Organic Grooves Sale 35 Items

Includes : 6 Vinyls (Three albums, one 7" and onde 10") + 18 Magazines + Poster

About "A Message From The Tribe"

Tribe’s inaugural release in 1972 would see three editions released in as many years. 1972’s first edition featured a photo of the ocean on the front, the following year’s second edition had a drawing of the Earth, while 1974’s third edition had a colorful illustration of Tribe founders Wendell Harrison and Phil Ranelin’s faces. Each version is unique.

A MESSAGE FROM THE TRIBE 1st version (LP + 7")

The inaugural release from Tribe is getting its first ever analog reissue. The Tribe collective was focused primarily on live performances, and as an extension often included theatre and poetry. This first edition features a recording of one of their first performances, a musical entitled An Evening With The Devil, performed at the Detroit Institute of Arts. Highlights include original takes of “Where Am I”, a tune that morphs from fiery free jazz to breezy jazz fusion, and “What We Need”, a politically conscious jazz-funk number. The bonus 7-inch includes “Where Am I” and “How Do We End All Of This”, available only on this release.

A MESSAGE FROM THE TRIBE 2nd version (LP + 10")

Perhaps the best known version of this album, the second edition is adorned with an illustration of the Earth. Despite a track list overlapping with the first edition, each take is different from the prior edition, with a level of sophistication that was lacking from the previous disc. The A-side features music by Phil Ranelin, with precise grooves and a tight band making these renditions particularly funky. B-side features music by Wendell Harrison, offering forward more groove-forward tracks that are simultaneously thought and dance provoking. The second edition is smoother, groovier, and more modern than its predecessor but no less political. The attached 10-inch includes never before heard
instrumental versions, available only on the attached 10-inch disc. Highlighting the immense talent of the musicians that played on these recordings, the expansive horn section playing on these instrumental tracks makes for an almost big band-esque jazz funk sound. This is an important part of jazz history that you must listen to for yourself.

A MESSAGE FROM THE TRIBE 3rd version (45rpm Double LP)

The final edition is remixed and remastered, with special care taken during the mastering and cutting processes to ensure that the audio would be of the highest quality. Featuring a colorful illustration of Harrison, Ranelin, and vocalist Jeamel Lee on the front cover, the third edition sounds like a whole new record. Take “What We Need”, where the louder bass and kick drum has turned the funkiness up to 11, a mix that would be right at home at any club. Some of the grooves are almost hip-hop-esque, like the repetitive bassline and fender Rhodes on “How Do We End All Of This Madness” or the hi-hats and snares of the Harrison-penned jazz-funk “Beneficent”. We took special care to ensure that the audio quality would remain as originally intended, cutting the record as a double LP on 45rpm, heavyweight vinyl.

Lift off lid box with crushed emerald felt lining, Includes Embossed Gatefold edition Double Tri-Colour Splatter Vinyl.

Includes Signed Insert, Limited edition Black Classical Music branded ProMark Drum Sticks, and branded Afro Comb.

Cover has tiny wear, stuffed corners. Vinyl has some scuffs and light scratches, vinyl is close to VG+. US reissue from 2011. Limited edition. Handnumbered copy #849.

Vinyl shows a few scuffs, close to NM!

Green translucent vinyl.

NOW Music is pleased to announce NOW Presents…Classic Soul, a stunning 5LP boxset of 85 of the greatest 60s & 70s Soul tracks ever... Out September 22nd!



LP1 opens with ‘I Say A Little Prayer’ from the “Queen of Soul”- Aretha Franklin, the peerless ‘Walk On By’ from Dionne Warwick and followed by massive hits from Marvin Gaye with the #1 ‘I Heard It Through The Grapevine’ and Stevie Wonder’s ‘I Was Made To Love Her’, plus classic tracks from The Temptations and Otis Redding. Flip to the other side for legendary groups – The Supremes, The Ronettes, The Marvelettes, The Velvelettes and Martha Reeves & The Vandellas.



LP2 begins with the powerhouse vocals of Tina Turner (with Ike) on ‘River Deep, Mountain High’. Top tracks from the Jackson 5 & the Four Tops give way to a run of Northern Soul classics from Frankie Valli & The Four Seasons with ‘The Night’, ‘Tainted Love’ from Gloria Jones, Frank Wilson’s legendary ‘Do I Love You’, and ‘Green Onions’ from Booker T. & The M.G.'s. Side 2 begins with the superb vocals of Ben E. King with ‘Stand By Me’ and Percy Sledge with ‘When A Man Loves A Woman’. Another Otis Redding classic alongside the genius of both James Brown and Nina Simone brings this LP to a close.



The A-Side of LP3 kicks off with the signature smash from Aretha Franklin ‘Respect’ before the first UK #1 for the Motown label from The Supremes with ‘Baby Love’, and there’s still room for Smokey Robinson & The Miracles, The Drifters, and another #1 from Freda Payne. Side B begins with one of the most iconic and funky baselines ever on ‘Papa Was A Rollin’ Stone’ from The Temptations and the classic grooves ‘Move On Up’ from Curtis Mayfield, Isaac Hayes’ ‘Theme from “Shaft”’, the emphatic ‘War’ from Edwin Starr and the cool sophistication of ‘California Soul’ from Marlena Shaw lead to the closing track ‘Could It Be I’m Falling In Love’ from The Spinners.



LP4 begins with a run of beloved tracks from iconic artists opening with the politically charged masterpiece ‘What’s Going On’ from Marvin Gaye, followed by Al Green, Bill Withers and Billy Paul, plus The Stylistics and The Delfonics to add to the selection of celebrated groups on this release. The second side begins with the exceptional ‘Killing Me Softly With His Song’ from Roberta Flack, before the stunning vocals of Minnie Riperton’s ‘Lovin’ You’ and Deniece Williams, The Three Degrees and Gladys Knight. The Jackson 5 bring this disc to a close with their timeless ballad ‘I’ll Be There’.



LP5 contains a run of 1970s favourites beginning with ‘Ain’t No Mountain High Enough’ from Diana Ross and ‘You're The First, The Last, My Everything’ from Barry White. ‘Fantasy’ from Earth, Wind & Fire, ‘Summer Breeze, Pt. 1’ from The Isley Brothers and ‘Love Train’ from The O’Jays all feature before the Commodores kick off the final side with ‘Three Times A Lady’. Rose Royce, Peaches & Herb and a second selection from Gladys Knight & The Pips feature along with George Benson, before the “Prince of Soul” Marvin Gaye brings this essential collection home with ‘Let’s Get It On’.



85 tracks across 5 stunning LPs, NOW Presents Classic Soul... Out September 22nd!

After the success of the first Alessandroni Proibito box set, which sold out in pre-sale before it even hit the stores, Four Flies is proudly back with Volume 2 of the compilation. This new release too features five exclusive 7-inches, housing a total of 10 seriously rare tunes. All previously unreleased in physical format, the tracks have been carefully selected from the soundtracks of five obscure Italian films from the late ‘70s – sexy flicks that flirted with the line between erotic and explicit, and which are now largely forgotten, having been out of circulation for decades.

As was the case with the previous volume of the compilation, Alessandroni's music rises above the films' flimsy plots, improvised actors, and amateurish production, exuding his distinctive touch thanks to the (typically Italian) artisanal approach he took to his musical craft. The composer let his creativity run free, playing with his instruments at home as if he were in his own little amusement park; trying to have fun and produce something entertaining and captivating with just the few means at his disposal.

This creative freedom turned even budget limitations into musical strength. Armed with just a 4-track Teac, Alessandroni recorded the rhythmic elements first and then added layers of melodic variations on top, at times relying on wordless vocals provided by skilled family members (Alessandroni himself in “Racing”, or his wife Giulia De Mutiis in “Ticket”), and at others on affordable or readily available instruments from the Italian folk tradition, such as the mandolin, the accordion, the melodica, or the diatonic harmonica. And of course, let’s not forget his unmistakable guitar! Whether classical or electric, it's the heartbeat of every track in this compilation, from the seductive suspense of “Luci Rosa” (i.e., ‘pink lights’) to the groovy disco-funk of “Snake Disco (Reprise)”, all the way to the brilliant proto-wave of “Climax.” To top it off, a splash of DIY electronica – think minimalist drum machines and quirky synths – injects a modern feel into what we now call Italian erotic sound.

This time as well, the box set comes with artwork by Eric Adrian Lee, along with a matching 30x70cm folded poster inspired by the insert-size posters that used to deck out movie theaters.

Alessandroni Proibito Vol. 2 (Music from Red Light Films 1976-1980) is being released in a limited edition of just 400 copies and will never be reissued. So, be quick – it's first come, first served!

Record Store Day 2022 Drop 1 Release.

Limited pressing of 400 copies on clear blue vinyl

Yellow marbled vinyl! Includes slipmat!

close to NM. Limited edition. Direct Disk. OBI is missing.

Sonny Rollins war 1957 einer der ersten Saxophonisten (wenn nicht gar der erste überhaupt), die mit einem Trio ohne Harmonieinstrumente auftraten. Eines der bahnbrechenden Alben in dieser damals noch absolut außergewöhnlichen Besetzung mit Sax, Bass und Schlagzeug war “A Night At The Village Vanguard”.

Erst 1976 erschien unter dem Titel “More From The Vanguard” ein Doppel-Vinyl-Album mit den restlichen Aufnahmen der drei Sets, die Rollins am Nachmittag und Abend des 3. November 1957 mit zwei unterschiedlichen Trios gespielt hatte. Nun werden sämtliche Aufnahmen, erstmals von den Originalbändern gemastert (!), in der “Tone Poet”-Reihe auf 2 CDs bzw. drei LPs neu aufgelegt.

Blue Note Tone Poet Edition: Mono, produziert von Joe Harley, komplett analog von Kevin Gray von den Originalbändern gemastert, RTI-Pressung (180g), stabiles Triple-Gatefold Tip-on-Sleeve, wattierte Innenhüllen.

150 copies on crystal clear red vinyl, deluxe edition 3LP Box, silver print on deluxe Fedrigoni Ultra Black paper, released with the full approval of the Sun Ra Estate

Born Herman Poole Blount in Alabama during 1914, Sun Ra first emerged on the Chicago jazz scene during the late 1940s. One of the great avant-garde composers of his generation - leading the way on piano, organ, and (eventually) synthesizer - beginning in the mid-1950s and lasting until his death in 1993, led the Arkestra, a band through which a near countless number of important artists passed and collaborated with, and many remained for the duration of their careers, notably Marshall Allen, John Gilmore and June Tyson. Known for their wild costumes and theatrics, Ra’s eccentric image and claims that he was from Saturn was deeply political, imagining an alternate social order, history, and future for African Americans that rests as a pioneering force in the Afro-Futurist movement.

While Sun Ra and his Arkestra can best be located within the broader movements of avant-garde jazz - particularly as innovators of free and spiritual jazz in their evolving forms - the composer was notoriously hard to pin down on creative terms. He was a visionary titan whose work traversed nearly half of the 20th Century, continuously pushing the idiom of jazz at every turn, ingesting and incorporating the entire history African American music - the blues, R&B, soul, gospel, ragtime, hot jazz, swing, bebop, free jazz, and fusion, etc. - into his work, without any division or hierarchy, producing roughly 100 full lengths bear his name, beginning with 1957’s “Jazz By Sun Ra Vol.1”, and stretching well beyond his death in 1993. Despite how much was captured and released, remarkably, rare and previously unheard recordings continue to emerge and amaze.

Recorded live at Teatro Giulio Cesare on March 28, 1980, comprising an astounding 27 compositions, including the highly celebrated “Astro Black”, “Mr. Mystery”, “Romance of Two Planets”, “Space Is the Place”, “We Travel the Spaceways”, and “Calling Planet Earth”, over six vinyl sides. High among the greatest live gigs by the Arkestra captured on tape, carefully mastered by Matt Bordin at Outside Inside Studio, “Live in Rome 1980” is a near perfect snapshot of the band’s versatility and range, including many of their most notably and famous songs, as well as striking renditions of the Horace Henderson penned Benny Goodman number “Big John’s Special”, Fletcher Henderson’s “Yeah Man!”, and "Limehouse Blues”, displaying Ra’s willingness to address and rework the entire, diverse history of jazz in a single go.

Heard in its totality, perhaps what makes “Live in Rome 1980” most striking is the way in which the concert plays out. Roughly the first half encounters the band locked in some of the most out-there, free jazz fire that can be imagined, weaving a startling sense of interplay and furious energy into a brilliant tapestry of writhing sonority, the likes of which were only really achieved by this band. The second half, with only moments of exception that return to the furious energy of the first, is very different affair, easy toward the vocal standards, led by June Tyson’s vocals and the joyous collective chanting of the band, for which they have become so widely celebrated, threading the sounds of off-kilter big band swing with heavy grooves and imagines of outer space.

Recorded live at Teatro Giulio Cesare on March 28, 1980. Sun Ra: Piano, Keyboards, Vocals. Noel Scott: Alto Saxophone, Baritone Saxophone, Percussion. Marshall Allen: Alto Saxophone, Flute, Oboe. Danny Ray Thompson: Baritone Saxophone, Flute. Chris Henderson, Eric “Samurai” Walker: Drums. Kenny Williams: Tenor Saxophone, Baritone Saxophone, Percussion. John Gilmore: Tenor Saxophone, Percussion. Michael Ray: Trumpet. June Tyson: Vocals. Mastered by Matt Bordin at Outside Inside Studio. Lacquer cut by Daniel Krieger at SST, Frankfurt am Main. All pictures by Paolo Ferraresi (Milano, Teatro Orfeo, March 26, 1980). All compositions by Sun Ra © Enterplanetary Koncepts (bmi) except where otherwise stated. Released under license from Sun Ra LLC.

Catch The Groove: Live At The Penthouse 1963-1967 is a collection of previously unreleased live recordings of the iconic vibraphonist Cal Tjader from the Penthouse jazz club in Seattle, with the legendary percussionist Armando Peraza and bassist Monk Montgomery. This release is culled from six different performances, recorded by Seattle radio DJ Jim Wilke and broadcast live. Deluxe 3 LP set on 180g vinyl includes an extensive booklet with rare photos, essays and interviews for RSD Black Friday.

2022 reissue. Still in shrink but opened with hype sticker. Clear and splattered vinyl seem unplayed.

Never A Dull Moment! - Live from Coast to Coast (1966-1967) is a previously unissued collection of live recordings of unsung piano and vocal icon Les McCann captured at the Penthouse jazz club in Seattle from January 27 and February 3 & 10, 1966 with Stan Gilbert, Paul Humphrey and Tony Bazley; also including recordings by Resonance founder and co-president George Klabin from the Village Vanguard on July 16, 1967 with Leroy Vinnegar and Frank Severino. This is an official release in cooperation with Les McCann. Transferred from the original tape reels and mastered for vinyl by the legendary Bernie Grundman at Bernie Grundman Mastering Studios

Mikio Masuda, who went to the U.S. as an independent member of Terumasa Hino's group, formed the crossover/fusion group 'Mickey's Mouth' after returning to Japan. This is the band's first album, featuring mainly original compositions.

STEREO
To mark the 65th anniversary of the album’s recording, Blue Train will be released in two special editions on September 16 as part of Blue Note’s acclaimed Tone Poet Audiophile Vinyl Reissue Series. A 1-lp mono pressing of the original album will be presented in a deluxe gatefold tip-on jacket, while the 2-lp stereo collection Blue Train: The Complete Masters will include a second disc featuring seven alternate and incomplete takes, none of which have been released previously on vinyl, and four of which have never been released before on any format. The Complete Masters comes with a booklet featuring never-before-seen session photos by Francis Wolff and an essay by Coltrane expert Ashley Kahn. Both Tone Poet Vinyl Editions were produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, and pressed on 180g vinyl at RTI. Blue Train: The Complete Masters will also be released as a 2-cd set and digital collection.



“Few studio experiences I’ve had can compare with the thrill of listening to the original master tapes—mono, stereo and alternate takes—of Blue Train,” says Harley. “I consider these two new versions the definitive editions of this masterpiece performance by John Coltrane.”

Jewels in the Treasure Box: The 1953 Chicago Blue Note Jazz Club Recordings is a previously unissued 3-lp collection of recordings from jazz icon and virtuosic pianist, Art Tatum, captured live at the Blue Note jazz club in Chicago in March of 1953 with guitarist Everett Barksdale and bassist Slam Stewart. These recordings were transferred from the original tape reels and mastered for LP and CD by engineer Matthew Lutthans (who also worked on Resonance's Grammy-nominated 2019 Nat King Cole release Hittin' the Ramp). Containing a whopping nearly 3 hours of never-before-heard Art Tatum captured in an intimate setting at the height of his powers with his longtime trio, the deluxe, limited-edition 180-gram 3-lp gatefold set (and 3-cd set) includes rare photos and memorabilia from Herman Leonard, Bob Parent and the Holzfeind family archives (owners of the Blue Note jazz club in Chicago); plus liner notes from Columbia University professor and author, Brent Hayes Edwards; as well as statements from Ahmad Jamal, Sonny Rollins, Monty Alexander, Elew, Spike Wilner, Johnny O'Neal, Michael Weiss and Terry Gibbs. Limited Edition.

Tricatel is proud to present, in a limited edition of 777 hand-numbered copies, the superb double vinyl/book dedicated to 7×7, inspired by Bertrand Burgalat.
Seven notes in the scale, seven days in the week, seven colors in the rainbow, seven wonders of the world, seven virtues and seven sins, seven ages of life, seven samurai, seven dwarfs for Snow White… Under the sign of 7, Belgian artist Jean Pierre Müller, in close collaboration with seven music legends (Robert Wyatt, Archie Shepp, Sean O’Hagan, Mulatu Astatke, Kassin, Nile Rodgers, Terry Riley), has conceived a magical project combining visual and sound compositions, in all senses and meanings.
In the summer of 2012, 7×7 was first presented to the public in its entirety at Edinburgh’s Summerhall, the start of a series of high-profile exhibitions and shows that have taken 7×7 from New York to Cannes. Ten years later, Jean Pierre and Tricatel would like to dream again with you, this time of a physical object celebrating 7×7 and offering the general public the opportunity to own a piece of the 7 colors dream.
This art and music object is a Gatefold double-vinyl, comprising two white vinyl records in printed inner sleeves and a 64-page booklet in the center, like a book.

Stamps inside gatefold.

First time officially reissue, sourced from the original master tapes in a new edition, the Milan based imprint Dialogo, returns with this compilation published in Italy by RCA Victor in 1962 - a precious historical document of some important international jazz and pop artists who came to Italy and left their marks, influencing the generations of those golden years. The RCA artists on this LP record have only two things in common: “Inter-continental Airport Rome-Fiumicino” stamped on their passports and a great love for Italy. As a tribute to the country which gave them a friendly welcome and where they spent unforgettable vacations and reaped enthusiastic applause, all of them chose to sing songs in Italian or perform - in the case of Perez Prado - a number of outstanding Italian hits. The dazzling trumpets and electrifying rhythms of Perez Prado, the captivating voice of Helen Merrill, rightly considered the top-notch white jazz singer by critics over the world, the young, all-time best-sellers, Paul Anka and Neil Sedaka, the fantastic trumpet of Chet Baker and his mysterious swinging style of singing, and lastly Antonio Prieto, the Latin-American singer-songwriter who wrote “LA Novia”, are the guest stars of this “passport TO Italy”, which, more than a record, is a full-fledged musical show, with a vast assortment of voices, of musical styles and songs. The Italian pronunciation of these North and South American recording artists is virtually perfect and particularly praiseworthy, if for no other reason than for the effort they have made in getting around, in just a few days, the difficult twists and turns of the Italian language. Their accent is naturally somewhat exotic but it only adds to the charm and the originality of the interpretations. The “show” opens with the already classic “arrivederci Roma”, which, though turned into an overpowering “chunga” by Perez Prado, has kept all its original melody intact. Prado, the wizard of Latin-American dance music, is an extremely refined blender of sounds and rhythms, and without any difficulty can take even a Neapolitan song, change it into a mambo and adapt it to his orchestra. In “guaglione”, for example, the “corruption” comes off perfectly and testifies to the everfresh inventiveness and the unmistakable personality of the Cuban-born pianist arranger. Helen Merrill prefers quality over quantity and so has made very few records but they already occupy a place of their own in the annals of jazz. She consented to record two popular ballads only because Armando Trovajoli, the most qualified exponent of Italian jazz as well as a far-out modernist, was to conduct the orchestra. Furthermore, the two songs, “nessuno AL Mondo” and “estate” are particularly congenial to her musical temperament, for she is most of all concerned with creating subtle and seductive moods, making an intelligent use of her vocal resources in that she tries to “add” her voice to the orchestra as though it were another instrument. Canadian-born Paul Anka, by now a regular member of the exclusive club of top-selling vocal artists of America, presents one of his own songs, “ogni Giorno” originally entitled “love ME Warm AND Tender”, the most requested hit in his present-day repertoire. And the young singing star’s interpretation of “voglio Sapere” (“i’d Like TO Know”) once again makes clear why his name became a permanent fixture as all-time best-seller. Neil Sedaka is another representative of the younger generation of American singers. When he was still in high school in Brooklyn, Neil became a close friend of one of schoolmates: Howard Greenfield. The two of them wrote numerous songs together for school shows: Neil handled the music and Howard the words. Their collaboration proved extremely fruitful, and they were soon to make their debut as professional songwriters with two hits of the calibre of “stupid Cupid” and “falling”. The Sedaka-Greenfield team, which in only a few year time has become one of the best-known, presents, in Italian, two songs which in their original tongue have already climbed to the top: “esagerata” (“little Devil”), translated by Leo Chiosso, and “UN Giorno Inutile” (“I Must BE Dreaming”), translated by Gentile and De Simoni. After Sedaka comes one of the big names of cool jazz: Chet Baker. Trumpet-player and singer, he proves here for the nth time that the names “Golden Trumpet” and “Angel Voice”, given him not only by his fans but by the crites as well, are in no way exaggerated. With an at once restless, desperate and almost possessed musical style, Chet sings and plays two songs which he himself wrote: “IL MIO Domani” and “SO CHE TI Perdero”. His reserved, curiously, precarious and profoundly dramatic way of singing, virtually the mirror-image of his life, is the same in both songs and makes them seem almost unconsciously autobiographical. The “show” then closes with Antonio Prieto. Precisely because of his Latin origins (he was born in Chile, but is Argentine by adoption), it is perhaps easier for him than for the others to express himself in Italian. As is well-known, the name of Prieto soared to the Olympic heights of popular music with “LA Novia” which he wrote in collaboration with his brother, Joaquin. He is a typically Latin singer with a warm, melodious and romantic voice, tinged with melancholy, and on more than one occasion he has shown that he thoroughly understands the tastes of the public. Listen to his two most recent compositions: “papà”, written in collaboration with singer-songwriter Sergio Endrigo, the author of “aria DI Neve”, and “baciami” and... judge for yourselves.

Emerald City Nights: Live At The Penthouse 1966-1968 is the third set of previously unreleased recordings of the iconic pianist Ahmad Jamal, captured live at the Penthouse jazz club in Seattle with bassist Jamil Nasser and drummer Frank Gant. This RSD Black Friday release features a deluxe 2 LP on 180g vinyl in gatefold jacket includes an extensive booklet with rare photos and essays. Also included are interviews with pianists Les McCann, Monty Alexander and Emmet Cohen, plus producer Marshall Chess of Chess/Argo Records and others.

180g pressing

Black Editions presents Mass Hysterism in Another Situation remastered and cut to double 45rpm 12" vinyl. Mass Hysterism in Another Situation captures Masayuki Takayanagi's New Direction Unit in its final incarnation, at an apex in its development; it also finds Takayanagi, one of Japan's great iconoclastic artists, at a moment of crucial artistic transformation. Recorded in August 1983 as part of his "Another Situation" concert series, the album features one of the last performances of Takayanagi's revolutionary and perhaps most famously violent piece, "Mass Projection." By this date, New Direction's line up had been distilled to a compact, searingly hot trio of Takayanagi joined on electric guitar by Akira Iijima and Hiroshi Yamazaki on drums/percussion. Over the course of 40 minutes, the group sustains an uninterrupted, highly charged attack propelled with unrelenting energy. The music is rife with noise and dissonance intruding from both sides; a vortex of sound and fury that begins to slip from even the expansive bounds of free jazz into something almost purely electronic. The trio would perform only four more times, completing the "Another Situation" series with its 24th edition in November 1984. Eleven months later Takayanagi would debut an entirely new modality, one he called "Action Direct." It completely transformed his approach to guitar and sound in general by embracing an entirely abstract, solo noise music projected through massive, complex sound systems of his own design. Mass Hysterism is perhaps the most powerful link in this part of Takayanagi's history—a perfect realization and farewell to one of his greatest forms en route to territories even further afield and radical. Pressed to high quality vinyl at RTI. Housed in a heavy tip-on gatefold jacket with Pantone spot colors, spot ink pigment foil on gloss film laminate finish as well as printed inner sleeves. Featuring photographs by Tatsuo Minami and newly translated notes by Takayanagi scholar Yoshiyuki Kitazato . Deluxe double LP gatefold.

Record has some hairlines.
Ships in a label sleeve with small sticker.

On "Winds Of War And Peace", conductor Lowell Graham takes the National Symphonic Winds ensemble through a program of stirring orchestrations and marches. "Liberty Fanfare" was composed for the centennial celebration of the Statue of Liberty in 1986. The fanfare set the stage for one of the most spectacular celebrations in America's history. Samuel Barber's "Commando March" composed in 1943, represents Barber's first band work. Written in a quadruple meter, this work utilizes the constant contrast of dotted and triplet rhythms. Roger Nixon's "Festival Fanfare March" was recognized for superb composition by the American Bandmasters Association in 1973. It is a work that's technical, bright in color and effervescent in spirit. The album also includes "Victory at Sea", "El Camino Real", "A Santa Cecilla" and "Symphonic Dance No. 3". Although the 33 1/3 reissue of this recording by Analogue Productions was outstanding, our 45 RPM version raises the quality bar even higher. With wider grooves, you'll hear sound that reveals more depth and space to the orchestra as a whole, as well as individual instruments. This disc sports more detail, more human presence, more of what we as audiophiles, listen for. Graham, a native of Greeley, Colorado, has earned recognition as one of America's most talented young conductors. He graduated from the University of Northern Colorado with both his Bachelor of Arts and Master of Arts degrees. He was also the first person to be awarded the Doctor of Musical Arts Degree in Orchestral Conducting from the Catholic University of America. Graham has led orchestras and bands on record and in performance throughout the world. He is the current conductor and commander of the United States Air Force Tactical Air Command Band.

Light ring wear on cover