Jazz | Fusion 405 Items

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.

Vibraphonist Bobby Hutcherson’s 1966 album Stick-Up! found him in the company of a new band line-up with Joe Henderson, McCoy Tyner, Herbie Lewis, and Billy Higgins. The quintet covers a vast expanse of post-bop territory on five Hutcherson originals plus Ornette Coleman’s “Una Muy Bonita.”

This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.



Bobby Hutcherson (vibraphone); Joe Henderson (tenor saxophone); McCoy Tyner (piano); Herbie Lewis (bass); Billy Higgins (drums)

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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, 500 copies! Twistin' the Night Away is Sam Cooke's eighth studio album. Released in April 1962 by RCA Victor, the album shows how the one and only Sam Cooke approached the twist dance phenomenon and as a result became one of Cooke's most successful releases. In fact Twistin' the Night Away peaked while the single of the same name charted high at number nine on the Billboard Hot 100. Twistin' the Night Away stands as one of the great dance albums of its period,"and "a brilliant soul album as well.

When giants of Jazz join together in conjugal jamming the resultant jousting can be less than jubilant. That was often the case in the era when promoters and record producers thought it a bright idea to create battle conditions at concerts and on albums. Undercurrent features the protagonists unsupported by a rhythm section, and relies on their intuition and telepathic understanding to create the interplay revealed in this album. Much admired as an influence on other Pianists, Bill Evans won seven Grammy Awards and a led a Trio that released many acclaimed albums. While Jim Hall continued playing, composing and arranging touring the world, receiving myriad awards in recognition of his achievements.

Limited Clear Vinyl edition, 500 copies! Originally released on Impulse in 1962 "Soul Trombone and the Jazz Clan" was a major statement from one of the great trombone players in American jazz. Here Fuller displays an outstanding hard-bop ensemble based on a bunch of great individuals all at the top of their game. Fuller himself is part of a super strong horn section with trumpeter Freddie Hubbard and tenor saxophonist Jimmy Heath, while the groove is assured by a hard swinging rhythm section with pianist Cedar Walton, bassist Jimmie Merritt and drummer Jimmy Cobb. Fuller gives lots of space to his musicians who naturally respond and empathize with great solos.In one word: an outstanding record!

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.

There have been many great Jazz Pianists, but foremost amongst them is Bill Evans. Accepted by all fans as being supremely influential for defining the format and scope of the Jazz trio, Evans entered his first purple patch in the mid to late fifties and refined his playing with a series of album. Over the years he recorded many trio albums with frequent changes of members, with the most lauded being his first and second line-ups. By May 1962 Evans cut what would be his seventh album for Riverside . New Bassist, Chuck Israels, joined the group, and together this second classic line-up cut two albums in the same sessions. The first was Moon Beams which contained ballads, while the second one, How My Heart Sings, had the up-tempo numbers. These were recorded as a mixture during the sessions as producer Orrin Keepnews wanted to release an album of just ballads from Evans, and so made up the album from the varied session tracks. During the recordings, Evans only revealed the tracks to his trio at the session itself. Fans and critics alike were more than appreciative of Chuck Israels' ability to meld into the trio with his punchy lines, meshing in especially well with Motian.

After the demise of LOS Shakers, brothers Hugo & Osvaldo Fattoruso released in 1969 "La Bossa Nova de Hugo & Osvaldo".

Here, they paid homage to the music they grew-up with: jazz, bossa nova and candombe but adding Beatlesque pop-psych and Brazilian/Latin sounds to the mix, following what they had already done with Los Shakers in songs like "Never Never" or "Adorable Lola".

Cool covers of Burt Bacharach, George Harrison and candombe pioneer Manolo Guardia blend together with lovely self-penned songs and even new, bossa-styled versions from Los Shakers catalogue.

Recorded in 1968 mostly by Hugo and Osvaldo playing all the instruments by themselves, it was originally released in 1969 in a tiny edition of 400 copies, making it one of the most desirable collectable albums related to Los Shakers.

The missing link between "Toto's Bar" and OPA's "Goldenwings"?

Originally issued as Savoy Records MG 12154

The Booker Ervin Quintet Booker Ervin (tenor sax), Richard Williams (trumpet), Horace Parlan (piano), George Tucker (bass), Dannie Richmond (drums). Recorded at Medallion Studios, Newark, New Jersey, on November 26, 1960

Sound engineer: Paul Cady Cover art: Lee Jack Morton Liner notes & recording supervision by Tom Wilson Album preparation: Herman Lubinsky

"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)

Recorded in November 1969 at Teichiku Kaikan Studio, Tokyo, "Speed and Space - The Concept of Space in Music" is one of those landmark works in which Masahiko Togashi is accompanied by talented musicians who possess a unique style and innovative approach. The album is an exploration of Togashi's notion of the “Time Law" and can be seen as a study of how texture, rhythm and differing rates of change effect our perception of the passage of time in music. Sounding quite obscure and contemplative, the brief introductory theme signed as “Presage” prepares the listener for powerful and scathing Free Jazz. In a pace of increasing intensity, “Panorama” remits us to the liberating ways of an absorbing percussion where the more muscular interventions are interspersed with moments of enormous sensitivity. Grounded by Togashi’s varied percussion, the disconcerting piano of Masahiko Sato and the vigorous bass of Yoshio Ikeda mark the guidelines of this long abstract exercise. Among several solo notes and brilliant moments played through an energetic improvisation, this theme of 14:35 minutes flows into a grand finale with the involvement of all the musicians. “Expectation” closes the A side in a short but intense reverie of percussion, bass and flute, guided by an improvisation free of harmonic prejudices. The floating world of 'Expectation' closes side A in a brief but intense reverie of percussion, bass and flute, guided by an improvisation devoid of harmonic prejudices. At the piano (and gong), Masahiko Sato (another illustrious representative of Japanese music) assumes a mediation function, granting some harmony traits to the, almost always, abstract and corrosive concepts of this collective. Certainly less known, bassist Yoshio Ikeda (which in the 70s recorded, among others, with trumpeter Terumasa Hino and in the early 80s with the renowned pianist Aki Takase) through a valuable contribution, imprints a decisive mark to the robust rhythm-section as to the overall sound of this date. Even with a less active participation, Mototeru Takagi helps impart a tonal diversity and a colorful exoticism through his forays into the tenor saxophone, bass clarinet and flute. Of sharp forms dominated by technique and irreverence, side B continues with the title track, divided in two distinct but equally penetrating parts. With a depth marked by Togashi’s percussion, “Speed & Space # 1” unfolds on a fast tune over 11 minutes of a harsh and incisive improvisation. The interaction of an irreverent rhythm section finds its complement in the disturbing screams of a delirious saxophone. Shorter, the 2nd part gives voice to an ambiental and minimalist concept in which the central role of Togashi finds an interesting matching in Masahiko Sato’s piano as well in the saxophone and flute of Mototeru Takagi. In this challenging exercise, the flank “space” reaches its fullness before culminating in an entrancing performance by Togashi (percussion, vibraphone, bells, etc.). Includes OBI and insert

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.

Originally released in 1968 as part of the "Serie Sonorizzazioni" series on Piero Umiliani's iconic Omicron label, "Preistoria" is the perfect example of a library music collection perfectly tailored to a theme. Through the use of orchestral accompaniment, jazzy arrangements, and tribal experimentation thrown in for good measure, the legendary Italian composer brings you back to the stone age, creating and ominous and primitive landscape, rich of caveman-style drums and deep bass lines. This extremely sought after gem is now available on vinyl for the first time since its original release, officially licensed by Piero Umiliani's family and available as a limited edition pressing of 500 copies.

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.

Re-issue of 1968 album by British jazz guitarist (born January 2, 1933 in Doncaster, England). He played with Norman Burns, "Ray Ellington's Quartet", Benny Goodman (in tour in England, 1971), "Don Lusher's Big Band", and as a session man in the 1970s, 1980s and 1990s.

Judd uses varying permutations of the following instruments on various tracks. Twelve string guitar, electric Fender guitar, electric Gibson guitar (l4) with a Charlie Christian bar pick-up, and a Maton acoustic guitar.

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

Limited Clear Vinyl edition, 300 copies! Recorded intermittently between June and September 1962, "Year of the Iron Sheep" was Ken McIntyre's third album, the fruit of various studio sessions featuring three different personnels. Here the great multi-instrumentalist, mostly known for his collaborations with the likes of Eric Dolphy, Archie Shepp, Cecil Taylor and Charlie Haden is heard on alto sax and flute while the rhythm section variously features pianist Jacki Byard, bassists Ron Carter and Ahmed Abdul-Malik, drummers Ben Riley, Louis Hayes and Warren Smith. An amazing cast of players for a great and yet forgotten post-bop gem.

Originally issued as Stere-O-Craft #16
Subsequently reissued by Hi-Life Records as HLS 55

The Shirley Horn Trio
Shirley Horn (piano & vocals), Joe Benjamin (bass), Herb Lovelle (drums).
Lewis Packer, bass, and Harry Saunders, drums, replace Benjamin and Lovelle on "Day by Day"
Recorded in New York City, 1960

Back-liner notes written by Mort Fega
Jazz Unlimited, WEVD, New York City
Recording produced by Buddy Smith

180 Gram Newly Remastered Vinyl Reissue of the original Stere-O-Craft #16 Limited edition in Solid carton sleeve

Originally issued in Stereo on Prestige LP (PR 7233)
Subsequently reissued in the Prestige/New Jazz budget subsidiary label Status (ST 7233)

The John Wright Trio
John Wright (piano), Wendell Roberts (bass), Walter Perkins, Jr. (drums).
Recorded at Rudy Van Gelder Studios in Englewood Cliff, New Jersey, April 10, 1962

Engineered & mastered by Rudy Van Gelder
Cover photo & design: Don Schlitten
Back-liner notes: Tom Wilson
Recording supervised by Esmond Edwards

180 Gram Newly Remastered Vinyl Reissue of the original Prestige Prlp 7233 Limited edition in Solid carton sleeve

An impressive live album by Marvin Peterson who was one of the finest trumpetersin the 60's-70's is making its return on vinyl format. These tracks were performed by the band led by Hannibal Marvin Peterson, though he had yet to add "Hannibal" to his name at the time of recording. Here, he performed with eight musicians in his hometown of Texas, and theirperformance crossed the boundaries of jazz, soul and funk with skilled musicians. These included organistEugene Carrier who also participated in the BB King Band and drummer Emry Thomas who would later participate in the band led by Johnny "Guitar" Watson.

With a glance at the cover art, you can get a sense of the powerful and passionate live recording that brought joy to its many fans. The opening "Groove for Otis" (m1) with a jazz-funk whose edgy beat excites rare groove fans. "Our Groove" (m4) is also a fine track whichhas a slick bassline and Eugene'sorgan fusing in harmony. P-vine are very proud to be repressing this record with its intimate feeling akin to being there in the crowd as the mighty Peterson walks up to take center stage.

• Long lost 1968 album from visionary South African jazz composer incorporating traditional African music sources and instruments.

• Officially licensed from the Nxumalo family and reissued with inner sleeve containing archival photographs and new liner notes by Francis Gooding.

Gideon Nxumalo’s Gideon Plays might just be the most mythologised and sought-after LP in the whole South African canon. A sophisticated bop excursion with a distinctive African edge, it was only Nxumalo’s second LP as leader, despite his crucial place in South African jazz history. Pianist Nxumalo was a visionary jazz composer who had recorded regularly during the 1950s, and his 1962 Jazz Fantasia album was the first South African jazz recording to incorporate traditional African musical sources and instruments. But he was also the country’s most significant radio presenter and jazz tastemaker – from 1954 onwards, he had worn the nickname ‘Mgibe’ to introduce ‘This Is Bantu Jazz’, South African radio’s premier jazz show. But in the aftermath of the Sharpeville Massacre in 1961, Nxumalo had been side-lined from radio play, and was eventually sacked for playing records with political meanings. By 1968, he had not been heard on record or airwave for several years. Gideon Plays was a celebrated return to the studio for one of South Africa’s best loved and most forward-thinking jazzmen, and it showcases Nxumalo’s deep understanding of jazz, his brilliant touch as a composer, and his commitment to bringing South Africa’s indigenous sound into the music. However, it was released on the tiny JAS Pride label owned by production impresario Ray Nkwe, and after one pressing in 1968, Gideon Plays fell into the undeserved silence that has obscured so much of the South African jazz discography. It has since become a legend: hardly more than a rumour, it has been bootlegged by the unscrupulous, changed hands for eye-watering sums, and has scarcely been heard outside the circles of the most committed South African jazz devotees. It goes without saying that it has never been released outside South Africa, and even now only a handful of original copies are known to have survived. Over the last ten years, Matsuli Music has been proud to present some of the greatest lost and found jazz recordings in South African history – but we have never presented a rarer, lesser known album than the mighty Gideon ‘Mgibe’ Nxumalo’s Gideon Plays.

A deep dive into the one of most collectable jazz catalogues in the world, a selection of some of the rarest and most sought-after recordings from the 60s and 70s, a time when British jazz began to find its own identity. Drawn from the iconic labels of Decca, Deram, Argo, EMI Columbia/Lansdowne Series, Fontana, Mercury, & Philips. If one were asked to pick an album that represented the best of British jazz in the 1960s, Le Déjeuner Sur l’Herbe by the New Jazz Orchestra would be a serious contender. Recorded in September 1968, it draws together many of the key streams that had developed in British jazz in the preceding years, and also presages much of what was to come. Notwithstanding the line-up, which includes some of the very best British jazz musicians directed by an inventive and ingenious leader in Neil Ardley, the session features pieces written by the most distinctive jazz composers active in Britain at that time alongside idiosyncratic interpretations of works by John Coltrane and Miles Davis. And it’s all captured beautifully by engineer Howard Barrow and producer Tony Reeves and it features a stella cast of some of the greatest musicians, not just from that era or genre but beyond; Jack Bruce, who would become one of the founding members of Cream, Barbara Thompson, Ian Carr, Michael Gibbs, Dave Gelly, Dick Heckstall-Smith and Jon Hiseman, who went on to form one of the greatest jazz/progressive/rock bands – Colosseum.