Jazz | Fusion 334 Items

Saxophonist Eddie Harris – a favorite sample staple of jazz-leaning hip-hop producers of the ‘90s – was a very busy man in the 1960s, releasing albums at a brisk pace since his first as a leader in 1961. By the late ‘60s he had fully hit his stride, as both a performer and an innovator.
A case in point is heard very clearly on this gem from Harris’ expansive catalog – 1968’s Plug Me In, which features his pioneering use of the Varitone saxophone effects processor unit (first heard on his 1967 album, The Tender Storm). The effect, used on “It’s Crazy” and “Ballad (For My Love),” never gets in the way, but gives the proceedings a feeling of “the next.” 1968 saw jazz entering a new era, influenced by electronic advances as well as the soul music dominating the pop charts of the day. Plug Me In slid perfectly into the vanguard of the day.
There is a soulful warmth to the proceedings on this classic LP, starting with album opener “Live Right Now,” which builds and swirls to a beautiful crescendo, with notes ricocheting back and forth amongst a top level crew of players including Jodie Christian, Chuck Rainey and Richard Smith. “Lovely Is Today” and “It’s Crazy” also feature waves of sunshiney brass and group interplay, alongside album ballads like “Winter Meeting” and “Ballad (For My Love).”
Eddie Harris’ catalog can be daunting, considering his impressive input throughout the 60s and 70s, but there’s a reason fans old and new come back to Plug Me In again and again. Innovation and soul is a combination that never fails, and this reissue is destined to bring more fans into the fold.

One of the most important Jazz Albums from the mighty Amiga catalogue is back in print!

Recorded in New York in 1957 (though not released until 1962), 'Tijuana Moods' was, according to Mingus himself, "the best album i ever made." The music is a vigorous stew of Mexican rhythms and sophisticated post-Ellington arrangements, further invigorated by the soloing of trumpeter Clarence Shaw, trombonist Jimmy Knepper, and, particularly, saxophonist Shafi Hadi. Mingus's vision of Tijuana was clearly sensual, the music evoking strippers, frenetic street scenes, and heart-broken lovers. Making use of suite like thematic material and various forms of counterpoint, the group sounds much larger than it is, and points toward Mingus's later experiments with form. the bristling sound and spirit of the music, however, are its primary attractions - a remarkable place where Mexican fantasy and hard bop meet.

Collecting recordings made between 1953 and 1956, Miles Davis Plays For Lovers is a look at the more sensitive and sensual side of the great trumpeter, focusing on his sultry and smoky late night ballads. Mostly featuring his legendary mid-50s quintet of Coltrane, Garland, Chambers, and Jones, this collection highlights that groups ability to slow things down to a soulful, brilliant simmer. Classic jazz ballads that swing, perfect for late nights with a lover at your side.

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!

Charles Mingus brought together an amazing lineup spanning the totality of the nation's jazz scene with such luminaries as Eric Dolphy, Buddy Collette, Clark Terry, Zoot Sims, Pepper Adams, Jaki Byard, Grady Tate, and more. Brought together to perform new Mingus compositions for the first time in public, the recording was initially considered weak due to limited rehearsal time but the years have been kind to this recording and it's a fantastic set of Mingus compositions, including the powerful "Freedom" which rivals the works on Mingus Ah-Um (1959) for its strength of purpose and message, in a similar vein to Max Roach's legendary We Insist! album (1960). Mingus is one of the most important figures in 20th century music and this live recording documents his compositional and arranging process as well as sheer swinging joy.

A grab-bag of hot John Coltrane performances executed in the early 1960s, Impressions is comprised of four Trane killers, all highlighting his versatility and a concerted effort not to be constrained by any given form, the music delivered with aplomb by Trane and an impressive supporting cast that includes the unfettered drummer Elvin Jones. The extended versions of ‘India’ and the title track were taken from Coltrane’s celebrated residency at the Village Vanguard with bass clarinettist Eric Dolphy in the fold; ‘Up Against The Wall’ holds a kind of tense optimism and ‘After The Rain’ is a melancholic classic. Top-notch Coltrane, superb!

Canadian composer Bruce Haack one of the true pioneers in the field of electronic and children's music. Originally released in 1962 "Dance, Sing & Listen" was Haack's debut album. Following instructions from children dance teacher Esther Nelson the album comes as a hyper-eclectic work based on a great variety of sound material. A hybrid soup of medieval, country, classical, and pop styles including tons of electronic effects, guitars, banjos and other acoustic string instruments and bongos!!! This is open minded music for children at its best.

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!

It is 1960, Rock’n’Roll has just lost a couple of its protagonists during this and the previous year, the time of the great balladeers has just begun but soon will run out due to the new and exciting beat invasion. In US mainstream the tiki culture has reached a certain peak and is about to collapse but still goes strong and with it comes the so called “exotica” music, a crossover between smooth jazz and swing, Latin grooves, haunting melodies that are rooted in the folkloristic sounds from different parts of this world plus weird sound effects that often create a spooky jungle or dreamy island beach atmosphere. It can even bend your mind that far you would see palm trees growing out of your speakers and witness monkeys and parrots having fun in your room. Eden Ahbez, born in 1908, passed in 1995, a man living an even more consistent dropout and hippie lifestyle way before the movement was born in the mid 60s, a beat poet and composer who wrote the hit tune “Nature boy” that gave Nat King Cole his first big success in 1947, approaches the field of exotica music from a different point of view creating an epic concept album about an utopian society living in peace and harmony on an island far away from the modern western world as we know it. And indeed we find many trademarks of the prototypical exotica music beginning with this relaxed groove combining easy listening swing and Latin patterns, peaceful, dreamy and even transcendental vocal melodies, tinges of folk music from around the world including powerful dances and a whole color palette of mind expanding sounds giving the whole music an even greater depth and width.

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.

Originally released in 1963, this is a majestic piece of work. Considered as one of Ellington's best studio recordings of the Sixties this is also an essential mosaic piece within Duke's open wide afro-centric vision. Performed by a top version of his famous big band, Afro Bossa sounds as a sophisticated, sensual blend of orchestral Jazz arrangements and black bossa flavoured grooves. Among the players, many of Duke's historical sidemen such as trumpeter Ray Nance, sax giants Paul Gonsalves and Johnny Hodges, drummer extraordinaire Sam Woodyard and last but not least, Ellington's alter ego Billy Strayhorn, what else?

A quite obscure release from a Los Angeles based alto saxophonist named Vi (Elvira) Redd, a blues infected player, singer and educator who since the early 50's has performed with many Jazz greats like Dexter Gordon, Max Roach, Roland Kirk, Count Basie and others. Originally released in 1962, "Bird Call" was Redd's debut album, a hard swinging studio session featuring a top class band that included pianist Russ Freeman, Leroy Vinnegar or Bob Whitlock on bass, guitarist Herb Ellis, trumpeter Carmell Jones, vibraphonist Roy Ayers and her then-husband, Richie Goldberg, on drums. Another invaluable document from the historical yet unknown L.A.'s black community Jazz scene.

First released on Pacific Jazz in 1963 "Jazz Waltz" brings together the talent of pianist Les Mc Cann and the legendary Jazz Crusaders featuring the great late Joe Sample - piano, organ, the horn frontline of Wayne Henderson – trombone and Wilton Felder - tenor saxophone and the super tight rhythm section of Bobby Haynes - bass and Stix Hooper - drums. One of those great soul-Jazz records where every track is pure gold!

Sylvie Vartans seminal 1962 debut LP transformed the 18-year-old collegiénne du twist into the French pop diva, whose songs (and high-profile marriage to Johnny Hallyday) would dominate the European pop charts throughout the 1960s. Songs like Est-ce que tu le sais and Le Loco-motion remakes of Ray Charles What Id Say and Little Evas Locomotionbecame two of her first smash hits.

Expertly utilised in hit series 'Breaking Bad' to soundtrack Walt and Jesse's meth manufacturing, The Peddlers 'On A Clear Day You Can See Forever' is a sumptuous smooth soul journey - full of exquisite organ solos and deep vocal tones.
2019 marks 50 years since it's release and with original copies pushing £40 it's a chance to bag this iconic record at a fraction of the price.
Remastered and reissued on 7 inch with large / dinked centre hole in Epic generic paper sleeve.