Organic Grooves Vinyl 398 Items

Why should you buy this LP? 1. Because of its super sound? Of course! 2. Because Paul Desmond and Jim Hall are playing? Naturally! 3. For "Easy Living"? Surely one of the best numbers in one of the most multifaceted versions! 4. Because you missed out on the first release in 1966? Well, don’t make the same mistake in 2018!
Not everyone wants to purchase all Victor recordings by Paul Desmond and Jim Hall with umpteen alternate takes in a voluminous CD Box, to listen to it all, and to find it just wonderful to show off on the record shelf. The eight numbers on "Easy Living" constitute the height of Desmond’s career anyway after he had at last managed to take his leave from Dave Brubeck’s group. And the change from purely chordal playing and single notes from Jim Hall is more airy and more inspiring than the meaty piano clusters of his former boss. And don’t forget either that half of the Modern Jazz Quartet, namely the bassist Percy Heath and the drummer Connie Kay, deliver an exquisite skeletal structure over which the musicians can improvise brilliantly.
LPs are, and remain, unbeatable, both as regards sound and feel. And happily they are also a safe investment – maybe not all, but "Easy Living" with Paul Desmond and Jim Hall most definitely!

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com.
All royalties and mechanical rights have been paid.

Recording: June 1963, July and September 1964, June 1965 at RCA Studio, New York City
Production: George Avakian

Paul Butterfield was an iconic blues harmonica player and singer, famous for his in 1963 formed Paul Butterfield Blues Band. Their 1966 releases classic East West is one of the outstanding albums in which they integrated psychedelic rock in traditional blues music. The supergroup consisted at that time of guitar hero Mike Bloomfield, keyboardist Mark Naftalin, bassist Jerome Arnold, drummer Billy Davenport and, of course, the master himself, Paul Butterfield. The authentic blues sounds are woven in the sounds of jazz and raga music. It’s an exciting trip in which you can hear the talented individuals, but also how they created their music together. The album proved to be one of the essential albums in the blues-rock movement of the 60s.

Paul Butterfield died in 1987 at the age of 44. During that time he was still recording new songs. In 2006 he was inducted into the Blues Hall of Fame and in 2015 again as part of his own Paul Butterfield Blues Band.

The album Rock 'n Soul was originally released in 1964 by Grammy Award winning Solomon Burke (†2010). 7 tracks ended up in Top 100 Billboard Hits at the time. "If You Need Me" went as high as #2 in the Black Singles Chart. This extraordinary album is not only soulful but a confirmation that Burke is a genius when it comes to writing music and making it happen in a studio!

After his great success as a new discovery through playing on tour and in the studio with Art Blakey’s creative and inspirational group, the Jazz Messengers, Freddie Hubbard made a dozen LPs over 16 years for Blue Note and Impulse under his own direction.
It was no wonder then that a big record company made him a lucrative offer in autumn 1966. All in all, Atlantic Records released six LPs and the very first, entitled "Backlash", is still until today the best of the bunch.
Three numbers by Freddie Hubbard, one by Bob Cunningham, and two by friends, provide the basis for a successful transition between hard bop and soul beat. Hubbard made high demands on his fellow musicians James Spaulding, Albert Dailey and especially the bass player Bob Cunningham and the drummer Ray Appleton because they had to cope with the ever-changing beat. Right from the very first note, it is obvious that Freddie Hubbard had Fats Navarro and Clifford Brown in his heart and fingers. All the titles are excellent. Of special note, however, is "Little Sunflower". The sound colouring of the flute harmonizes particularly well with Hubbard’s brass, and Ray Barretto’s contribution is more than mere decoration. You’re certainly on the right track with this LP, no matter whether it’s the beginning of a Freddie Hubbard collection or a further contribution to a large jazz collection.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.

Recording: 1967 by Tom Dowd, Phil Jehle and Adrian Barber
Production: Arif Mardin

The Latin Jazz classic that started it all! Mandatory!

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.

Among the rarest albums from Jim Kirchstein's Wisconsin-based Cuca label, 1964's Birdlegs & Pauline runs a playful gamut of girl group soul, sultry R&B, bluesy torch songs, and junk shop doo-wop. The Rockford, Illinois-based husband and wife duo struck gold with their Top 20 R&B hit "Spring" the year prior and frequently returned to Sauk City to see if there was any additional magic up Cuca's sleeve. Gathered here are the best of Birdlegs & Pauline's family album of songs, featuring several previously unissued songs found deep in the Cuca vault.

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.

Venezuelan aggressive guaguanco originally released in 1967 and reissued for the very first time. Frank y sus Inquietos is a little-commented Venezuelan treasure in our time, an amazing, almost unknown jewel of Venezuelan hard salsa, treasured with zeal by music lovers of all times. This group is evidence of the musical communion of the young Caracas of the late sixties with the sounds of the Caribbean in their nascent marriage with urban aggressiveness. As a result of these meetings of “friends who played instruments” such as congas, bongos, piano, timbales and their fiery discharges on the top floor of Block 3 of La Silsa, a building located in this humble and highly populated Caracas popular area, the repertoire of songs by the homonym Frank y sus Inquietos (1969), with an exquisite imagination and brimming with vitality, authentic vocals and choirs, overwhelming percussion, strong bass and fierce piano conducted by Frank González.

Ike Turner, a guitarist, pianist, band leader, producer, talent scout... With his diverse talents, he excelled in many fields. In a recent announcement from Rolling Stone magazine, he was ranked 148th in the "250 Greatest Guitarists of All Time," highlighting his undeniable talent as a guitarist. His 1st album "Rock The Blues," recorded in the 1950s and released on Crown Records in 1963, serves as proof of his exceptional skills and originality as a guitarist. P-vine is delightfully reissuing the important album on Japanese edition vinyl with Obi-strip for the first time.

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.

In 1965, just one year after Paul Butterfield had formed his blues band – named after himself - and launched one of the very best groups among the white Chicago blues community, the band produced this dynamic and visionary album. The group presents a wide range of contrasting numbers, both eastern and western, which reflect the LP’s title – something totally new and innovative. In the first few titles, traditional standard numbers come over rather enigmatically while supporting original and rhythmic compactness, but this soon gives over to a tactically well-formed instrumentation and lengthy solo interludes. The all-embracing motto 'blues' is taken up by the band in Nat Adderley’s "Work Song" at the very latest, with mind-expanding ways of playing and varying sounds. Catapulted by Mike Bloomfield’s artistry on the guitar into the world of rock, all the musicians celebrate these well-known jazz standards and each man contributes his personal skill into forging a perfectly balanced team effort. The title number "East-West" ultimately demolishes the world of the blues. In the tonal mixture of confidently prepared rock ingredients and borrowings from Indian music (raga rock), we have an amalgamation of rock, blues, jazz and oriental melodies which result in an emotional, unheard-of sound that is well worth the hearing.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com. All royalties and mechanical rights have been paid.

Recording: July 1966 at Chess Studios, Chicago (il), by Jac Holzman Production: Barry Friedman, Mark Abramson, Paul Rothchild

It's 1964 and the first Berlin Jazz Festival is about to reach its absolute peak: the final concert on the night of Friday, 25th September by Miles Davis. And the European subsidiary of Columbia Records, CBS, couldn’t wait to release this legendary event on LP.
The new quintet, for the first time with Wayne Shorter on the tenor sax (and not yet as composer), thrilled and roused the audience in the Philharmonie from the first minute to the very end. The classics "Miles(tones)", "So What" and "Walkin’" were performed at an astonishingly fast pace, the ballads were tender and dreamy. Such a magical atmosphere was rarely evoked at later concerts, which was probably due to the excellent acoustics of the large concert hall. The audience were also seated behind the stage, so Miles couldn't turn his back provokingly on people; sometimes he just squatted on the stage. However, this didn’t prevent him from performing his solos lyrically and tenderly, most of them finely nuanced, soft and gentle, yet audible right into the furthest corner. The rhythmic structure created by the young drummer Anthony Williams provided the necessary excitement.
Miles at the top of his form, an enthusiastic audience, impressive acoustics and, to top it all, excellent recording technology and a fantastic pressing on virgin vinyl - what more does a jazz fan want? Now’s the time to dig out your credit card!

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.

180g Vinyl

180g

180g vinyl.

Few have done as much for salsa in Venezuela as band-leader, composer and pianist Ray Pérez. He burst on to the scene in the mid-60s with his group Los Dementes, creating the blueprint for guaguanco, pachanga and boogaloo in Venezuela. When the name salsa began to be used as something of a catch-all-term he was still at the forefront, recording two hugely-popular salsa albums with Los Dementes in 1967. Remarkably, that very same year, he also recorded two albums with a brand new group, Los Calvos, that showed how as well as being the genre’s most visible band-leader, he was also pushing the nascent genre to its limits. Looking back, revered journalist Alfredo Churion states that Los Calvos were “one of the most innovative experiences in Venezuelan popular music.” Estos Son Los Calvos is the first of the two albums he made with Los Calvos. On it, he made a few alterations to the line-up that may seem minor, but created a completely new sound. For the first time, he recruited a drummer (unprecedented at the time for a salsa ensemble, which always used percussionists), he switched from the trombones of Los Dementes to the much harder, direct sound of trumpets, and he recruited Carlos Yanez, best known as El Negrito Calavén, as singer. Whereas Los Dementes had been aligned with the slightly pop sound of tropical orchestras, Los Calvos took an almost-jazz approach, allowing room for the musicians and vocalists to improvise, and they also took inspiration from the sounds of surf rock swirling around Caracas. The group’s drummer El Pavo amusingly once described the group’s sound as like “wearing a dinner suit with flip-flops”. Opening track “El Kenya” is the clearest example of that surf rock influence; it’s opening lines make clear its intentions: “una linda trigueña que me invitó a bailar el Kenya” (“a beautiful trigueña – tri-ethnic girl – invited me to dance the Kenya”). They are intent on creating their own dance craze, El Kenya. If the group had ever performed live, then maybe it would have taken off, as the song had all the credentials: rollicking montuno piano from Pérez, ingenious scatting and vocal improvs from Calavén, and a middle section where the drums and trumpets battle it out hard, with an audience screaming its appreciation throughout. It’s followed by ‘Mi Salsa Llego’, which Pérez had already recorded with Los Dementes; here, it’s a tougher beast, the sparser hits of the drums and trumpets giving a harder sound evocative of the times, with more and more people moving to the cities, and wanting a grittier, urban soundtrack. The secret weapon in Los Calvos was the fact that this was a group made up of some of Venezuela’s finest musicians, many of which, Pérez included, had working class roots. Music for them was as much a part of their day-to-day lives, as it was a profession, it was what they did. The legendary Frank “El Pavo” Hernandez was on drum kit, with revered names like Alfredo Padilla, Carlos “Nene” Quintero, Pedro García, Miguel Silva, Enrique Vazquez, Rafael Araujo and Luis Lewis, also involved in the group. Their versatility allowed Los Calvos to go from the slower, haunting groove of “Negrito Calavan”, a showcase for their singer to improvise, and on to “Bailemos Kenya”, another attempt by the group to create their own version of “The Twist”! Los Calvos never played live, but that was always the intention. Pérez was in demand by the record labels of the time and his deal with RCA Victor to make two albums as Los Calvos was only ever that. But the spirit of Los Calvos remained when Pérez then formed Los Kenya, whose name came from the opening track of this album, and whose line-up featured the same inventions as Los Calvos, with a drum kit, two trumpets and the same vocalists (for their second album, Carlín Rodríguez joined as a singer, and remained for Las Kenya). For this reason, Los Calvos would never have the same successes as Pérez’s other groups, though even Pérez has revealed in interviews that the two albums he made as Los Calvos are some of the most fun he ever had recording. With the price of originals for both albums ever increasing for vinyl collectors, this is a great chance to get hold of two of the heaviest salsa albums ever issued in the 60s, and an important moment in the life of Venezuela’s salsa king, Ray Pérez.

Exclusive Version Of The Mega Northern Soul Classic With None Other Than The One And Only Mrs. Holloway Providing The Soulfulful Vox

The wonderful Post-Bop album Miles Smiles (1967) was recorded by Davis's second great quintet, which featured saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams. The album showcases Davis' deeper exploration of modal performance with looser forms, tempos, and meters. Although it did not follow the conventions of Bop, the album did not follow the formlessness of Free Jazz.

180g vinyl.

Here are two great cuts, previously unreleased as singles, recorded for Al Sears’ Sylvia label in New York City in 1965. The Corvairs had one very good release on the label in a soul group harmony style. ‘I'll Never Do It Again’ and ‘A Feeling Deep Inside’ are more R&B and sound earlier than the 45 release. Both tracks have picked up admirers from their New Breed and Modernist CD releases and their release as a Sylvia repro label single will be very welcome.

180 gram high quality pressing vinyl!

She was the sultry film starlet-turned-torch singer-come-TV actress whose dusky alto captivated a generation. Julie London was 'discovered' while running a department store elevator in Hollywood.
Just three years earlier the bountiful 15 year old, born Julie Peck to her parents, a song-and-dance duo of the vaudeville era, was singing on her parents' radio show. When she started working in the movies in the 1940s, she changed her name to London. During the course of a celebrated career in acting and music, she made more than 30 albums.
The sultry-voiced actress, who was once married to "Dragnet" producer-star Jack Webb, had a hit record with the 1950s single "Cry Me a River". The single debuted in 1955, sold three million copies and remained in demand into the 1960s.
Analogue Productions has brought back Julie London sings Latin In A Satin Mood in damatic, deserving fashion. Remastered by Kevin Gray at Cohearent Audio, and plated and pressed on 200-gram vinyl at Quality Record Pressings, the crispness and vibrancy of this recording is spectacular.
Exotic and Latin albums were big deals in the 1950s and early '60s, and singers as diverse as Dean Martin, Lena Horne, and Peggy Lee were recording with castanets and bongo drums. Like Peggy Lee, London combines a restrained vocal approach with jazz phrasing and a cool attitude with icy sex appeal on this album of relaxing Latin standards. Julie does look beautiful on the cover, and the backup male 'mariachi-esque' serenade adds to the romantic ambiance.
And as to the cover, expect only top-notch reproduction for our Analogue Productions reissue. Originally a single LP jacket, we've upgraded to a gatefold incorporating more original photographs provided by Universal Music.
Describing her smoky vocal style, London once said, »It's only a thimbleful of a voice, and I have to use it close to a microphone. But it is a kind of over-smoked voice, and it automatically sounds intimate.« A style inimitable, in our estimation.

180 Gram 45RPM Audiophile Vinyl, Numbered Limited-Edition

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.

Recorded at the 1962 Jazz Jamboree festival in Warsaw and originally released in 1963 on Danish Metronome label, here's a true gem from one of the most important figures in Polish music and a founding father of European Jazz. "Ballet Etudes" was one of the three full LPs released during Komeda' short lifetime. His fluent modern jazz conception was a perfect synthesis between the American influence and the European harmonic complexity, a unique kind of marriage colored by a clear Slavic lyricism. For many years considered a rare collector item "Callet Etudes" comes back to life as a major statement in East-European music history.” Allan Botschinsky - trumpet, Jan Wróblewski - tenor sax, Krzysztof Komeda - piano, Roman Dylag - bass, Rune Carlsson drums.

Family vocal group the Esquires was formed in Milwaukee in the late 1950s; by the time they moved to Chicago to launch their recording career the group featured Gilbert Moorer, Alvis Moorer, and Sam Pace and although Curtis Mayfield turned them down, Bunky Sheppard recognised their potential, their debut single ‘Get On Up’ a smash hit that led to the recording of this brilliant debut album, an excellent collection of upbeat melodic soul with the group’s vocal harmonies in the spotlight. Further permutations would follow but Get On Up And Get Away captures the group in its illustrious eginning, full of shining joy. A top-notch release!

"Tattoo Woman" was originally released in 1965 and includes "Under My Skin", a favorite not only among calypso fans but also Ska and Reggae lovers! This is a calypso arrangement of Cole Porter's original song "I've Got You Under My Skin" and is truly a masterpiece! The album as a whole contains many wonderful pieces that convey the breath of calypso in its heyday! Please enjoy these two historical masterpieces by the god of calypso, Mighty Sparrow, together with "The Outcast", which will be released at the same time on analog LP!!

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.