 1974 / JP – Reissue

Genre: Organic Grooves, Rock & Indie

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Preorder shipping from 2024-09-13

"Ethio Jazz" is an album released by the Ethiopian master musician Mulatu Astatke in 1974 on his homeland Ethiopia's Amha Records. It stands as a milestone not only in his career but also in the history of contemporary Ethiopian music, continuing to shine brightly. With melancholic melodies played by wind instruments, a polyrhythmic rhythm section creating robust waves, sultry vibes from the vibraphone, and smoky organ tones, the album is enveloped in the sounds of jazz inherited from the States. This work, where various musical elements are miraculously fused in perfect balance, undoubtedly reigns at the pinnacle of Ethio Jazz, showcasing Mulatu's ambitious creativity in seeking out new sounds.

Go to Item

Larry Nozero

Time

Release: 1975 / EU – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

LP | 1975 | US | Reissue (Craft)

Azar Lawrence

Summer Solstice

Release: 1975 / US – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Lonnie Liston Smith & The Cosmic Echoes

Cosmic Funk

LP | 1974 | Reissue (Real Gone Music)

Release: 1974 / Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

LP | 1976 | JP | Reissue (P-Vine)

Nathan Davis

LP | 1986 | UK | Reissue (Pure Pleasure)

Release: 1976 / JP – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Kansas City-born multi-instrumentalist Nathan Davis released the album "If" from his own Tomorrow International label in 1976, and it's widely loved by jazz-funk / rare-groove fans. Nineteen years after its reissue in 2005 for the first time, P-vine is pleased to present this masterpiece once again!

Go to Item

John Stubblefield

Bushman Song

Release: 1986 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

LP | 1988 | UK | Reissue (Pure Pleasure)

David Murray

Lucky Four

Release: 1988 / UK – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

LP | 1989 | JP | Reissue (Groove Diggers)

Weldon Irvine

Weldon And The Kats

LP | 1974 | JP | Reissue (Groove Diggers)

Release: 1989 / JP – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

* First ever reissue with the original LP artwork * New remastering * Japanese OBI-strip After releasing some albums through RCA and Strata-East, Weldon Irvine returned to his own label Nodlew Records to release 'Weldon and The Kats' which was consistent with a lot of session recordings. Along with sessions in the 80s, the album has his early work 'Mr.P.C.' recorded in 1968 with Steve Grossman (T.Sax) and Lenny White (Drums) who played in the Miles Davis band. This is the first time it has been reissued with original LP artwork!

Go to Item

Weldon Irvine

In Harmony

LP | 1978 | JP | Reissue (P-Vine)

Release: 1974 / JP – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

* Originally released in 1974 on the famed spiritual jazz label Strata-East * New remastering * Japanese Obi-strip In Harmony' is the fourth album by American jazz pianist and composer Weldon Irvine, released in 1974 on the famed spiritual jazz label Strata-East and acclaimed as one of his finest catalog in his early career. P-vine delightedly presents this great jazz album with new remastering just for this reissue!

Go to Item

Les DeMerle

Transfusion

LP | 1975 | EU | Reissue (Musica & Entretenimiento)

Release: 1978 / JP – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

P-vine is proudly reissuing a classic album of rare groove released by West Coast-born funky drummer Les Demarle at the height of his career in the 1970s, "Transfusion" with a Japanese OBI strip!

This is a studio recording in 1977 on the jazz label called "Dobre Records", which was run by Ray Lawrence. The introductory drum break to 'Moondial' has been sampled by many artists including Jurassic 5's 'Lesson 1', De La Soul's 'Stone Age', DJ Shadow and Greyboy. Other jazz funk tracks such as 'Canned Heat Suite' and 'Kaballa', and the bewitching Afro-latin funk of 'Bacchanal', this is a funky fusion full of groovy tracks throughout the album.

Go to Item

Fusion

Top Soul

Gigi Masin / Charles Hayward

Release: 1975 / EU – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

"Top Soul" (1975) by Fusion is released now on vinyl, from the original IRT masters! The experience of the group Fusion, historically considered the first Chilean electric jazz project, according to musicologist Alvaro Menanteau in his book Historia del jazz en Chile (History of jazz in Chile). Luna was the son of Peruvian diplomats settled in Chile. He had lived and studied art in New York and for that reason he had first-hand knowledge of the current jazz scene: the last years of John Coltrane in the avant-garde and the mutation of Miles Davis to electric jazz. He had studied at the Boston school of Berklee and had an important collection of records by Davis himself and his disciples: Joe Zawinul, Herbie Hancock, Chick Corea, Wayne Shorter, Miroslav Vitous. While Pizarro, who had appeared in the mid '60s as a very young pianist, of outstanding technique, advanced ideas and notorious musical culture, was also returning from a period of study at Berklee. The workshop meetings, jam sessions and auditions of new music were held at Pizarro's house, on Hernando de Aguirre and Eliodoro Yánez streets, and there was no jazz musician during those years who did not go through the experience of attending the initiation sessions. According to Chilean musicologist Alvaro Menanteau in his book Historia del jazz en Chile (2003), from the youngest (pianists Manuel Villarroel and Mario Lecaros or drummers Patricio Villarroel and Pedro Greene), to the most experienced (saxophonists Patricio Ramírez and Sandro Salvati or drummer Jaime Farfán), they frequented Pizarro's house and consolidated the core of musicians that faced the hard decade of the 70s. That was the seed of the foundation of Fusion, a group that adopted its name directly from the generic topic that began to understand and describe the music promoted mainly by Miles Davis in those years. In 1972, Fusion launched its project with the Luna-Pizarro-Salvati trio, using electric instrumentation, experimenting with rhythmic patterns of soul, funk and rock, but keeping intact the impulse of the original jazz improvisation and an important factor of Afro-Latin music, full of percussion. Although to record the album "Top Soul" (1975), the band ended up with soloists like David Estánovich (tenor sax) and Lautaro Rosas (guitar), plus a rhythm trio with Mario Lecaros (electric piano, ex Village Trio), Enrique Luna (bass) and Orlando Avendaño (drums, ex Nahuel Jazz Quartet), plus guests like trumpeter Daniel Lencina, and the young percussionist Santiago Salas (from the group Santa y su Gente). But it was, in any case, a brief history with few live appearances. One of them took place in 1972 at the Chile Stadium, with some members of Fusion as Luna, Pizarro and Greene, joined Los Jaivas for a free collective improvisation session, under the name of La Banda, and of which there is a valuable filmed testimonial record, although without audio. Fusion's life ended definitively after the release of the album, with Matías Pizarro living in Paris since 1977, Mario Lecaros in Barcelona in 1976, Orlando Avendaño retired from music, Enrique Luna back in Peru after working with the fusion group Almandina, and a hostile reality for the development of music during the first years of the military dictatorship.

Go to Item

Les Nouvelles Musiques De Chambre Volume 2

LP | 1989 | JP | Reissue (P-Vine)

35,14 €* 36,99 € -5%

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

Release: 1989 / JP – Reissue

Genre: Organic Grooves, Classical Music

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

The two emerging explorations of aquatic themes on 1989’s Les Nouvelles Musiques de Chambre Volume 2 were a unique insight into the respective compositional approaches of its two central figures. The split album featured the Italian composer Gigi Masin on side-a with delicate piano movements rippling above undulating electronics. Its second track ‘Clouds,’ has become an ambient standard with Bjork, Nujabes and cloud-rap duo Main Attrakionz all sampling its rich and euphoric tones.

Side-b belonged to Charles Hayward and the twenty three minute sound portrait ‘Thames Water Authority’. A founding member of post-punk and avant groups This Heat and Camberwell Now, Hayward’s natural inclination towards percussive instrumentation is highlighted by shape-shifting cymbal recordings that trace the expansive systems that meander beneath Greater London. The track later appeared on his tribute album to Mark Rothko, fusing its symmetry with artistic abstraction.

P-vine is thrilled to reissue Les Nouvelles Musiques de Chambre Volume 2 on limited edition vinyl with an iconic Japanese obi strip attached.

Go to Item

Giovanni Tommaso

Indefinitive Atmosphere

35,14 €* 36,99 € -5%