Organic Grooves Vinyl 513 Items

Under-recognized trumpeter Johnny Coles recorded only one album for Blue Note but 1963’s Little Johnny C is a little-known treasure of the catalog featuring Coles at the helm of a dynamic sextet with tenor saxophonist Joe Henderson, alto saxophonist Leo Wright, pianist Duke Pearson, bassist Bob Cranshaw, and drummers Walter Perkins & Pete La Roca.



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.

1961 Art Blakey and his Jazz Messengers made their only recording for the label Impulse! Records. It marked a turning point for the popular hard bop formation as it was their first appearance as a sextet with trombonist Curtis Fuller, and secondly their last recording with pianist Bobby Timmons. Also unusual is the fact that only one piece by a band member was on the program and otherwise only standards were played.
VERVE BY REQUEST SERIES: remastered, audiophile-quality 180-gram vinyl from Third Man Pressing/Detroit, Gatefold Sleeve.

Wayne Shorter stepped out as a Blue Note artist on his masterful 1964 label debut Night Dreamer, a sublime set that signalled the arrival of one of the most important saxophonists and composers in jazz history. Timeless Shorter compositions are given transcendent performances by a quintet with Lee Morgan, McCoy Tyner, Reggie Workman, and Elvin Jones.



Blue Note Classic Vinyl Edition: Stereo, mastered from a digital source by Kevin Gray, manufactured at Optimal (180 g), padded inner sleeves.

"A quick listen to the lively bop on 'Newer Than New' may enlist a perplexing question: Was this music really recorded 40 years ago? Apparently so, but the music still sounds fresh and exciting. If pianist Harris set out to show bop was still a vital force in 1961, he accomplished his task. Of course he didn't do this alone. Trumpeter Lonnie Hillyer, alto Charles McPherson, bassist Ernie Farrow, and drummer Clifford Jarvis join him on eight tunes that would've made Parker and Gillespie proud. The influence of bop pioneers is evident on tunes like "The Last One" and "Anthropology," both giving the horns lots of room to soar against the backdrop of dynamic rhythm. "Mucho Dinero," one of several Harris originals, has an exuberant Latin feel. After the horns set the piece in motion, Harris takes the first solo, creating colorful textures with his keen sense of harmony. Newer Than New also places special emphasis on the young horn players, providing McPherson and Hillyer lots of room to show what they've got. Both echo Parker and Gillespie without copying them. Hillyer displays a fat rich tone on numbers like "Easy to Love," while McPherson's resonant pitch, no matter how quickly he's playing, always comes across. Farrow and Jarvis keep the shifting rhythms heavy in the mix, pushing each soloist to create something vital. The title 'Newer Than New' perhaps mocks the obsession with the latest thing, as opposed to opting for the timelessness of high-octane improvising. Jazz styles, like all styles, come and go, but great music like 'Newer than New' transcends styles. It's also fun (and illustrative) to listen to an album like this back to back with the latest retro jazz. Barry Harris and his colleagues make great jazz without the least bit of self-consciousness."

—Ronnie D. Lankford, Jr. (All Music Guide)

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

"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.

All killers and no fillers on this fabulous 1969 Motown masperpiece. It is a shame that Jimmy lived in the shadow of those other Motown singers such as Marvin Gaye and Stevie Wonder. It really is one of Motown's best albums!

"Although often reissued under Eric Dolphy's name, this reissue gives the leadership back to pianist Mal Waldron. The seven originals not only feature altoist Dolphy (who makes a rare appearance on clarinet during "Warm Canto") but tenor-saxophonist Booker Ervin, Ron Carter (on cello) and Waldron. With bassist Joe Benjamin and drummer Charlie Persip giving alert support, the complex music (which falls between hard bop and the avant-garde) is successfully interpreted. Worth checking out." Scott Yanow -All Music Guide

Puerto Rican composer, bandleader and percussionist Willie Rosario was a giant of Latin music, known as Senor Afinque or Mr. Tight for the strength of his musical arrangements. Born in Coamo in 1930, Rosario had already formed the Coamex band, prior to his emigration to New York in 1947, where he played in various orchestras, forming his own band in Spanish Harlem in 1959 and also presenting a Spanish-language music show on radio station Wado. Signing to Alegre in 1962, he began touring widely, the label issuing this sought-after debut in 1963; mixing covers and original, the hot salsa here features the dulcet tones of lead singer, Frankie Figueroa.

Elis Regina one of the greatest Brazilian interpreters of all time! Originally released in 1963 when she was not even 20 years old, this was her fourth album and second for Columbia records. Still a few steps before she became a star, here Elis Regina's fresh and extremely ductile voice shines on top of sophisticated Jazz arrangements by Astor Silva and a mixed repertoire based on charming romantic songs and vibrant sambas, all composed by Brazilian authors, among them a couple of highlights such as Baden Powell's "Se Você. Quiser" and "O Ben do Amor" the title track composed by guitarist Rildo Hora. This is an an early and fine statement in Regina's fast way to the peak of Brazilian music history.

One album into their career in 1969, Mutantes showed few signs of musical burnout after turning in one of the oddest LPs released in the '60s. Similar to its predecessor, Mutantes relies on an atmosphere of experimentation and continual musical collisions, walking a fine line between innovation and pointless genre exercises. The lead track ("Dom Quixote") has the same focus on stylistic cut-and-paste as their debut LP's first track ("Panis et Circenses"). Among the band's musical contemporaries, Mutantes sounds similar only to songs like the Who's miniature suite "A Quick One While He's Away" -- though done in three minutes instead of nine, and much more confusing given the language barrier. The album highlights ("Nao Va Se Perder por Ai") and ("Dois Mil e Um") come with what sounds like a typically twisted take on roots music (both Brazilian and American), complete with banjo, accordion, and twangy vocals. Though there are several other enjoyable tracks, including "Magica" and a slap-happy stomp called "Rita Lee," there's a palpable sense that the experimentation here isn't serving much more than its own ends. If the first album's relentless eclecticism did in fact occasionally result in dry passages, it's especially true here

Although Veloso had already been thrown in jail once for his criticism of Brazil’s military regime, he continued to speak out against it on his second album (1969), with tracks like “Irene”, (about a machine gun-toting outlaw celebrated by the left). No wonder he would soon find himself in political exile in the UK. The general tone of the album is in keeping with its dire message and actually, Veloso felt it was important for his voice of protest to be heard around the world. If he was a high profile public figure, he felt that he would be safer. All this (or perhaps because of all this) and the man still managed to make excellent records! Color vinyl version.

Polysom Brazil vinyl LP repress import, released in 1964.

The only original album by West Coast soul vocal group The Ballads, released in 1969, is still a favourite among soul fans, but has only been reissued on vinyl once before, in 1982. P-vine is honoured to be able to reissue it on LP with a Japanese obi.

The album is extremely rich and wonderful, with gems such as Gene Chandler's 'God Bless Our Love' and 'The Gift Of Love', as well as Detroit-style dance numbers, and will also include a bonus track that was only released as a single. The album captures the band's cradle period in the 1970s, when they began to fully embrace a sweet soul style.

Sourced From The Original Master Tapes; Out of print since the 1960s

Now joining Jackpot Record's ever-expanding collection of Martin Denny re-issues is the hypnotic "visual sound" of Exotic Percussion, which has not been on vinyl since its original release in 1961.

His production on Exotic Percussion is ambitious, adventurous, and fascinatingly futuristic, especially when a tumbler with ice was still the preferred way to let loose. Xylophones and chimes swim from ear to ear; traditional jazz instrumentation collides with such musical oddities as boo bas, shamisens, Manga harp, and Burmese gongs.

As always, the choice of compositions on a Martin Denny record is a bizarre yet exciting spin around the globe, but this one is even weirder than usual. From the faster-than-light of "Cumana" to the luscious groove of "Moonlight On The Ganges" (made famous by Frank Sinatra and a track that is still being played on a loop at Disneylan's Jungle Cruise attraction), it's a whiplash of a ride. But the stand-out on the record is the combo of "Misirlou" (which would be made famous a few years later by Dick Dale and even decades later with its appearance in Pulp Fiction).

So join the conga line and head out into the street as Martin Denny once again creates a world we yearn to return to and an album we can always revisit.

Organist Gloria Coleman discovered drummer Pola Roberts and formed a female band with her. In 1963, the "Soul Sisters", joined by guitarist Grant Green and Leo Wright on saxophone recorded this satisfying and soulful album, unique in the Impulse catalog. Produced by Bob Thiele and recorded by Rudy Van Gelder.



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

Markley, A Group is the sixth and final album by the American psychedelic rock group, the West Coast Pop Art Experimental Band, and was released in 1970 on Forward Records, owned by Mike Curb. The album was released under another group name, Markley A Group, as decided by the group owner, Bob Markley. It features compositions by Danny Harris, Michael Lloyd and Shaun Harris with lyrics by Bob himself. The content is simple and soft, reminiscent of the band's earlier work. A gently pop-psych stroke of genius.