Jazz | Fusion Vinyl 823 Items

Freddie Hubbard & Art Blakey

Release: 1989 / US – Reissue

Genre: Organic Grooves

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Welcome to ‘Feel The Wind’…maybe one of the greatest team-ups in Jazz history featuring jazz superstars Art Blakey and Freddie Hubbard! Art Blakey (1919–1990) needs little introduction, the American Jazz drummer and bandleader made a name for himself in the 1940s & 1950s playing with contemporaries such as Miles Davis, Dizzy Gillespie and Charlie Parker. He is often considered to have been Thelonious Monk's most empathetic drummer (he played on both Monk’s first recording session in 1947 and his final one in 1971). In the decades that followed Blakey recorded for all THE labels that mattered in the field of jazz (Columbia, Blue Note, Atlantic, RCA, Im pulse!, Riverside, Prestige, Verve, etc.). His collaborations were numerous and include working with equally legendary artists such as Sonny Rollins, Max Roach, Chet Baker, John Coltrane….and countless others. Art Blakey was a major figure and a pioneer for modern jazz, he assumed an aggressive swing drumming style early on in his career and is known as one of the inventors of the modern bebop style of drumming. Blakey was sampled and remixed by major acts such as The Black Eyed Peas, Digable Planets, Buscemi, KRS-One and Madlib. The legacy of Art Blakey is not only the music he produced, but also the opportunities they provided for several future generations of jazz musicians. Freddie Hubbard (1938-2008) also needs little introduction, he was one of the most renowned American jazz trumpeters who played bebop, hard bop and post-bop from the early 1960s onwards. His unmistakable and influential tone contributed to new perspectives for modern jazz and bebop. At the age of 20, in New York, he began playing and recording with some of the best jazz players of the era, including Don Cherry, Quincy Jones, Ornette Coleman, John Coltrane, Wayne Shorter, Oliver Nelson and Herbie Hancock. Freddie Hubbard recorded for labels such as Blue Note and Atlantic and he became a prominent member of Art Blakey’s Jazz Messengers. Hubbard achieved his greatest popular success in the 1970s with a series of landmark albums. Hubbard's trumpet playing was featured on the track 'Zanzibar' from the 1978 Billy Joel album 52nd street (the 1979 Grammy Award Winner for Best Album) and in 1988, Hubbard played with Elton John contributing trumpet and flugelhorn solos. In 2006, the National Endowment for the Arts accorded Hubbard its highest honor in jazz, the NEA Jazz Masters Award. Freddie Hubbard was sampled and remixed by renowned artists such as Raekwon, A Tribe Called Quest, Beastie Boys, Jungle Brothers and Kamasi Washington. On the album that we are presenting you today (Feel The Wind from 1989) , you’ll find six sublime tracks recorded in 1988 by renowned engineer Max Bolleman at the Studio 44 Monster in Holland. These recordings were originally released on the legendary Dutch jazz label Timeless Records (and produced by its owner Wim Wigt). Supporting Hubbard and Blakey is an all-star line-up of musicians from the likes of Leon Dorsey (Lionel Hampton), Lonnie Plaxico (Dizzy Gillespie, Ravi Coltrane), Benny Green (Joe Henderson, Houston Person, Milt Jackson), Mulgrew Miller (Frank Morgan, Donald Byrd) and Javon Jackson (Cedar Walton, Curtis Fuller, John Hicks). The combination of this being one of Art Blakey's final recordings near the end of his life and a glorious rejuvenating return by Freddie Hubbard gives us all the ingredients for a unique album that sounds as innovating today as back in the day when it was released. Expect supercharged hard bop with striking notes, no-holds-barred musicianship, high swinging solos, screaming choruses and plenty of solid virtuosity to spare. This release is not only a classic but also a bonafide hit and a must have for any self-respecting jazz fan or collector. Tidal Waves Music now proudly presents this much-needed vinyl reissue that pairs up two iconic jazz legends at the top of their game. Originally released in 1989, this is the first time these unique sessions are being reissued as a deluxe 180g vinyl edition w/obi strip.

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Feel The Wind Clear Vinyl Edition

LP | 1989 | US | Reissue (Tidal Waves Music)

19,99 €*

In Hot House White Vinyl Edition

Release: 1989 / US – Reissue

Genre: Organic Grooves

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Welcome to ‘Feel The Wind’…maybe one of the greatest team-ups in Jazz history featuring jazz superstars Art Blakey and Freddie Hubbard! Art Blakey (1919–1990) needs little introduction, the American Jazz drummer and bandleader made a name for himself in the 1940s & 1950s playing with contemporaries such as Miles Davis, Dizzy Gillespie and Charlie Parker. He is often considered to have been Thelonious Monk's most empathetic drummer (he played on both Monk’s first recording session in 1947 and his final one in 1971). In the decades that followed Blakey recorded for all THE labels that mattered in the field of jazz (Columbia, Blue Note, Atlantic, RCA, Imp ulse!, Riverside, Prestige, Verve, etc.). His collaborations were numerous and include working with equally legendary artists such as Sonny Rollins, Max Roach, Chet Baker, John Coltrane….and countless others. Art Blakey was a major figure and a pioneer for modern jazz, he assumed an aggressive swing drumming style early on in his career and is known as one of the inventors of the modern bebop style of drumming. Blakey was sampled and remixed by major acts such as The Black Eyed Peas, Digable Planets, Buscemi, KRS-One and Madlib. The legacy of Art Blakey is not only the music he produced, but also the opportunities they provided for several future generations of jazz musicians. Freddie Hubbard (1938-2008) also needs little introduction, he was one of the most renowned American jazz trumpeters who played bebop, hard bop and post-bop from the early 1960s onwards. His unmistakable and influential tone contributed to new perspectives for modern jazz and bebop. At the age of 20, in New York, he began playing and recording with some of the best jazz players of the era, including Don Cherry, Quincy Jones, Ornette Coleman, John Coltrane, Wayne Shorter, Oliver Nelson and Herbie Hancock. Freddie Hubbard recorded for labels such as Blue Note and Atlantic and he became a prominent member of Art Blakey’s Jazz Messengers. Hubbard achieved his greatest popular success in the 1970s with a series of landmark albums. Hubbard's trumpet playing was featured on the track 'Zanzibar' from the 1978 Billy Joel album 52nd street (the 1979 Grammy Award Winner for Best Album) and in 1988, Hubbard played with Elton John contributing trumpet and flugelhorn solos. In 2006, the National Endowment for the Arts accorded Hubbard its highest honor in jazz, the NEA Jazz Masters Award. Freddie Hubbard was sampled and remixed by renowned artists such as Raekwon, A Tribe Called Quest, Beastie Boys, Jungle Brothers and Kamasi Washington. On the album that we are presenting you today (Feel The Wind from 1989) , you’ll find six sublime tracks recorded in 1988 by renowned engineer Max Bolleman at the Studio 44 Monster in Holland. These recordings were originally released on the legendary Dutch jazz label Timeless Records (and produced by its owner Wim Wigt). Supporting Hubbard and Blakey is an all-star line-up of musicians from the likes of Leon Dorsey (Lionel Hampton), Lonnie Plaxico (Dizzy Gillespie, Ravi Coltrane), Benny Green (Joe Henderson, Houston Person, Milt Jackson), Mulgrew Miller (Frank Morgan, Donald Byrd) and Javon Jackson (Cedar Walton, Curtis Fuller, John Hicks). The combination of this being one of Art Blakey's final recordings near the end of his life and a glorious rejuvenating return by Freddie Hubbard gives us all the ingredients for a unique album that sounds as innovating today as back in the day when it was released. Expect supercharged hard bop with striking notes, no-holds-barred musicianship, high swinging solos, screaming choruses and plenty of solid virtuosity to spare. This release is not only a classic but also a bonafide hit and a must have for any self-respecting jazz fan or collector. Tidal Waves Music now proudly presents this much-needed vinyl reissue that pairs up two iconic jazz legends at the top of their game. Originally released in 1989, this is the first time these unique sessions are being reissued as a deluxe 180g vinyl edition w/obi strip.

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Ben Webster

LP | 1972 | US | Reissue (Tidal Waves Music)

19,99 €*

LP | 1978 | EU | Reissue (Altercat)

Release: 1972 / US – Reissue

Genre: Organic Grooves

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Tenor saxophonist Ben Webster (born Kansas City, 1909) needs little introduction, Webster is regarded as one of the three foremost swing era tenor saxophonists – the two others being Coleman Hawkins and Lester Young. His ballad playing and sound inspired such later fellow saxophonists as Archie Shepp, Sonny Rollins and John Coltrane. Webster became famous for his unique sound, quick tempos, his solos that contained great virile rhythmic momentum, a rasping timbre and an almost brutal aggressiveness filled with growl, while his ballad playing was breathy, tender and sensual. The list of his collaborations is long, Ben Webster worked, recorded and played with legends from the likes of Art Tatum, Count Basie, Cab Calloway, Roy Eldridge and Dexter Gordon…but a dream came true when he was offered a permanent job in Duke Ellington’s orchestra where his personal style matured. Webster stayed with Ellington until 1943, after which he formed his own groups and played with other small ensembles. From 1952 on he spent his time between Los Angeles and New York playing, freelancing and recording with a variety of soloists, among them high-profile singers like Billie Holiday, Ella Fitzgerald, Carmen McRae and Frank Sinatra. Despite excellent reviews of his albums, it was difficult for Webster to find steady work in the US during the early 1960’s, and when in 1964 he got offered to play for a month in London he accepted and sailed to England. Webster never returned to the United States. In Europe he found plenty of work, playing residences in Scandinavia, settled in Amsterdam (1966-69) and then in Copenhagen (where he even has a street named after him). He toured frequently, playing in clubs and at big festivals with local bands or with visiting American musicians. Ben Webster suffered a stroke in Amsterdam in September 1973 following a performance in Leiden and died on September 20. Even when his health started to decline during his last years, his playing never did. To the last day Webster played with passion and intensity, delivering weight on every note. Webster is the subject of two renowned documentaries and two extensive biographies have been published about his legacy. Responsible for a plethora of excellent recordings he remains THE best-selling tenor saxophonist in jazz. Ben Webster was one of those unique jazz musicians whose presence came through on every recording (He recorded for prestigious labels including Verve, Impulse!, Prestige, Reprise, Blue Note…and countless others. On the album we are proudly presenting you today (‘In Hot House’ recorded at Leiden, May 1972) you will find mind-blowing rare Dutch sessions recorded at the Hot House club in Leiden. Hot House is one of the oldest jazz venues of The Netherlands (It has existed since 1969.) The album includes an international all-star line-up featuring Rob Langereis (Toots Thielemans), Eric Ineke (George Coleman) and Tete Montoliu (Rashaan Roland Kirk). Webster is in constant musical dialog with the rhythm section creating a unique back and forth with these musicians at the top of their game. Ben Webster played a total of three shows in Leiden, the first one dating back to 1967, then the recordings we are presenting you today (from 1972) and then the last one in 1973 (just two weeks before his untimely death). Needless to say the venue was packed with loyal fans…and the love an audience has for Webster can be clearly heard on this album. The musicians are constantly being fired up by a spirited crowd (almost making the audience a 5th bandmember). Tidal Waves Music now proudly presents the First ever vinyl reissue of this fantastic album (originally released as a limited private pressing by the Dutch Ben Webster fan club society back in 1979). This unique record comes as a deluxe 180g White North American vinyl edition (strictly limited to 500 copies) with obi strip and features the original artwork.

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Luis Vecchio

Contactos

20,89 €* 21,99 € -5%

Paul Baillargeon & Dean Morgan

Release: 1978 / EU – Reissue

Genre: Organic Grooves

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

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Viens, Mon Amour

LP | 1970 | EU | Reissue (Tresor National)

20,89 €* 21,99 € -5%

Antropofagia Red Vinyl Edition

Release: 1970 / EU – Reissue

Genre: Organic Grooves

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

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Patrizio Fariselli

LP | 1977 | EU | Reissue (Cramps)

Release: 1977 / EU – Reissue

Genre: Organic Grooves, Classical Music

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LP | 1972 | EU | Reissue (RCA)

Perigeo

Azimut Red Vinyl Edition

Release: 1972 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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Amarena Red Vinyl Edition

Fabbri Lucio

LP | 1978 | EU | Reissue (Cramps)

Release: 1978 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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Mazzabubu Clear Vinyl Eidtion

Gabriella Ferri

LP | 1975 | EU | Reissue (RCA)

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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Hear & Now Yellow Vinyl Edition

Don Cherry

LP | 1977 | EU | Reissue (Klimt)

John Zorn / Andrea Centazzo / Eugene Chadbourne / Tom Corra / Toshinori Kondo / Polly Bradfield

Release: 1977 / EU – Reissue

Genre: Organic Grooves

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

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Environment For Sextet

LP | 1979 | EU | Reissue (Ictus)

LP | 1981 | EU | Reissue (No Frills)

Release: 1979 / EU – Reissue

Genre: Organic Grooves

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Recorded live at Wkcr Radio in New York City in 1978 and issued by Ictus the following year, Environment for Sextet encounters John Zorn at the earliest stages of his career, resting within a sextet of a new generation of stunning improvisers emerging at the tail end of the '70s who would go on to define a vast swath of the '80s sound - Polly Bradfield on violin, Andrea Centazzo on percussion, Eugene Chadbourne on guitar, Tom Corra on cello, and Toshinori Kondo on trumpet - it roughly builds on the series of collaborations that had featured on Centazzo’s 1978 Ictus LP U.S.A. Concerts.

Launching from a total wall of sound - full throttle fire on the boundaries of outright noise - Environment for Sextet takes the listening on an endlessly surprising journey through its players’ inner world, shifting between airy open passages that feature endless combinations of one or more players, to furious moments of sonorous lashings where the group falls in together in brilliant dialogical periods of converstant texture and tonal intervention.

An engrossing and relentless listen from the first moment to the last - featuring two works built from two of Andrea Centazzo’s earliest graphic scores - Environment for Sextet is an absolutely stunning body of improvised work by what were then among the most important rising stars on the free music scene.

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Glenn Miller

Very Best Of

Jean-Francois Pauvros & Gaby Bizien

Release: 1981 / EU – Reissue

Genre: Organic Grooves

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Glenn Miller, leader of the best-loved dance band of all time enlisted in 1942 in a personal crusade to entertain Allied troops with his own distinctive brand of music. Whether delivering ballads or setting the dancefloor moving with 'Pennsylvania 6-5000' and 'The Woodpecker Song', Miller and his merry men set the mood of not only his fellow troops but whole nations. He, and they, will never be forgotten.

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No Man's Land

LP | 1976 | FR | Reissue (Souffle Continu)

LP | 1976 | US | Reissue (Pausa)

Release: 1976 / FR – Reissue

Genre: Organic Grooves

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Recorded by Jean-François Pauvros (guitar, but not only...) alongside Gaby Bizien (drums, percussion, aquatic trombone, marimba, bird calls), and, of course, produced by the audacious Jef Gilson, the appropriately named 'No Man's Land' had virtually no equivalent in France (nor worldwide) when it came out in 1976. Radical, free, primitive, timeless: in the image of the musicians, it is not for nothing that it appears in the famous Nurse With Wound list of major influences concocted in 1979. No label can be placed on this vertiginous sensory adventure: an explosive flow of shrapnel and tearing intensity, full of mystery and life.

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Sam Rivers

The Quest

Release: 1976 / US – Reissue

Genre: Organic Grooves

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A Message From Mozambique

Juju

LP | 1973 | US | Reissue (Black Fire)

Release: 1973 / US – Reissue

Genre: Organic Grooves

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LP | 1976 | EU (Trading Places)

Henry Franklin

Tribal Dance

LP | 1976 | EU (Trading Places)

Release: 1976 / EU

Genre: Organic Grooves

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Los Angeles bass titan Henry Franklin is bestknown for the two Skipper LPs issued by Black Jazz in 1972-74; 1977’s Tribal Dance is more obscure and arguably the best of the bunch, the spiritual jazz given an extra propulsive dimension via the excesses of Sonship, banging complex rhythms on his elaborate self-made drums, as heard on the opening title track and the extended ‘Cosmos Dwellers.’ Elsewhere, ‘Eric’s Tune’ has flamenco undercurrents, ‘Spring Song’ is a slow piano meditation, and ‘Prime Move’ is all over the map. This sonic jazz journey engages the senses and is thoroughly excellent throughout – get your copy now!

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Frank Strazzeri

After The Rain

Release: 1976 / EU

Genre: Organic Grooves

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LP | 1976 | EU (Trading Places)

Flip Nunez

My Own Time And Space

Release: 1976 / EU

Genre: Organic Grooves

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New Dimensions Record Store Day 2023 Edition

Larry Bright

LP | 1987 | UK | Reissue (New Dimensions Productions)

21,59 €* 23,99 € -10%

LP | 1978 | EU | Reissue (Ictus)

Release: 1987 / UK – Reissue

Genre: Organic Grooves

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Having spent the majority of his career in the world of jazz fusion backing up the likes of Sun Ra and Ahmad Jamal, Larry Bright climbed out from behind the kit on his sophomore solo album New Dimensions. Self-released in 1987, an original of the eight-song LP will set you back £150 and finds Bright experimenting with spaced out synths, pop song structures, and drum machine-led electro-funk beat, pushing the boundaries of nu-jazz to the absolute edge. Remastered 180g Heavyweight vinyl.

Accompanied by guitarist John Grant, bassists Tony Bunn and Mark Easley, and dueling trumpeters Jimmy Wilson and Ivan Smart, the resulting album reads like a score to an afro-futurist sci-fi film. Float out into deep space and let Larry Bright’s smooth jazz-terpiece greet you like a warm wind hitting a docking bay in a far-off galaxy. Expertly remastered for your audiophile pleasure. LP in original picture sleeve.

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Andrea Centazzo

U.S.A. Concerts

21,84 €* 22,99 € -5%

LP | 1975 | EU | Reissue (Altercat)

Release: 1978 / EU – Reissue

Genre: Organic Grooves

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

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

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

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

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

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Matias Pizarro

Pelo De Rata

We Want Miles Yellow Vinyl Edition

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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"Hey, there's this new guy around that plays like Herbie Hancock!!". When Chilean pianist Matías Pizarro arrived in Argentina fleeing Pinochet's dictatorship, word spread like wildfire in the local jazz scene.

In the two short years that Pizarro spent in Buenos Aires, he became one third of the Viejas Raíces project alongside local jazz heroes Jorge López Ruiz and Pocho Lapouble, recorded with famed Italian trumpeter Enrico Rava and released his own solo album, Pelo de Rata ("Rat's hair").

Pizarro was no beginner though. Whilst in Chile he had already participated in several music projects and worked as a producer and arranger for the IRT label, and was connected to influential bands such as Los Jaivas and Blops. He had also studied in the Berklee School of Music where he not only met and lived with the cream of an emerging new wave of musicians, but he also had the chance to attend live performances of giants such as Miles Davis or Thelonious Monk.

In the recording of Pelo de Rata Pizarro is joined by fellow Chilean Alejandro Rivera (Sacros, Grupo Sol) on quena and charango, Swedish bassist Bo Gathu on bass, Uruguayan saxophonist Finito Bingert and an impressive percussion team featuring Pocho Lapouble, "El Zurdo" Roizner and the mighty Domingo Cura. The album draws from the US jazz fusion currents of the time (think Chick Corea and Miles Davies), adding an undeniable Latin American character, all projected through Pizarro's own musical prism which displays his acute sense of harmony and a musical intimacy that reminds of those sincere, dreamy moments in Viejas Raíces.

The 8-page booklet that accompanies the vinyl edition will give you a deeper insight into the story of Matías Pizarro, with previously unseen pictures and liner notes by Argentinean journalist Humphrey Hinzillo (La Nación , Rolling Stone Argentina).

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Miles Davis

2LP | 1982 | US | Reissue (Get On Down)

Cults Percussion Ensemble

Release: 1982 / US – Reissue

Genre: Organic Grooves

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Pressed ON Opaque Yellow Vinyl With Japanese Stylized Insert AND Deluxe OBI Strip Remastered From The Original Analog Tapes The first live Miles Davis electric band release since 1977’s very dark and heavy Dark Magus. The album features live performances from shows at Boston’s Kix Club. The double vinyl release contains reimagined versions of songs from The Man With the Horn (1981), tunes from the pre-electric Gil Evans collaboration Porgy and Bess (1959), and a dedication to the Boston venue called Kix. While this was one of the first live Miles Davis performances in over half a decade it certainly did not show!!! This album features R&B legend Marcus Miller on bass, Mike Stern on guitar, Bill Evans on saxophone, Mino Cinelu on percussion, and electric band alumni Al Foster on drums. Produced and edited by long time Miles collaborator Teo Macero.

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The Cults Percussion Ensemble

LP | 1979 | EU | Reissue (Trunk)

Steve Lacy / Andrea Centazzo / Kent Carter

Release: 1979 / EU – Reissue

Genre: Organic Grooves

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

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Trio Live

LP | 1977 | EU | Reissue (Ictus)

Derek Bailey And Andrea Centazzo

Release: 1977 / EU – Reissue

Genre: Organic Grooves

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Originally issued in 1977, Trio Live was recorded in 1976, only a handful of days after Steve Lacy and Andrea Centazzo’s Clangs was laid to tape, presumably capturing another moment on the same two-week tour that had rendered the recordings for its brilliant predecessor. This time, the pair - Lacy and Centazzo - is joined by the American bassist, Kent Carter, a sinfully under-appreciated artist who had worked extensively in Steve Lacy's group, played on the two Jazz Composer's Orchestra LPs, and toured in the bands of Don Cherry, Alan Silva, Mal Waldron, Bobby Bradford, Max Roach, Roswell Rudd, Derek Bailey, John Stevens, Trevor Watts, Steve McCall and many others. The previous year, he had also delivered the stellar LP, Kent Carter Solo With Claude Bernard, as Ictus’ second LP, allowing Trio Live to be understood as a narrowing of an already tight circle, despite its slightly expanded ensemble.

Arguably best defining the first two entries in the Ictus reissue series - Clangs and Drops - is a sense of rigorous and artistry. While no less present across the length Trio Live, what takes the forward charge throughout its five tracks is a sense of joy and pure pleasure in playing together. The sounds and structural interventions are locked in and tight, feeling at ease and intuitively responsive in the ways that players with a history of collaboration are only able to produce.

From swinging and chugging to stepped back and sparse combinations of rhythm and tone - moving from the lingering sensibilities of straight-ahead jazz to radically out hard blow fire - Trio Live is a cornucopia of brilliant artistry and improvised music.

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Drops

LP | 1977 | EU | Reissue (Ictus)

Steve Lacy And Andrea Centazzo

Release: 1977 / EU – Reissue

Genre: Organic Grooves

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

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

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

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Clangs

LP | 1976 | EU | Reissue (Ictus)

LP | 1977 | CA | Reissue (Morning Trip)

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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Ictus Records' reissue initiative fittingly begins with Clangs, the first LP issued by the label in 1976. Featuring Steve Lacy on soprano saxophone, bird calls, and pocket synthesizer (or "crack box”), with Andrea Centazzo on drums, percussion, whistle, and vocals, the album is the culmination of a couple of weeks that the two artists spent together while Lacy was touring Italy during that year.

Clangs encounters Lacy - one of the giants of American free jazz - already two decades into a career defined by brilliant collaborations with Cecil Taylor, Don Cherry, and Thelonious Monk, as well as a sprawling body of visionary work as a leader. Like so much of his work leading into this period, it draws upon the saxophonist’s belief that an artist should 'play what you feel’, a position that Centazzo - roughly 15 years Lacy’s junior - recalls as having torn down the curtain that separated his technique from his creativity.

Comprising a series of duets that investigate timbral relationships, the fragmentation of melody, and abrasive, provocative noise - shifting from the sparse, airy, and restrained, to dance clusters of interplay and back again - Clangs, for all its radicalism and forward-thinking gestures, rests firmly within the historic structures of jazz, deploying the idiom of theme / solo / theme. Lacy’s playing is at the top of his form - fluttering and dancing with a primal touch - met by Centazzo’s rattle and pattern of percussive interventions, the notes and polyrhythms of each respective player being the product of careful listening, response, and raising the bar.

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James Newton

Flute Music

LP | 1978 | EU | Reissue (Adarce)

Release: 1977 / CA – Reissue

Genre: Organic Grooves

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Jame’s Newton’s 1977 self-released solo-debut, ‘Flute Music’ is an unheralded gem of the 70’s jazz underground. An album that showcases a diverse range of styles and fervent cross-pollination, while retaining a clear sense of direction and cohesion. An artist funnelling their wild expression into multiple facets of “The New Music”, crafting an auspicious and artistic debut. Newton would later go on to record with revered jazz labels like India Navigation and ECM, and collaborate with fellow creative luminaries like Sam Rivers, Anthony Davis, Andrew Cyrille, David Murray, and John Carter. But ‘Flute Music’ captures Newton’s fiery creativity and experimental nature in its earliest blossom.

The album’s opener, Arkansas Suite, finds Newton’s flute unaccompanied, but densely layered. Folding and cascading upon itself, he creates a ricocheting web of dense woodwind harmonics. The effect is deeply immersive and meditative. From first blush, it seems this could be an album of blissful new age. But after this track, Newton’s influences explode outwards. On the same LP side, Darlene’s Bossa welcomes a full band into the fold. The track expounds upon a latin-jazz groove as if the group were seasoned experts of the form. The next track once again finds Newton’s flute on its own as he upends Duke Ellington’s jazz standard, Sophisticated Lady. And finally, on the sidelong b-side track, Poor Theron, the band is suffused with free-jazz electricity - quietly roiling in the midst of musique concrete clatter, and exploding into a din of spiritual fervor. Flute Music pushes in many directions at once, and yet it revolves firmly around a singular smoldering core. That core is Newton’s unmistakable talent and musicianship. His flute anchors the whole affair, whether it’s in cascading sheets of unaccompanied wind, or flitting between the breathmarks of his backing band.

With ‘Flute Music’, James Newton casts himself as a potent force on the creative-jazz scene, and the rest of his career has certainly given credence to that promise.Reissued for the first time since its scarce private-press issue in 1977, Morning Trip are exceedingly proud to present the debut solo work by a renowned and prestigious jazz luminary.

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Paco Ros

Clasicos Con Ritmo

Tülay German & Francois Rabbath

Release: 1978 / EU – Reissue

Genre: Organic Grooves

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Adarce proudly presents the reissue of ‘Clásicos con Ritmo’ by Paco Ros. Originally released in 1978 on Discos Maller, still sounds as special and out of time as when it was released; a strange album that has become one of the most sought after jewels - and most hard to find - for lovers of Spanish Groove. 'Clásicos con Ritmo' offers a mix of sounds that range from a kind of analog pre-Balearic to something similar to Library Music, passing through a slow cadence groove based on sinuous layers of Hammond organ, Fender pianos, vibraphones and xylophones. During the 11 songs on the album, Paco Ros revisits his life trajectory through memories: his Valencian childhood in Godella, his professional beginnings in Madrid and his musical adventures as a backing band, his return to Valencia -where he would form 'Los 4 Ros, then simply the Ros - to finally take refuge in his Mallorcan retreat, cradled between Party Rooms, Hotel Discotheques and endless sunrises, moved as always by his infinite love for music.

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LP | 1980 | EU | Reissue (Zehra)

Musique Pour Le Film D'un Ami

Release: 1980 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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Remastered vinyl reissues of the two essential albums by Turkish folk/ jazz singer Tülay German, starting with the self-titled release (1980) and followed by "Hommage to Nazım Hikmet" (1982) in early 2022. Referring heavily on turkish poets and the tradition of aşıks (singer-poets and wandering bards) these two albums represent unique and modern interpretations of turkish folk songs unmatched
to this day. A matured artist with full conviction at the height of her powers! Back in the 60s Tülay German (*1935 in Istanbul, Turkey) shook the turkish music landscape with several 7" records. Most notably her first 7" record Burçak Tarlası (1964) is now considered
the cornerstone of what was to become the Anadolu Rock/ Pop movement and underlines her rebellious nature and sense of justice.
But due to increasing repression Tülay German and her lifelong partner and intellectual impetus Erdem Buri decided to leave Turkey a few years later. In fact, an impending prison sentence for Erdem Buri for translating Hegel’s Dialectic and Science of Logic led the couple to emigrate to France.

In France Tülay German signs a major contract with Philips resulting in many 7" releases sung in french under her french moniker Toulaϊ. In the long run Tülay German doesn’t feel quite comfortable with this major deal. And thus, despite the success and recognition she had gained, she decides to quit the contract with Philips! Later on she signs to independent world-music label Arion to pursue her actual artistic goals more in line with her origin and temperament. Back to her mother tongue, Tülay German records above mentioned albums for Arion under full artistic freedom, the only full-lenghths in her 20+ years career. Alongside with double-bass virtuoso and turkophil François Rabbath (*1931 in Aleppo, Syria) the albums consist of aşık traditionals and intonated poems mainly by Nazım Hikmet. Her passionate voice and the restrained arrangements of François Rabbath turn these centuries old melodies and poems into glowing manifestos for love and justice.

The fruitful collaboration of these artists-in-exile adds significantly to the rich heritage of turkish folk music. The self-titled debut, which was awarded with the prestigious Grand Prix du Disque of Académie Charles Cros in 1981, is now seeing a vinyl reissue after 40 years. Tülay German ended her musical career in 1987 and after the death of Erdem Buri in 1993 she retired from public life completely, leading a quiet life in Paris where she still lives to this day. In 2021 Tülay German was awarded with the Lifetime Achievement Award by the Istanbul Foundation for Culture and Arts, Turkey.

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Steve Potts

LP | 1975 | EU | Reissue (Souffle Continu)

On The Way To Eden White Vinyl Edition

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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In 1975, Steve Potts left Steve Lacy for a time to compose Musique pour le film d’un ami following the proposition from the film’s director Joaquín Lledó. With guest musicians of quality and from vairied horizons (Ambrose Jackson, Jean-Jacques Avenel, Frank Abel, Elie Ferré, Christian Escoudé…), the saxophonise recorded a soundtrack ranging from modal jazz to free funk and from dirty grooves, to java wah-wah with disconcerting elegance. Rather than blaxploitation, Potts and his group offer us their mixploitation made in Paris which would be recognised way beyond the boundaries of La Défense.

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Eden Rose

LP | 1970 | EU | Reissue (Guerssen)

LP | 1977 | EU | Reissue (Favorite)

Release: 1970 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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Limited to 200 copies on white vinyl!

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

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Sacbe

Sacbé

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

Release: 1977 / EU – Reissue

Genre: Organic Grooves

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Favorite Recordings presents an exclusive reissue of the first private press eponymous LP by Sacbé, a Mexican Jazz Fusion masterpiece from 1977. Unique and beautifully recorded, with a breezy feel brought by the synthesizers, Sacbé could be likened to what Azymuth was doing at the same time in Brazil. Available as a vinyl-only limited pressing Deluxe Tip-On LP, coming with its original printed innersleeve, remastered by The Carvery. Sacbé was composed of Eugenio (keyboards), Enrique (electric bass) & Fernando Toussaint (drums), three brothers hailing from the huge Mexico city, and their friend and sax player Alejandro Campos. Growing up in a family of musicians, they quickly became familiar with jazz music. However they were mostly self-taught, most of them choosing at first to work and study outside the music industry, but somehow, Eugenio had the opportunity to start studies at the Berklee Music University. Before leaving, he deeply wanted to play jazz with his brothers. That’s how Sacbé was created on a hot day of October 1976. The band then built step by step a challenging repertoire including Chick Corea, Herbie Hancock, Weather Report, Milton Nascimento, Focus, Passport, and many more… Gradually, Eugenio started to compose more tracks, and through a cooperative work of arrangement, Sacbé ended up playing only their own compositions. That was not an easy choice for the band, resulting in a lot fewer opportunities to play in bars and clubs at night, while they were cumulating small jobs during the daytime. But their dedication, tightness, and integrity started to attract a wider audience thanks to their sessions at the Musicafé and helped Sacbé to assert its imprint within Mexico’s creative artistic circles. A group of artists with similar attitudes was created and they began working almost as a team, holding live shows, exhibitions, and dance performances, all with a very unique and creative proposal. It’s at this period that the band met Luis Gil, a young designer and recording engineer, who had access to one of the best studios of the city called Lagab. Recording at nights and weekends for free, the Toussaint brothers had, therefore, the chance to really put their band quite literally under the microscope. With tenacity, they explored all the possibilities of interpretations, structures and improvisations, collaborating with great musicians and finding themselves in the position of being their own producers, despite being only around 20 years old! This album is the result of this perfectionism ethics, shared by everyone involved. “Sacbé” means white road in the Mayan culture, it was the name for the roads connecting the main ceremonial centres with the jungle, made of roughly three feet of coral limestone. They were sacred roads used by high priests and warriors, which echoed the musical path of the three brothers. Putting the pieces together, they managed to create their own label and pressed 1000 copies of their reunited recordings in 1977. The artwork was painted by Enrique, inspired by the work of Le Douanier Rousseau and the Mayan jungle. Hopefully, the LP met some success in Mexico and California, opening many radio and TV doors for them. It was the starting point for a whole career of recordings, with a total of seven albums including various guests.

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Angellilo Et Hamel

Complicite

Release: 1974 / CA – Reissue

Genre: Organic Grooves

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LP | 1977 | CA | Reissue (Return To Analog)

Ungava

Locomotion Colored Vinyl Edition Record Store Day 2020 Edition

Release: 1977 / CA – Reissue

Genre: Organic Grooves, Rock & Indie

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Québec group Ungava's first and only album (1977) is a seamless blend of progressive rock, jazz fusion and pastoral folk. At its core a virtuosic trio of guitar, bass and drums, the band adds electric piano, sax and flute to great textural effect. Long neglected, the original issue is now a highly valued collector's item.

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Martial Solal

LP | 1974 | EU | Reissue (Underdog)

Turkish Delight Black Vinyl Edition

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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After JANKO NILOVIC and HARLEM POP TROTTERS, Underdog Records has now reissued MARTIAL SOLAL – Locomotion in a colored vinyl edition. This grooviest French jazz-funk and avant-garde album features Henri Texier and Bernard Lubat, and was originally released in 1974 on the PSI label. A masterpiece!

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Matao With Atilla Engin

LP | 1979 | EU | Reissue (Arsivplak)

LP | 1981 | EU | Reissue (Favorite)

Release: 1979 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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Some hard-hitting rhythm section blending into a prime example of the swingin' sound of the cool influences of Jazz, Funk and Folk music, with a Turkish flavor.
It's fantastic funk jazz groove built on a titanium synth bassline!
An instrumental library of traditional Turkish Jazz session reaching a great climax in drums and percussion sets + electro-bass break with moog and synthesizers from the beginning to the end.
Traditional Turkish songs are based on drums and synth bass over moody 5/8 fuzz guitars...
Album recorded & released in Denmark, 1979, and it has never been released in Turkey.

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Twylyte '81

The First Coming

Et Synchro Rhytmic Eclectic Language

Release: 1981 / EU – Reissue

Genre: Organic Grooves

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We are very proud to presents this official and first ever reissue of The First Coming, by Twylyte ’81, an extremely rare and underrated Soul-Jazz album produced and released in 1981.
Twylyte ’81 was a 3 pieces band composed of Frank Jones Jr., Alfred Brown Jr. and John Belzaguy, who, except for John, have never recorded anything else than this incredible album. The First Coming is primarily standing out by a superb composition, mixing touch of Soul, Jazz, and Disco together. It secondly shines thanks to the amazing deep and spiritual voice of the band leader, Frank Jones Jr., whose vocals style can sometime remind of John Lucien. Even more impressive is the fact that these 3 fellas were all less or close to 18 years old when composing and recording this beauty. As did others brilliant hidden projects such as Ted Coleman Band, or Minority Band, it was also useful for Twylyte ’81 to receive the support of JSR Records, a kind of non-profit label dedicated to help young bands and artists in recording and producing their own records.
Here are a few words from Al Brown Jr. about this release: “After 38 years, I still have the euphoric feeling while listening to this album. I would say that this was one of my greatest achievements. I want to say "Thank you" Pascal Rioux and associates for sharing the group's vision with the rest of the world. I pray the listeners will feel a portion of what we tried to convey through these songs. When I first began this project, I thought it was just killing time. Being 17 years old at the time, I didn't see the music we worked on being recorded. We (Frank and I) were in a basement practicing each song. Who knew that this music would be recorded let alone picked up 38 years later? I still remember every beat, drum roll, every stop/start; everything. Wow, the nostalgia of it all. I wish this album much successful and I hope in the future I can perform this album live.”

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Franck Valmont

LP | 1976 | EU | Reissue (Sommor)

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

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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

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

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Billy Robinson

Evolution's Blend

Release: 1972 / US – Reissue

Genre: Organic Grooves

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

Joe Tossini And Friends

Lady Of Mine

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

Release: 1989 / EU – Reissue

Genre: Organic Grooves

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

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Tony Branker

For The Children

LP | 1979 | EU | Reissue (Sommor)

Release: 1980 / EU – Reissue

Genre: Organic Grooves

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

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Benoit Widemann

Tsunami

LP | 1986 | US | Reissue (Musique Plastique)

Release: 1979 / EU – Reissue

Genre: Organic Grooves, Electronic & Dance

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

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Colman

Daedalus

LP | 1974 | US | Reissue (BMG)

Release: 1986 / US – Reissue

Genre: Organic Grooves, Electronic & Dance, Classical Music

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

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Weldon Irvine

Cosmic Vortex

LP | 1977 | EU | Reissue (Mental Experience)

Release: 1974 / US – Reissue

Genre: Organic Grooves

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180 gram vinyl!

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Wild Havana

Overdrive – Rock/Jazz - Party

Release: 1977 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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Obscure Dutch private pressing from 1977. Laid-back instrumental psychedelic / progressive sounds with jazz-funk-groove and abstract / experimental / Latin-indigenous touches. Stoned homemade atmosphere with treated / distorted electric & acoustic guitars, flute, electric piano, primitive drum machines / homemade electronics...Much in the vein of the experimental-underground scene of France & Germany during the early 70s but actually recorded and released in Holland.
Wild Havana was the project of guitar player Johan Smith, helped by his brother Cor on flute. Influenced by artists like Zappa and Herbie Hancock, Johan recorded the “Wild Havana” album at his home studio on a 4-track, using effect devices developed by himself, like a modified proto-drum machine taken from a Hammond organ. He also used effects like phase shifter, chorus, etc and experimented with putting wool on the guitar strings and electric effects on the mandolin. The result sounded like nothing else at the time.
Buried for many years, we’re excited to bring to life this unique album.

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The Bridge

LP | 1972 | EU | Reissue (Sommor)

Israel Suite / Dominante En Bleu

Release: 1972 / EU – Reissue

Genre: Organic Grooves

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First ever vinyl reissue of this fabulous kraut, jazz-funk / fusion / rare grove / library album from 1972, originally released on the budget Tempo label from Germany. Lots of fuzzy distorted organ & Fender Rhodes courtesy of Kristian Schultze (pre-Passport) plus the mighty Pawel Jazerbski on bass and Joe Nay (Tete Montoliu, Roland Kirk, Blue Note Club…) on drums.
Master tape sound, original artwork and insert with liner notes.

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Rupture

LP | 1973 | EU | Reissue (Sommor)

LP | 1976 | US | Reissue (Friends)

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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

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

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

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Esther Williams

Let Me Show You

Release: 1976 / US – Reissue

Genre: Organic Grooves

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Dai Primitivi All' Elettronica

Futuro Antico

LP | 1980 | EU | Reissue (Black Sweat)

Neil Ardley, Ian Carr, Don Rendell

Release: 1980 / EU – Reissue

Genre: Organic Grooves, Electronic & Dance

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An outstanding raga-like drone lp with a distinctive cosmic vibe,
Futuro Antico was a short living collaboration between the two italian Walter Maioli (Aktuala), Riccardo Sinigaglia and Gabin Dabiré (from Burkina Faso).
The synthesis between ancient, ethnic and analog electronic music is just perfect, the minimalist repetition with slight changes gives associations of a slow growth; cyclic repetition gives the listener an opportunity to discover the sounds, to meditate, to go into the music, join the same journey trough ancient, primitive cultures and modern electronic soundscapes.
Originally released in 1980, the sound is completly analog and warm, this 300 copies reissue maintain the first tape artwork + info and photos.

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Greek Variations

LP | 1970 | EU (Endless Happiness)

LP | 1981 | EU | Reissue (Black Sweat)

Release: 1970 / EU

Genre: Organic Grooves

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Recorded in '69, Greek Variations & Other Aegean Exercises is irresistible on two counts. First, for its daringly conceived and brilliantly performed music, inspired by Greek folk songs and instrumental textures and deep enough to reveal all its treasures only after many repeated listenings. Second, for being recorded at the moment when the Don Rendell/Ian Carr Quintet, a major force in British straight-ahead jazz since '62, had broken up and Carr's equally influential jazz-rock band Nucleus was rising from the ashes.

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Klaus Wiese

Baraka

LP | 1972 | EU | Reissue (Endless Happiness)

Release: 1981 / EU – Reissue

Genre: Organic Grooves

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After his participation in a masterpiece such as Popol Vuh's Hosianna Mantra, in the early 1980s Klaus Wiese produced a series of seminal works in the field of ambient-drone and healing music. The first of these, Baraka, was released on tape by Acquamarin in 1981, and already contained all the aspects of his future research into the mysticism of sound. Wiese shares the path with other German explorers such as Hamel, Fricke, Micus or Deuter, but he focuses his attention on the most essential nature of sounds, on their acoustic purity, which is always infinite spiral, vortex of frequencies and cosmic bath. It takes only a few means (zither, tampoura, cybals, singing bowls) to reach the absolute through vibration. Like the archaic mood of a great universal harmony, the sound suggests a complete state of otherworldly meditation, an enveloping cloud of peace in the eternity of the present. The musician is only the one who distributes and directs the thickenings of ethereal matter, microtonal agglomerates, cascades of celestial harmonics and emotional floods, petals and stems of devotion.

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Christian Zysset

Cosmogonie

LP | 1970 | EU | Reissue (Endless Happiness)

Release: 1972 / EU – Reissue

Genre: Organic Grooves

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

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Antonio Carlos Jobim

Stone Flower

LP | 1976 | EU | Reissue (Black Sweat)

Release: 1970 / EU – Reissue

Genre: Organic Grooves

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Antônio Carlos Jobim was a primary force behind the evolution of bossa nova and his 6th studio release Stone Flower is an absolute classic. The album is emblematic of 70’s bossa with it’s seductive samba beat fused with elements of modern jazz provided by a star-studded supporting cast of Ron Carter, Hubert Laws, Airto Moreira, and Joe Farrell. Stone Flower was recorded by Blue Note engineering virtuoso Rudy Van Gelder and arranged by fellow pianist and guitarist Eumir Deodato; the fidelity and musicality is so well cared for that it effortlessly carries listeners away.

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Folk Magic Band

LP | 1977 | EU (Trading Places)

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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

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Albert Dailey

Renaissance

LP | 1974 | EU | Reissue (Impulse)

Release: 1977 / EU

Genre: Organic Grooves

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Modern and grounded in 1960s hard-bop sensibility, the American pianist and composer Albert Dailey (1939 – 1984) had perfect control over his instrument. Since an early age he played with cutting-edge musicians, the likes of Art Blakey, Sarah Vaughan, Stan Getz, Charles Mingus and Lee Konitz to name just a few. But despite that, he was an underrated artist during his lifetime receiving deserved recognition only after his death. Renaissance 2 November 1977 is his second album, played by a bold group that includes the voice of Cheryl Alexander, Carter Jefferson on sax, Cecil McBee on bass and features both Cheryl Alexander and Adam Nussbaum on drums.

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Keith Jarrett

Treasure Island

22,79 €* 23,99 € -5%

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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Soweto To Harlem Record Store Day 2024 Black Vinyl Edition

Hal Singer Jazz Quartet

LP | 1976 | EU | Reissue (Afrodelic)

22,79 €* 23,99 € -5%

Betty Lou Transparent Red Vinyl Edition

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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When the U.S. State Department announced in the mid-1970s that they were sponsoring a South African tour for the Oklahoma-born, Paris-based saxophonist Hal Singer, producer Rashid Vally took note. Even though his nascent record label As-Shams/The Sun (established in 1974) was making waves on the local scene, the idea of commissioning a recording from an international artist was a ballsy idea. With a discography that stretched back to the 1950s, Hal Singer was already somewhat of a legacy artist by 1976. Vally was well-versed on Singer’s accomplishments and specifically enamoured by his composition “Blue Stompin’,” which appeared on a Prestige album from 1959 that had struck a chord in South Africa. With his irresistible charm, Vally managed to coax Singer into a studio in Johannesburg, South Africa, to record a new version of “Blue Stompin’” with South African sax star Kippie Moeketsi, which became the title track of a 1977 album by Moeketsi. The recording session also yielded an album’s worth of new material by Hal Singer and his quartet that took its name from a track inspired by Singer’s trip to South Africa entitled “Soweto to Harlem.” Released in 1976 and only available in South Africa, Soweto to Harlem captures a laid-back, cheeky and nostalgic rhythm and blues set from the Hal Singer Quartet that is unlikely to have emerged for a different target market. With her irresistible charm, Vally was able to convince Singer to enter a Johannesburg studio. The recording session produced this album of new material by Hal Singer and his quartet named after a song inspired by Singer's trip to South Africa, entitled "Soweto to Harlem." Released in 1976 and available only in South Africa, "Soweto to Harlem" captures a laid-back, unabashed and nostalgic rhythm and blues of Hal Singer's quartet that would hardly have been born for a different market. Cinedelic’s 2024 edition of this rare album is sourced from the original tape masters and presents it on vinyl internationally for the very first time. The reissue follows Singer’s passing at the 100 in August 2020 as we contemplate and celebrate his extraordinary contribution to jazz in the United States and beyond.

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Betty Lou Landreth

2LP | 1979 | UK | Reissue (Backatcha)

22,94 €* 26,99 € -15%

Crash I Grazyna Lobaszewska

Release: 1979 / UK – Reissue

Genre: Organic Grooves

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Limited to 300 copies. Officially licensed. Reissue on two discs.

Originally released in 1979, Betty Lou Landreth's Betty Lou has been expanded to a 15-song double album featuring the original studio recordings along with bonus material, alternative takes, and extensive liner notes from Joel Palmer, the producer of this Motor City holy grail.

Recorded in Detroit and produced and released by Detroit-born jazz historian Joel Palmer on his YaYa label, the album features many veterans and esteemed Detroit and New Orleans Jazzmen. Alongside Joel, producer and arranger Charlie Gabriel recruited some of the city’s top fellow musicians for the session, including his longtime friend and housemate, trumpeter Marcus Belgrave, drummer J.C. Heard, Motown's Funk Brothers, keys player Emmanuel Riggins, bassist Hubie Crawford, violinist Travis Biggs, the Body sisters and many more.

"Honestly, there were never any commercial expectations or aspirations for the album. We just got together to cook up a gumbo. Detroit, New Orleans, funk, jazz, torch, country and some great, great musicians to bring the flavors together. Our only intent was to create the best work of music possible; one which would allow Betty Lou Landreth to display her extraordinary vocal skills, and that we did. The reissue serves as a monument to all of those who all those long years ago contributed their special magic to creating a unique musical work which has endured the test of time.” (Joel Palmer, 2021).

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Senna Opowiesc Jana B.

LP | 1979 | EU | Reissue (Warner)

22,94 €* 26,99 € -15%

Release: 1979 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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LP | 1973 | UK | Reissue (Mr Bongo)

Daniel Salinas

Atlantis

LP | 1981 | EU | Reissue (Favorite)

Release: 1973 / UK – Reissue

Genre: Organic Grooves

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

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

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

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

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Esperanto

Vegas

LP | 1975 | EU | Reissue (Dialogo)

Release: 1981 / EU – Reissue

Genre: Organic Grooves

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After the recent reissue of their first eponymous album, Favorite Recordings proudly presents Vegas, the second LP from Venezuelan band Esperanto. Rare and sought-after for many collectors, it was recorded in between Las Vegas and Caracas and originally released in 1981. Following bandleader Jorge Aguilar in his musical trip to the infamous American city bathing into flashing lights and vivid colors, we're invited to an excursion in Disco, Boogie and Jazz-Funk territories. Finally reissued, fully remastered, Vegas will be available as Gatefold Tip-On Vinyl LP. With great care and attention to details, Esperanto managed to create a very convincing sequel to their JazzFunk debuts. Vegas keeps indeed a perfect balance between various influences. Through energic disco beats with intense funky solos, catchy AOR-influenced songs, where Jorge delivers convincing vocal performance, or sunny jazz-funk slow jams, the album still reveals something quite authentic. And this feeling echoes surely the one that could have been felt by Jorge Aguilar while discovering USA on a trip - where it all started for the music he loves. Like sometimes a foreigner's enriching view on some local specialty, he surely brought with the band all his authenticity and young but vibrant experience while convincing at the same time major labels for distribution. With certain notoriety coming with the release of their first album, Jorge Aguilar and his drummer Pablo Matarazzo planned to go to Los Angeles for a few gigs. But once there, they realized their contact had to leave for Tina Turner's tour in Europe. Before that, he invited them to come along to Las Vegas and eventually meet musicians there. Luckily, the plan worked perfectly: Jorge came back to Los Angeles with a lot of contacts then moved to Boston and NYC before finally coming back to Caracas. He told: "I was so impressed with this trip that I told myself that one day I would return to Los Angeles and Las Vegas. The first tracks I did them in Los Angeles with Kenny More, James Gadson and other session musicians from that city. Later, I took the tracks to Caracas where the musicians of the band recorded overdubs. After that, I returned to Los Angeles to master with Bernie Grundman who was still working in his small studio at A & M records studios in Hollywood. As can be seen in the title of some of the songs like "Hollywood", "Vegas", "Kenny's Place", were only the translation of my experiences at the time."

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Piero Umiliani

Polinesia

LP | 1975 | EU | Reissue (Dialogo)

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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“Polinesia” is another incredible example of Piero Umiliani’s versatility, showing how he could combine an artistic path intimately bound to Italy and to its traditions with the world’s sounds - and even more, given the cosmic ventures of some of his releases. Fully recorded with glowing percussion and exotic suggestions that remind of Martin Denny, bringing to mind sunny white beaches, Oceania and the famous Bora Bora island, “Polinesia” is the perfect soundtrack to a full-moon exotic night.

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Rovi (Piero Umiliani)

Pianofender Blues

LP | 1983 | EU | Reissue (Altercat)

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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“Pianofender Blues”, originally released in 1975 and entirely recorded with the aid of two electric pianos - Fender, of course, and Wurlitzer, bass, piano, drums and percussion, is another curious foray for the eclectic composer Piero Umiliani into territories other than the usual jazz, soundtrack and avant-garde ones. This album blends the Fender Piano melancholic sound over an easylistening repertoire, testifying the author’s versatility once again.

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Zeca Do Trombone

Rota-Mar Feat. Azymuth

LP | 1977 | EU | Reissue (Our Swimmer)

Release: 1983 / EU – Reissue

Genre: Organic Grooves

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Mainly known to DJs for the funk groover "Te Queria", Rota-Mar is the first solo album by the charismatic Zéca do Trombone. During a vertiginous career which started in the late 60s, Zéca was a permanent member of Wilson Simonal's band, toured with Luiz Eça's Sagrada Família (alongside Joyce, Naná Vasconcelos, Nelson Angelo and others), recorded the seminal Brazilian funk "Coluna do Meio" for his joint effort with Roberto Sax, and played and recorded for some of the big names of Brazilian music such as Tim Maia or Martinho da Vila. Particularly for samba artists such as Alcione, Leci Brandão or Moreira da Silva, Zéca do Trombone was the trombonist of choice.

Rota-Mar displays the work of an established musician who has nothing to prove. Impregnated with Zéca's characteristic voice, the songs draw inspiration from the sea, love and bohemian life, and let us all dream of what life in Rio the Janeiro was during that time. "Te Queria", penned by Zéca's childhood friend Elízio de Búzios (known for his highly collectable funk/boogie single "Tamanqueiro") is the obvious highlight, although we believe the real beauty of the album lies in the relaxed sea-side groove and MPB in the rest of the songs, including Zéca's superb take on Martinho da Vila's "Manteiga de Garrafa".

As bonus tracks to this reissue, we include both sides from Zéca's rare 1977 single, featuring the allmighty trio Azymuth.

Comes with an 8-page booklet with bilingual (Portuguese / English) liner notes by Brazilian journalist Marcelo Pinheiro and previously unpublished pictures from the artist's archive.

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ICP Tentet

Tetterettet

LP | 1973 | EU | Reissue (Our Swimmer)

Release: 1977 / EU – Reissue

Genre: Organic Grooves

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Founded in Amsterdam in 1967 by saxophonist Willem Breuker, pianist Misha Mengelberg, and percussionist Han Bennink, Instant Composers Pool (or Icp) was an independent free jazz label and orchestra that would go on to release over fifty albums featuring such pillars of the scene as Derek Bailey, Peter Brötzmann, Evan Parker, Jeanne Lee, John Tchicai, and Steve Lacy. Based around the concept that improvisation was, in fact, an act of instantaneous composition, ICP's legacy on improvised and free music is impossible to overstate.

The ICP Tentet's Tetterettet is made up of recordings from 14-17 of September, 1977, cut and spliced together by pianist/composer Misha Mengelberg in a style similar to Teo Macero's work with Miles Davis. The first side is taken up entirely by Mengelberg's multi-part title track that breaks in and out of different tempos, with a loose arrangement style owing more than a bit to Charles Mingus' finest work on Black Saint or Ah Um.

Traversing across decades and styles from free-jazz funereal marches, to carnivalesque excursions, broken piano rolls, and ear-splitting skronk, ICP Tentet show remarkable skill and chops in both their compositional craft and improvisational symbiosis. There's a playful undercurrent here that finds its home in some previously uncharted land between Mingus and Spike Jones.

Featuring numerous ICP regulars along with the brilliant Alan Silva on bass, and a return to the fold of the amazing saxophonist John Tchicai, Tetterettet is one of the best of ICP's larger group recordings; humorous, unnerving, and ultimately, quite beautiful. This limited-edition reissue marks the first time this album has been in print on vinyl since its initial release.

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Instant Composers Pool

Groupcomposing

De Las Colonias Del Rio De La Plata Black Vinyl Edition

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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Founded in Amsterdam in 1967 by saxophonist Willem Breuker, pianist Misha Mengelberg, and percussionist Han Bennink, Instant Composers Pool (or Icp) was an independent free jazz label and orchestra that would go on to release over fifty albums featuring such pillars of the scene as Derek Bailey, Peter Brötzmann, Evan Parker, Jeanne Lee, John Tchicai, and Steve Lacy. Based around the concept that improvisation was, in fact, an act of instantaneous composition, ICP's legacy on improvised and free music is impossible to overstate.

A live performance from May of 1970 in Rotterdam, Groupcomposing features a North Sea-crossing ICP lineup of British free improv luminaries Derek Bailey on guitar, Evan Parker on saxophone, and Paul Rutherford on trombone, along with ICP mainstays Han Bennink, his brother Peter, Misha Mengelberg, and Peter Brötzmann. The first side, "Groupcomposing, Part 1" is a nearly all-out assault with the reeds trio and Rutherford's trombone blasting nigh-continuously for the album's first side, culminating in a blistering Peter Bennink bagpipes solo. "Part 2" acts at first as the comedown, beginning with a playful piano and percussion back-and-forth before meandering a dark, brooding, path of trill horns to the album's eventual, tense conclusion.

Recorded just a few years into the ICP's long tenure, it is hard to think of a release more representative of the label's musical principles – or, more broadly, of the power of free group improvisation – than the aptly-named Groupcomposing. This limited reissue marks the first time the album has been in print on vinyl in over forty years.

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Viejas Raices

LP | 1976 | EU | Reissue (Altercat)

LP | 1980 | EU | Reissue (Favorite)

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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Altercat proudly presents the definitive reissue of one of the crown jewels of South American jazz. Essentially the brainchild of Argentinian jazz's leading figure Jorge López Ruiz, the project Viejas Raíces marked Lopez Ruiz's departure from the traditional forms of jazz. The trio that recorded this album, consisting of López Ruiz joined by his life-long friend drummer Pocho Lapouble and gifted Chilean pianist Matías Pizarro, created a thrilling blend of jazz and Uruguayan candombe, surrounded by an undeniable cinematic feel spurred by López Ruiz's long experience in the soundtrack field. When read as one element, the cleverly chosen combination of group name and album title (in English: 'Old Roots of the Colonies of the River Plate') readily hints at the kind of sounds the listener will be challenged with when diving into this LP.

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Esperanto

LP | 1972 | UK | Reissue (Mr Bongo)

Release: 1980 / EU – Reissue

Genre: Organic Grooves

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Favorite Recordings proudly presents a reissue of the first and eponymous LP by Esperanto, a Venezuelan JazzFusion masterpiece originally released in 1980. This rare and sought-after album recorded in Caracas by talented musicians could be likened to the best of the South American scene with strong Funk & Latin influences. Following the recent reissue of Sacbé, this one is a little wonder and a must-have for anyone interested in Latin Jazz-Funk & Fusion. Fully remastered and available as Gatefold Tip-On Vinyl LP and CD. Like most bands, the story first started as a series of jam sessions. Multi-instrumentist Jorge Aguilar and his drummer Pablo Matarazzo were playing in a band, covering a various number of Latin genres from Merengue to Salsa and playing at parties, even though they were mostly influenced by Jazz or Funk, but also British Rock or Brazilian music. Still, they were dreaming about a real band. Thus, while some of their friends were on vacations in Venezuela during their studies at Music school in Boston and New York, they immediately organized jam sessions. First impros luickly became songs and Pablo and Jorge were finally joined by Roldan Peña, Gustavo Arranguren, Ezequiel Serrano, Marcus Vinicius and Nenè Quintero. With the help of a friend, they recorded songs and brought those tracks to radio stations. Without realizing it, the group gained a certain notoriety in Caracas and began to give shows that became quite famous. Sometimes, they had to play two times in the same night with people still waiting outside! With the money earned, they kept recording their songs but now in a quite better studio. The album was taking its final shape, with an exciting blend of Funk, Fusion and Jazz-Rock elements, all mixed with Latin music influences. With an extensive use of synthesizers, the tracks sounded like a fresh wind blowing over the city of Caracas. After bringing a few friends to record their parts, the album was then offered to CBS for distribution – some of their executives had just become fans after experiencing one of their amazing gigs! But in exchange, they also had to record two more commercial songs, a cover of "Ticket To Ride" by The Beatles, and “Vereda Tropical", a classic in the Latin market. Jorge reminds: "The rest of the songs were compositions by myself and by other members of the band. The album was recorded in its entirety almost live, that is, all of us playing together and without many overdubs because we did not have many tracks nor money to pay studio time. Certainly, we were one of the bands that started the Fusion jazz movement in Venezuela and the most recognized because we managed to be played a lot on the radios and we filled the largest number of concerts as well as obtained the largest number of sales". The band kept recording other albums, notably with Warner Bros after the label was again really impressed by their opening show for Peter Frampton Comes Alive Tour one night in Caracas. Jorge adds: "Today if you ask people around 60 years old in Venezuela about a Fusion group, they will tell you that Esperanto is the band they remember! I think the most significant thing about the Esperanto band is that it was quite naïve since we were all in our early 20s and we did everything just for the pleasure of playing without thinking about the conomic aspects of the industry".

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Ian Carr

Belladonna

Release: 1972 / UK – Reissue

Genre: Organic Grooves

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LP | 1983 | EU | Reissue (Not Now)

Sarah Vaughan

Best Of

LP | 1974 | EU | Reissue (Mr Bongo)

Release: 1983 / EU – Reissue

Genre: Organic Grooves

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

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Dee Dee Bridgewater

Afro Blue

Tadao Sawai,Kazue Sawai,Takeshi Inomata,Norio Maeda,Hozan Yamamoto

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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

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Jazz Rock

LP | 1973 | EU | Reissue (Mr Bongo)

LP | 1984 | UK | Reissue (Outernational)

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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They say you can't judge a book by its cover, and going by 'Jazz Rock', nor a record by its title. Though entering into jazz territory and featuring some distorted guitar, 'Jazz Rock' is more a beautiful marriage of funky breakbeat drumming and spiritual jazz instrumentation, combined with traditional Min'y music performed on the koto and shakuhachi.
Originally released in 1973, the record sounds simultaneously vintage and contemporary. It is akin to something Madlib might dream up whilst lost in Japan collaborating with Min'y players at a recording session. The record features some amazing shakuhachi (bamboo flute) playing by Hozan Yamamoto, which gives the music a haunting, dreamlike atmosphere. You can almost visualise the long grass blowing in the wind, and ear the bamboo rustling in the distance on a long hot summer's day. Takeshi Inomata, Tadao Sawai and Kazue Sawai anchor the session. Takeshi's exceptionally funky-drum work will almost certainly get some producers dusting off and firing up their MPC's. Whilst Kazue and Tadao work their magic on the koto (a traditional string instrument). Though certainly not an ambient record, 'Jazz-Rock' has the same meditative, other-worldly quality that invites you to sit back, listen and be transported somewhere else. Unfortunately, until now the 'Jazz Rock' album is a scarcity that commanded a high price-tag only for the most hardened of record collectors. So it is pleasure to make it accessible to all, and we hope you dig this lost, obscure future classic as much as we do.

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Nate Morgan

Retribution, Reparation

LP | 1977 | EU | Reissue (Mr Bongo)

Release: 1984 / UK – Reissue

Genre: Organic Grooves

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Available on vinyl for the first time since its original release in 1984, Outernational Sounds proudly presents Build An Ark pianist Nate Morgan’s second outing for the celebrated Nimbus West label – the conscious and spiritualised sounds of Retribution, Reparation.

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 (Outernational Sounds OTR- 008), 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 soundworld 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!’

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Azymuth

Aguia Nao Come Mosca

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

Release: 1977 / EU – Reissue

Genre: Organic Grooves

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Golden-era, 1977, Brazilian jazz-funk-fusion album from the legendary Azymuth.
Lush Rhodes, soaring synths and fusion guitars from Malheiros and
Bertrami combine with the inimitable drum grooves from Ivan “Mamao” Conti that create the signature Azymuth sound.
The album moves from mellow soulful moods, into screaming disco-jazz-fusion, samba funk, synth boogie and ends with a tough 160bpm Batucada workout.
This is actually the first Azymuth album that we have released on Mr Bongo, which came as a surprise to us too.
Official Mr Bongo reissue. Licensed from Warner Music.

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Louis Xavier

Ladja

LP | 1972 | EU | Reissue (Mr Bongo)

Release: 1981 / EU – Reissue

Genre: Organic Grooves

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

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Celia

LP | 1974 | EU | Reissue (Mr Bongo)

Release: 1972 / EU – Reissue

Genre: Organic Grooves

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Célia Regina Cruz recorded four self-titled albums for Continental between 1971 and 1977, ‘Amor’ in 1982 plus several more before she sadly passed away late in 2017. Célia was a Brazilian vocalist who worked frequently with master arranger-composer Arthur Verocai in her early years and many other heavyweights over the course of her extensive career.
This, her second self-titled LP from 1972, features an all-star line up including Arthur Verocai, Erasmo Carlos, Roberto Carlos, Marcos Valle, Antonio Carlos Jobim, Nonato Buzar and Vinicius de Moraes amongst others. Célia’s version of ‘Na Boca do Sol’ – taken from this album – is arguably her most well-known and well-loved song. An incredible take on Verocai’s original, featuring waling fuzz guitars, strings, piano, horns and drums. Needless to say clean, original versions of this record now change hands for silly money! We are very proud to be able to reissue it officially, at long last. Official Mr Bongo reissue. Replica original gatefold artwork. Licensed from Warner Music.

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Burnier & Cartier

LP | 1972 | EU | Reissue (Souffle Continu)

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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

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Cohelmec Ensemble

LP | 1976 | UK | Reissue (Mr Bongo)

Release: 1972 / EU – Reissue

Genre: Organic Grooves

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

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Olli Ahvenlahti

The Poet

2LP | 1977 | EU | Reissue (Munster)

Release: 1976 / UK – Reissue

Genre: Organic Grooves

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Here's the long-awaited reissue on Mr Bongo Records of legendary 1976 jazz classic, The Poet by Olli Ahvenlahti. The release is given the optimum in production value makeovers with hard-card Japanese-style packaging and 180g vinyl.

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Tim Blake

Crystal Machine

LP | 1970 | EU | Reissue (Endless Happiness)

Release: 1977 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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Hold your body and mind belts, and immerse yourself into a cornerstone of cosmic music in a double remastered vinyl - one them filled with rarities - called "Crystal Machine" by the visionary Tim Blake, English composer and synthesizer master. Recorded in 1976/7, it remains echoing as a timeless effort, pretty much still alive. This is a deadly serious art piece, accordingly trippy in all its aspects, full of strangeness and sheer beauty.

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Gal Costa

Legal

John Surman, Eddie Louiss, Daniel Humair

Release: 1970 / EU – Reissue

Genre: Organic Grooves

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Pure class as always from Gal Costa! The record is her first after the immediate Tropicalia years, and it's a stunning blend of styles that seems to draw heavily from changes going on in the American rock scene at the time. The core of the music is still steeped in Brazilian elements – but there's a lot of influences coming into play on the album, like bluesy rock phrasing, showy nostalgia-heavy arrangements, psychedelic production elements, and some of the baroque orchestrations that would show up on Gal's later albums in the 70s.

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Our Kind Of Sabi

LP | 1970 | EU | Reissue (Endless Happiness)

The Rova Saxophone Quartet With Andrea Centazzo

Release: 1970 / EU – Reissue

Genre: Organic Grooves

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Recorded in Japan during a tour in 1970. Featuring famous French musicians Eddie Louiss on organ and Daniel Humair on drums. A classy trio album with Louiss’ superb Hammond organ play front and center and a glimmering of the Caribbean dancing in the shadows.

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The Bay

LP | 1979 | EU | Reissue (Ictus)

LP | 1984 | EU | Reissue (Ultimo Tango)

Release: 1979 / EU – Reissue

Genre: Organic Grooves

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

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

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

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Adelhard Roidinger

Computer & Project I

Release: 1984 / EU – Reissue

Genre: Organic Grooves

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Feather Funk Record Store Day 2022 Yellow Vinyl Edition

Blue Feather

LP | 1981 | EU | Reissue (Music On Vinyl)

23,39 €* 25,99 € -10%

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

Release: 1981 / EU – Reissue

Genre: Organic Grooves

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Limited to 750 copies.

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Doug Carn

Adam's Apple

Release: 1974 / US – Reissue

Genre: Organic Grooves

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LP | 1976 | EU | Reissue (Mad About)

Mandala

Alone White Vinyl Edition

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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

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Bill Evans

LP | 1970 | EU | Reissue (Klimt)

Story Of Wind Behind Left Black Vinyl Edition

Release: 1970 / EU – Reissue

Genre: Organic Grooves

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Alone was recorded at Webster Hall in the East Village, which was reserved for two recording sessions in October 1968. A Steinway & Sons concert grand piano model D-274 was chosen by Bill Evans for this recording. Released in April 1970, the Grammy Award-winning Alone was Bill Evans' first single piano solo album following in the footsteps of his 1963 Verve session Conversations with Myself (three pianos overdubbed) and his 1967 Further Conversations with Myself, also on Verve (two pianos overdubbed).

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Masahiko Togashi

LP | 1975 | EU | Reissue (Cinedelic)

Blues And The Soulful Truth

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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Recorded in September 1975 at Columbia Studio, “Story Of Wind Behind Left” is a symphonic poem in the shape of a suite. In the album, Masahiko Togashi uses music to communicate the same feelings evoked by nature. The drummer demonstrates unique composition and performance skills in the way he imitates the sounds of nature or takes inspiration from nature itself to make music. With “Story Of Wind Behind Left,” Masahiko Togashi revolutionized the Japanese jazz scene. The record includes an insert with the original liner notes translated into English.

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Leon Thomas

LP | 1972 | UK | Reissue (BGP / Flying Dutchman)

Lonnie Liston Smith & The Cosmic Echoes

Release: 1972 / UK – Reissue

Genre: Organic Grooves

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The title of Thomas’s third album for Bob Thiele’s Flying Dutchman referenced Oliver Nelson’s classic 1961 LP “The Blues and the Abstract Truth”. Released in 1972, “Blues And The Soulful Truth” featured an expansive all-star band that included Pretty Purdie (drums), Stanley Clarke (bass), Cecil Payne (Baritone sax) and the unsung Neal Creque (keyboards). It’s a soul meets jazz meets the blues masterpiece with arrangements from ex-James Brown horn-man Pee Wee Ellis.

This astounding album features the extraordinary ‘Shape Your Mind To Die’, ‘l-o-v-e’, a captivating vocal version of Gabor Szabo’s ‘Gypsy Queen’, the compelling ‘Love Each Other’, the plaintive ‘China Doll’ and a driving version of John Lee Hooker’s ‘Boom-Boom-Boom’.

Pressed on 180gm vinyl we have remained faithful to the original pressing, replicating the Flying Dutchman label style and gatefold sleeve.

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Renaissance

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

LP | 1976 | UK | Reissue (Mr Bongo)

Release: 1976 / UK – Reissue

Genre: Organic Grooves

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

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

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

180g black vinyl in replica gatefold sleeve.

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Ryo Kawasaki

Juice

Hideki Matsutake, Chojuro Imafuji, Masashi Komatsubara

Release: 1976 / UK – Reissue

Genre: Organic Grooves

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Classic jazz-funk fusion from the late, great Japanese guitarist Ryo Kawasaki. Recorded in New York, and originally released in 1976, 'Juice' presents Ryo at the height of his powers.

Born in Japan in 1947, Ryo had a long and stellar career recording and releasing music up until his passing on 13 April 2020, in Tallinn, Estonia. Ryo is one of the pioneers of the jazz fusion genre, with the Japanese jazz fusion / funk sound becoming extremely influential within the 80s UK club scene and amongst its DJs. His track 'Trinkets & Things' became a bonafide underground classic. In the US he worked with some of the greats of jazz, such as Elvin Jones, Chico Hamilton and Bobbi Humphrey, to name but a few. A forward-thinking and ever-evolving musician, Ryo collaborated with the Roland Corporation and Korg on the 'guitar synthesizer' and later wrote music software for computers. Later in life he relocated to Estonia and worked there, as well as Finland, Sweden, and the Baltic states.

'Juice' has become a much-loved album for crate diggers and jazz-funk enthusiasts, with its tracks frequently being sampled and re-imagined in hip-hop. The smokey, beat-down, spiritual funk jam 'Bamboo Child' has been flipped by Diamond D, Puff Daddy, and Kool G Rap. The album was released in 1976 on RCA Records and features the musicians' drummer Jimmy Young, rhythm guitarist Hugh McCracken, and bassist Stu Woods amongst other luminaries. A solid album throughout that incorporates a heavy dose of tripped-out synths alongside the emerging disco sound of the time. Tracks such as the opener ‘Raisins’, with its drum beat intro and bubbling bass-line, rivals The Headhunters at their finest. A superb album from an underground legend.

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Edo Black Vinyl Edition

LP | 1977 | EU | Reissue (Soave)

LP | 1982 | UK | Reissue (Shadow World Archive)

Release: 1977 / EU – Reissue

Genre: Organic Grooves, Electronic & Dance

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Edo” is a cosmic ambient experimental masterpiece conceived in 1977 by Masashi Komatsubara and developed alongside with Hideki Matsutake (a.k.a. Logic System and reductively defined by many as the "fourth member of the Yellow Magic Orchestra"). As a true sound scientist, he pours all his efforts into this record, and aimed at the widest possible use of an electronic instrument that was at the forefront at that time — the Moog IIIc. He extends his research by trying to break down the last wall between modernity and the past: the union and eurythmy between artificial sounds and traditional sounds. All this through a perfect three-way collaboration together with the shamisen musician Konae Imato, and the creation of a unique and extraordinary charming work dedicated to the double soul of the capital of Japan: ancient Edo, now the current day city of Tokyo.

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Lining Time

Strike

23,99 €* 31,99 € -25%

Solis Lacus A Special Radio TV Record - No15

Release: 1982 / UK – Reissue

Genre: Organic Grooves, Rock & Indie

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Here I AM is the first thing. A powerful incantation sung in full choral style at Dartington College of Arts in 1982 and captured on tape, now in 1s and 0s for all eternity. It’s a bold phrase, this assertion of existence, this permanent claiming of space in time; these three words we were made to sing in church, that we used to recite one after another at the beginning of class. Doing so might seem mundane, or easy, but it’s not. What’s easy is not. Not declaring one’s presence, not showing up at all. Claire Bushe, Cathy Frost, Lisa Halse, Cathy Josefowitz, and Mara de Wit showed up, took a side. They called themselves Lining Time. They were here. ANY Woman CAN SAY I’M A Witch, they said. Strike is the album Lining Time made. It plays out like a freedom spell, like liberatory healing magic. Reveling in the power of the voice, Lining Time sing. Not at us, but for us. As if by putting voice to the traumas inflicted by the patriarchy and capital, they could be made right. As if the whole world might join in and sing along, might join in and take action - might join in and strike.There’s nothing exclusive about the music Lining Time made. Like many of the best and weirdest records of the post-punk era, Strike wears its amateurism as a badge of honour, flies it like a flag to rally around. It is inclusive to the extreme. Which isn’t to say anyone could’ve made Strike. That’s the thing. The music preserved here is too weirdly spare and idiosyncratic - and wildly overconfident in the way that only the young and young at heart can be. Sometimes it’s almost protest folk, acappella or accompanied by a single acoustic guitar, as on ‘It’s Possible’. Sometimes schoolroom auxiliary percussion clunks out a cyclical, ritual rhythm, as on the title track. At no point does it feel less than singular. Still, this is music about and for universal sisterhood. It invites solidarity. Take up an instrument for the cause and sing your own song. Time Passes Time Passes Time Passes Time Recorded music often functions like a time capsule. It’s not rare that an album is “lost”. Rather, it’s rare that a work is heard widely at the time it was made. Often, it’s barely heard at all. It just exists somewhere, a cave painting or an ancient piece of graffiti, waiting to be stumbled upon for whatever reason. The reason, in Strike’s case, is a wonderful posthumous exhibition of Cathy Josefowitz’s artwork, The Thinking Body, a cooperative effort between Kunsthaus Langenthal, Centre Culturel Suisse, Paris, Macro Roma, Les Amis de Cathy Josefowitz, and Elise Lammer. It’s possible that some might be tempted to think of Lining Time as a sideshow curiosity to the main event, but that’d be foolish. Strike, nearly forty years old, is as alive and relevant as it was when it was recorded in the wake of the Reclaim the Night march. If anything, it’s shocking how potent and necessary its message remains today.

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Solis Lacus

LP | 1974 | EU | Reissue (Sdban)

LP | 1989 | EU | Reissue (Emotional Rescue)

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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Reissue of the Belgian milestone jazz album originally released in 1975.This is groundbreaking, experimental and funky jazz fusion!

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Vox Populi!

Aither 2022 Repress