Jazz | Fusion 311 Items

Flutist Prince Lasha and alto saxophonist Sonny Simmons were one of the great teams in the "New Thing" era. Recorded in New York in May 1963 these early studio sessions feature great contributions from trumpeter Don Cherry and tenor sax giant Clifford Jordan, plus the rhythm section of Orville Harrison and Bill Wood on bass, Charles Moffett on drums, and producer Fred Lyman on flugelhorn. This is a great snapshot of the NYC music scene in the 60's, when a bunch of young, creative, uncompromising musicians invaded the city and began to change the rules of Jazz.

Vibes player Johnny Lytle was one of the heroes of the early acid jazz club circuit, with his cuts 'Selim' and 'The Man' being anthems of the scene.

The Ohio-born player’s first album as a leader was on the Jazzland label in 1962 with “Nice And Easy”. His second, three years later, on Riverside, "The Village Caller", made him a star in the jazz world. When Riverside encountered difficulties, co-owner Orrin Keepnews collaborated with Lytle on two albums which came out on the Detroit label, Tuba.

The first of these, "The Loop", featured his regular trio partners, organist Milt Harris and drummer “Peppy” Hinnant. This line-up was augmented on some tracks by former Miles Davis pianist Wynton Kelly and bassist George Duvivier. A 7” version of the title track actually spent five weeks in the Billboard Hot 100 in January 1966. As for the album, as well as the acid jazz cut 'The Man', it features a stunning version of Duke Pearson's 'Cristo Redentor' and the dancefloor-friendly 'Possum Grease' and 'Hot Sauce'. The band also stretch out on extended track ‘The Shyster’.

"The Loop” is a classic album and Ace’s pressing is the first time it has been legally reissued on vinyl.

The Shadow of Your Smile is a studio album by Astrud Gilberto. With arrangements by Don Sebesky, Claus Ogerman, and João Donato, it was released via Verve Records in 1965. It peaked at number 66 on the Billboard 200 chart.

Unorthodox saxophonist Albert Ayler straddled different jazz streams during his brief career. After playing with Stanley Turrentine and Harold Budd in the late 1950s, a move to Sweden brought him into the limelight, fronting his own trio. Debut album Something Different!!!!!! comprised four dissonant songs delivered live with bassist Torbjörn Hultcrantz and drummer Sune Spångberg, with a barely recognisable rendition of showtune “I’ll Remember April,” an off-kilter take of Sonny Rollins’ “The Stopper” (retitled “Rollins’ Tune”) and a wobbly cut of Miles Davis’ “Tune Up,” along with the original “Free.” An exceptional musical experience!

Ahmad Jamal's contribution to the expansion of the Jazz art form is undeniable. A true genius and a source of inspiration for other Jazz greats, one for all: Miles Davis. Jamal's piano style and music aesthetic come as a unique blend of sophistication and taste. Recorded in Chicago and first released on Argo in 1960 "Happy Moods" is the result of a happy studio date and lush production featuring his great trio with Israel Crosby on bass and Vernel Fournier on drums.

Sacd

This 1967 set, recorded live at Boston’s Jazz Workshop, showcases virtuoso guitarist Szabó—a veteran of Chico Hamilton’s and Charles Lloyd’s bands—at the top of his game on a diverse program featuring standards (“What Is This Thing Called Love”) and pop hits (“The Beat Goes On”) as well as the original and psychedelic-tinged jam, “Space.”



Verve BY Request Series: remastered, audiophile-quality 180-gram vinyl from Third Man Pressing/Detroit, gatefold sleeve.

180g

Alto saxophonist Jackie McLean had the blues on his mind when he went into Van Gelder Studio in 1961 to record his hard bop masterpiece Bluesnik with a blazing quintet featuring Freddie Hubbard on trumpet, Kenny Drew on piano, Doug Watkins on bass, and Pete La Roca on drums. The six-song set of bluesy originals brims with immediacy and vibrancy.

Blue Note Classic Vinyl Edition: stereo, all-analog, mastered by Kevin Gray from the original master tapes, pressed on 180g vinyl at Optimal, padded inner sleeve.

Reissue as a part of the Start Your Year Off Right Kampagne von Warner. The final album recorded by Coltrane under his own supervision for Atlantic Records, Ole Coltrane features several of the players from Africa/Brass, which was recorded two days earlier, and is widely considered one of the premiere statements of Avant Garde jazz as well as the moment that Coltrane moved from an accessible artist to a more daring and complicated one. (Original RD: November 1961)

First Lady of Song Ella Fitzgerald overcame the challenges of a tumultuous youth through music, her performances with the Chick Webb Orchestra at the Savoy Ballroom and distinctive scat singing leading to early recordings and the 1938 breakthrough, ‘A Tisket A Tasket.’ After recording bebop LPs for Decca, manager Norman Granz launched the Verve label to allow her to broaden her musical horizons, exploring the Great American Songbook. Released in 1960, Ella Wishes You A Swinging Christmas sees her tackle Christmas classics as only Ella can, the lavish orchestration overseen by noted conductor Frank de Vol.

Ingfried Hoffmann - Hammond organ, Pierre Cavalli - 12-string guitar, Volker Kriegel - guitar, Peter Trunk - bass, Rafi Lüderitz - drums



The grooviest James Bond sounds ever! Ingfried Hoffmann had the reputation of being Europe’s best Hammond B-3 organist, a talent that has occasionally overshadowed his equal skill as a pianist, arranger and composer. As a member of Klaus Doldinger’s famed quartet, Hoffmann won several polls as Germany’s best jazz organist and pianist. “Soul Bond” was first released in Germany in 1966 under the title “From Twen With Love’, when the James Bond craze was at its height, following the worldwide success of ‘Thunderball’. Inspired by the first four Bond films, Hoffmann not only laid down fantastically swinging interpretations of Bond themes, but also shone with compositions of his own dedicated to the famous super spy. This is the first LP reissue of the rare Polydor album.



1-lp, 180g, Pallas pressing, padded inner sleeve.

A timeless piano jazz classic: Bill Evans’ first-ever performance at a concert hall in New York City. Featuring the sensitive accompaniment of Chuck Israels on bass and Arnold Wise on drums. Includes a thirteen-minute solo suite dedicated to the memory of Bill’s father who had only recently passed at the time of the recording.

Verve Acoustic Sounds Series: Stereo, mastered fully analogue from the original tapes by Ryan K. Smith at Sterling Sound, QPR pressing (180 g), firm tip-on gatefold (Stoughton Printing), padded inner sleeve.

In 1963, tenor saxophonist Harold Vick made his sole album as a leader for Blue Note, the underrated soul jazz gem „Steppin’ Out“. The record finds its groove from the first downbeat and stays firmly in the pocket throughout this set featuring Blue Mitchell, Grant Green, John Patton, and Ben Dixon.



Blue Note Tone Poet Edition: Stereo, produced by Joe Harley, mastered by Kevin Gray from the original analogue master tapes, pressed on 180g vinyl at RTI, packaged in a deluxe gatefold tip-on jacket



Harold Vick (tenor saxophone); Big John Patton (organ);

Grant Green (guitar); Ben Dixon (drums); Blue Mitchell (trumpet)

A multi-instrumentalist who reconfigured jazz many times during his long career, Yusef Lateef came to prominence in the late 1950s, after having toured with Dizzy Gillespie. Jazz Mood dates from 1957, when his Quintet had some of Detroit's finest, including Alice Coltrane's brother Ernest Farrow on bass and future Jazz Messenger Curtis Fuller on trombone. The use of an argol on 'Metaphor' and a rabat and finger cymbals on 'Morning' point to Lateef's Islamic grounding and his belief that music serves a higher purpose; this edition has bonus track 'Passion,' from the equally excellent Before Dawn. Rich, deep, and varied, this is required listening for all serious jazz heads.

Limited Clear Vinyl edition, 500 copies! Originally released in 1961 by Prestige/New Jazz label, "Straight Ahead" marks the last Dolphy's appearance within a series of fortunate collaborations with saxophonist Oliver Nelson. This is a great modern jazz album taking shape from a quintet studio session (all first takes) engineered and supervised by master Rudy Van Gelder and featuring: Oliver Nelson - alto and tenor saxes, clarinet - Eric Dolphy - alto sax, bass clarinet, flute - Richard Wyands - piano - George Duvivier - double bass and Roy Haynes on drums. A serious bunch of jazz stylists all caught in fine form and concentration. Needless to add that the Nelson-Dolphy sax tandem shines throughout the whole album while Duvivier and Haynes inject their angular yet hard swinging groove. The track list consists of five Nelson's originals plus Milt Jackson's "Ralph's new blues".

Blue Note’s 1960s roster boasted numerous Hammond B3 organ whizzes including the soulful Kansas City born master Big John Patton. The dynamic quintet that Patton assembled for his 1965 album Oh Baby! packed a punch with the B3 master joined by trumpeter Blue Mitchell, tenor saxophonist Harold Vick, guitarist Grant Green, and drummer Ben Dixon.

Big John Patton (organ); Blue Mitchell (trumpet); Harold Vick (tenor sax); Grant Green (guitar); Ben Dixon (drums)

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

Limited Clear Vinyl edition, 300 copies! Roland Kirk was one of the most creative, extravagant figures in jazz history. A master multi instrumentalist with no boundaries in terms of language, style and technique. Here we find him co-leading a strong studio session with organ specialist Brother Jack Mcduff. Backed up by Joe Benjamin on bass and Art Taylor on drums, Kirk and McDuff give voice to a soulful post-bop set full of groovy riffs and highly inventive instrumental ping pong. Recorded by Rudy Van Gelder and released in 1961 by Prestige Records, this is a fine early step in Kirk's varied and intense career.

When Bill Evans played those haunting exploratory notes that introduce So What on the Miles Davis album Kind Of Blue he made a lifelong impression on generations of music lovers. Bill thereafter launched a solo career greeted with the kind of critical acclaim the bespectacled, classically-trained Pianist no doubt found unsettling yet deeply satisfying. While his association with Miles, which included performing on the most influential Jazz album of all time, was relatively short, his time with the Bill Evans Trio was longer lasting and in many ways more productive. Certainly Explorations proved a great success when first released by the Riverside label in 1961. The trio was completed by Scott LaFaro on double bass and Paul Motian on drums, gave the leader the right combination of swing and subtlety needed to suit Evans’ sensitive and yet ultimately commanding style. It was the second album by the trio and Bill claimed it was his personal favourite. Explorations produced by Orrin Keepnews certainly impressed the Jazz critics of Billboard magazine who voted it the Best Piano LP of 1961 in their annual poll.

"James Clay's debut album as a leader (and one of only two that he cut before moving back to Dallas for nearly 30 years) matches him with fellow Texas tenor David 'Fathead' Newman, pianist Wynton Kelly, bassist Sam Jones and drummer Art Taylor. Cannonball Adderley supervised the session, putting the spotlight on the competitive horns who really battle it out on the Babs Gonzales blues "Wide Open Spaces." Clay, who plays flute on the date's lone standard "What's New," holds his own with Newman and plenty of sparks fly." —Scott Yanow (All Music Guide)

The World Of Cecil Taylor is the fifth studio album by radical, free jazz pianist pioneer, Cecil Taylor.Taylor's music is often described as ahead of its time. And it's easy to imagine what the reaction of the average jazz fan was to this 1961 recording. It is arguably a tremendous departure from what jazz was widely considered to be at the time. At once a modern approach to standard material and a genre pushing exploration, it is a document of an artist pushing the boundaries of what jazz meant and where it was capable of going. This brand new reissue is available on CD and LP (180g) and has been remastered from the original Candid Records master tapes by Bernie Grundman.

George Russell was one of the most advanced composers and arrangers in the history of Jazz, A theorist and innovator who worked extensively between the 40's and the early 2000's. Originally released by Decca in 1960, "Jazz in the Space Age" was Russell's third effort under his name. A visionary work including music composed and arranged by Russell for various lineups featuring the likes of pianists Bill Evans and Paul Bley, trombonist Bob Brookmeyer, drummer Charlie Persip and others. This is adventurous yet highly accessible music that still sounds fresh today!

Limited Clear Vinyl edition, 300 copies! This is Art Blakey and his Jazz Messengers, with guests Bud Powell - piano and Barney Wilen - alto sax, caught live at the Théâtre des Champs-Élysées in Paris in1959. At that time Blakey's Messengers were no less than Lee Morgan – trumpet, Wayne Shorter – tenor sax, Walter Davis Jr. – piano and Jymmy Meritt – bass. In other words one of the greatest Hard Bop combos ever, a pool of great young individuals under the direction of one of the most influential drummers and band leaders in the history of Jazz. No need to add that "Paris Jam Session" is regarded as an essential release in Blakey's extensive discography.

One of the most active bebop trumpeters, Kenny Dorham started in the big bands of Mercer, Ellington, Lionel Hampton, Billy Eckstine and Dizzy Gillespie and eventually landed in the Charlie Parker Quintet. In addition, he was a charter member of Art Blakey’s Jazz Messengers, recorded as a sideman with Thelonious Monk and Sonny Rollins and replaced Clifford Brown in the Max Roach Quintet. Throughout his career he can be heard playing trumpet on various recordings with Lou Donaldson, Sonny Stitt, Fats Navarro, Kenny Clarke, Mary Lou Williams and many more musical legends. “Quiet Kenny” is a jazz masterpiece. Recorded by the great Rudy Van Gelder with a group of musicians playing at the top of their game, this title continues to be one of the most collectible Jazz LPs due to its high demand and short supply.

We Are Busy Bodies is proud to announce the first official reissue of 'Zodiac' by brilliant French tenor saxophonist, Barney Wilen. Originally released on the Disques Vogue label in 1966, the album has been restored and remastered from Barney Wilen's personal copy of the album. The album was recorded a few years after performing on albums and European tours with Art Blakey's Jazz Messengers and Miles Davis. The album is an exploration of free jazz, dedicated to the signs of the zodiac. Wilen and his friend, photographer Jean Larivière worked together to create the photos and artwork for his album, Zodiac. The intention at the time was to also create a film with a storyline and characters developed by Jean. Unfortunately, the concept was never fully realized at the time,. Sketches, photos and further context are included in the accompanying album insert.

First time release on vinyl of the breathtaking songs Patty Waters recorded with engineer Steve Atkins in 1970 at the Coast Recordings studio, together with the unreleased single 'My One And Only Love' and a recorded live session at Lone Mountain College in 1974.

The album 'You Loved Me' is the missing link between her two groundbreaking pioneering and highly acclaimed ESP-Disk records from the end of the 60's and her post 90's releases. The missing link between the radical ingenue of the 1960s and her late 90's songs wherein she expressed the resolution of all of her life's moments through mature readings of traditional songs and jazz standards. This collection aims to provide that missing link and to finally complete the picture of her storied recording career.

In what would have been her third LP, the 'You Loved Me' album serves as the inverse of Patty's debut. While her debut "Sings" concerned itself with themes of heartbreak, loneliness and yearning, there's an abundance of love, joy and togetherness on "You Loved Me".

Or in Patty's own words:

"I was a young girl alone at age 19, I was longing for love and dreaming of how wonderful love could be"

On 'You Loved Me' Patty Waters velvet voice captures this longing for love, straight from her soul to your heart. Crossing the border of the avant garde jazz entering a strange zone, somewhere between spiritual jazz, early folk vibes on the songs on the A-sides while the 14 minute composition 'Touched By Rodin In A Paris Museum' on the B-side is (dixit David Stubbs for Uncut in 2004) a brilliant extended showcase for the uneasy Cageian minimalism of her piano playing.

'You Loved Me' proves also again why Albert Ayler introduced her to ESP-Disk president Bernard Stollman, impressed Miles Davis, Pharoah Sanders and Henry Grimes with her concerts and can count Patti Smith and Yoko Ono (to name a few) amongst her fans.

British Jazz Masterpiece from 1965 featuring Neil Ardley, Ian Carr, Barbara Thompson and John Hiseman

180 gram black vinyl. Reissue for the first time Worldwide In the mid-60’s London scene, the NJO was one of those unavoidable and big-band groups (originally started as Clive Burrows Orchestra), where almost everyone who was anyone on the scene or almost transited through the group, which was normally the vehicle for composer Neil Ardley. You’ll find in the WR album, among others, stellar names like Ian Carr (of RCQ and Nucleus fame), Barb Thompson, Tony Reeves, John Hiseman (all three of future Colosseum fame), Trevor Watts (future Amalgam) plus a bunch more of lesser-known, but no-less gifted musicians like Paul Rutherford, etc. The line-up would fluctuate to include many other household names.

The New Jazz Orchestra was formed in December 1963, its name reflecting both the youth of its members - their average age was only 23 - and their mission to perform the new kind of orchestral jazz that was then developing in America but still to be heard in Britain. The personnel included such (then) non-jazz instruments as flute, horn and tuba in addition to the standard brass, saxes and rhythm line-up of the big band. This is the NJO's first album, recorded in March 1965 before an invited audience to make the young band feel at ease. The NJO was the offspring of a popular weekend jazz club, the "Jazzhouse" based at the Green Man, Blackheath (demolished to make way for Allison Close) where the "house" band was the Ian Bird Quintet (initially comprising Ian Bird, tenor sax; Clive Burrows, baritone sax; Johnny Mealing, piano; Tony Reeves, bass and Trevor Tomkins, drums - Mealing and Tomkins left to join the newly formed Rendell-Carr Quintet and were succeeded by Paul Raymond and Jon Hiseman respectively. The ensemble featured many London-based jazz musicians, such as Harry Beckett, Jack Bruce, Ian Carr, Dave Gelly, Michael Gibbs, Dick Heckstall-Smith, Jon Hiseman, Henry Lowther, Don Rendell, Frank Ricotti, Paul Rutherford, Barbara Thompson, Trevor Tomkins, Michael Phillipson, Les Carter, Tom Harris, Trevor Watts and Lionel Grigson. Ardley, Gibbs, Carter, Rutherford, Michael Garrick, and composer Mike Taylor all contributed pieces and arrangements.

Under exclusive license of Universal Music Portuga

Deliberately presented as a dance music release, this brilliant Quincy Jones album - first released on Mercury label in 1961 - comprises material from two marvelous big band performances recorded the year before in Paris and New York. Here the great composer and arranger leads a first class "dance organization", a top-flight big band featuring the cream of NY Jazz musicians, among them: Clark Terry and Freddie Hubbard - trumpets, Curtis Fuller and Melba Liston - trombones, Phil Woods, Oliver Nelson and Sahib Shihab - saxes, Stu Martin - drums. An exquisite platter of highly swinging and danceable grooves signed by the genius of Quincy Jones

"Heavy Soul" can be easily considered as one of Ike Quebec's best showcases. Recorded in 1961 by master Rudy Van Gelder and originally released on Blue Note, this fine studio session sounds as a perfect mixture of down-home blues spirit and warm, sensual ballads, with Quebec's big tenor sax voice as the leading force of a hard swinging quartet featuring Freddie Roach - organ, Milt Hinton - bass and Al Harewood - drums.

Psychedelic Percussion definitely sticks to his title. With the help from Paul Beaver of Beaver & Krause (famous keyboard wizard and sound engineer for the likes of Stevie Wonder), vibe master Emil Richards (check is two fantastic album on Impulse! with The Microtonal Blues Band featuring Joe Porcaro, father of the famed Toto brothers) and Gary Coleman (percussionist in the famous Wrecking Crew), Blaine goes wild in the studio with drums, gong, xylophone, organ, bongos, congas and timpani. Unusual textures and tones lead the way to 12 instrumental exotic numbers similar in a way to Raymond Scott most visionary experiments. This is pure madness, a record full of breaks and still unsurpassed in many ways. Blaine was an American drummer and session musician, estimated to be among the most recorded studio drummers in the history of the music industry, claiming over 35,000 sessions and 6,000 singles. His drumming is featured on 150 US top 10 hits, 40 of which went to number one, as well as many film and television soundtracks. He became one of the regular players in Phil Spector's de facto house band, which Blaine nicknamed "the Wrecking Crew". Some of the records Blaine played on include the Ronettes' single "Be My Baby" (1963), which contained a drum beat that became widely imitated, as well as works by popular artists such as Frank Sinatra, Elvis Presley, the Beach Boys, Simon & Garfunkel, the Carpenters, Neil Diamond and the Byrds.

"Due to his decision to settle in Los Angeles, tenor saxophonist Harold Land has long been underrated. A strong bop stylist who later on would be influenced a great deal by John Coltrane, Land in 1959 had a sound closer to Sonny Rollins. For this excellent straight-ahead quintet set with trumpeter Dupree Bolton and pianist Elmo Hope, Land performs four of Hope's superior but little-known compositions along with two of his own. This is high-quality hard bop, easily recommended to fans of straight-ahead jazz." Scott Yanow -All Music Guide

"[...] Tenor saxophonist Harold Land leads an all-star sextet that includes guitarist Wes Montgomery, trumpeter Joe Gordon, pianist Barry Harris, bassist Sam Jones and drummer Louis Hayes. Together, they perform three of Land's originals, "Don't Explain," and Charlie Parker's "Klactoveedsedstene," and an early version of Montgomery's "West Coast Blues." The music is as well-played and swinging as one would expect from this superior bop group." Scott Yanow -All Music Guide

"This fine set matches together the already distinctive tenor of Clifford Jordan with veteran trumpeter Kenny Dorham, pianist Cedar Walton, bassist Wilbur Ware and drummer Albert "Tootie" Heath. Other than Duke Ellington's "Don't You Know I Care," the group sticks to originals by Jordan, Dorham and Walton. The music is straight-ahead, and although the tunes are pretty obscure, the solos and high musicianship uplift the music. Recommended to straight-ahead jazz collectors." Scott Yanow -All Music Guide

Be With is delighted to present Jorge López Ruiz’s El Grito (Suite Para Orquesta De Jazz), eternal Argentinian magic released on CBS in 1967 that must be one of the most sought-after South American jazz LPs. Living in Buenos Aires in the 60s, driven by creative impulse and rage Jorge López Ruiz used music as his platform to protest the Argentine military dictatorship: “I could never stand dictatorships, to be told how you have to think, what you have to do. Nor did I endure discrimination”. A young López Ruiz had appeared on a television panel alongside writer, politician and philosopher Arturo Jauretche, criticising the Onganía dictatorship. Jauretche told López Ruiz “Now say it with music”. This was the deep inhale that lead to El Grito, literally “The Scream”. As López Ruiz later explained “Jauretche urged me that my protests should not remain in words and acquire the consistency of a work… but it was not so much what he told me but how he told me, what prompted me to make the work take shape, first in a live concert and then in a recording”. As the police and military began resorting to kidnapping, torture and summary executions to quiet dissent, with depressing inevitability the artist community and their work were a particular target of the increasingly brutal regime. El Grito was banned not long after it was released and the majority of original copies were unceremoniously destroyed. The work of a genius artist living under an opressive dictatorship, erased by the government of the time, this is buried treasure in every sense and it’s been a rare record for over 50 years.

Depending on the nature of the person involved, success either dictates more and more compulsive activity, or else it permits relaxation. With Cannonball Adderley, the latter certainly appears to be the case; and this album can, among other things, serve as a testimonial to the truth of the impression. In a peculiar way, the present album is a result of that success. For it is something that Adderley might well not have dared attempt in the past, and that he might not have been able to convince his record company to do. This his most satisfying LP. The nature of this album should be immediately apparent from Adderley's choice of associates. Cannonball feels, and many agree, that pianist Bill Evans is unexcelled when moody delicacy is called for.

A Svart Mondo Release. Limited to 500 copies on black vinyl. By early 1960’s, jazz in its mainstream form had become the standard dance music for the student parties in high schools and several student union clubrooms in Helsinki. The Polytech union even organized matinée dances for high school students on Sundays. The change in the musical preference of young people’s dance music occurred with the arrival of British rock in the mid-sixties and this, of course, coincided with another cultural and musical development. As the new campus for the school was built in Otaniemi, Espoo in 1955-1966 and its operations gradually moved there, the modern style “Dipoli” building became the crowning edifice on the campus. It was to be the new home for the Polytech student union. When this controversial building was opened in 1966, it was meant to introduce a new vision of the future and constituted an embodiment of the modernist spirit of those times in the late 1960’s. This reissue of The Complete Jazz at the Polytechnicum recordings, done in 1967-68, also provides us with a glimpse of the modern directions of those days, not only in jazz music, but also in performance art. It is easy to hear that the main aesthetic in these performances was to break conventions and find new avenues for individual expression. The publisher of these recordings was the Jazz Society of the Tech Students, which was formed a little before these recordings. The name of the society was a take-off from Norman Granz’ Jazz at The Philharmonic and it became Jazz at the Polytechnicum. Both are, of course, abbreviated as J.A.T.P., which became formulated in musicians’ mouths into “Jappa”. This Svart Records re-issue consists of four EP-records in chronological order. The first three feature three jazz groups of the leading young players with their ages ranging from 21 to 30. The fourth one documents an avant-garde art “happening” held in Dipoli on March 20th – 24th 1968 called “Posotusta, pimputusta, pompotusta”, which could freely be translated as “Huff ‘n’ puff ‘n’ plonk”.