Organic Grooves Vinyl 600 Items

A Svart Mondo Release. Limited to 500 copies on black vinyl. By early 1960’s, jazz in its mainstream form had become the standard dance music for the student parties in high schools and several student union clubrooms in Helsinki. The Polytech union even organized matinée dances for high school students on Sundays. The change in the musical preference of young people’s dance music occurred with the arrival of British rock in the mid-sixties and this, of course, coincided with another cultural and musical development. As the new campus for the school was built in Otaniemi, Espoo in 1955-1966 and its operations gradually moved there, the modern style “Dipoli” building became the crowning edifice on the campus. It was to be the new home for the Polytech student union. When this controversial building was opened in 1966, it was meant to introduce a new vision of the future and constituted an embodiment of the modernist spirit of those times in the late 1960’s. This reissue of The Complete Jazz at the Polytechnicum recordings, done in 1967-68, also provides us with a glimpse of the modern directions of those days, not only in jazz music, but also in performance art. It is easy to hear that the main aesthetic in these performances was to break conventions and find new avenues for individual expression. The publisher of these recordings was the Jazz Society of the Tech Students, which was formed a little before these recordings. The name of the society was a take-off from Norman Granz’ Jazz at The Philharmonic and it became Jazz at the Polytechnicum. Both are, of course, abbreviated as J.A.T.P., which became formulated in musicians’ mouths into “Jappa”. This Svart Records re-issue consists of four EP-records in chronological order. The first three feature three jazz groups of the leading young players with their ages ranging from 21 to 30. The fourth one documents an avant-garde art “happening” held in Dipoli on March 20th – 24th 1968 called “Posotusta, pimputusta, pompotusta”, which could freely be translated as “Huff ‘n’ puff ‘n’ plonk”.

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.

Recorded in May 1968 at Lila Eule in Bremen, here's one of the most important albums from Europe's entire free jazz history, reissued on wax in the Cien Fuegos series!

'Miles in Tokyo' is a live album recorded on July 14, 1964, by the Miles Davis Quintet (featuring Sam Rivers, Ron Carter, Herbie Hancock and Tony Williams) at the Tokyo Kosei Nenkin Kaikan, Shinjuku, Tokyo, Japan. It is the first recording of Davis in Japan and the only album to showcase an early incarnation of his Second Great Quintet featuring Sam Rivers on tenor saxophone, following George Coleman's departure. After this, Wayne Shorter's appointment completed the classic line-up which recorded such albums as 'ESP' and 'Miles Smiles', through to 'Miles in the Sky'. The legendary 'Miles in Tokyo' album is now available on vinyl in Europe for the first time. The heavyweight gatefold contains a 4 page-booklet glued inside, like the original 1969 Japanese LP version.

The 1967 Impulse Records legendary Funk/Soul Instrumental masterpiece album Chicken Fat. If you haven’t heard Chicken Fat yet, get ready because the LP won’t leave your turntable until your jaw stops hitting the floor. Sourced from the original analog master tapes by Kevin Grey. All Analog Process (aaa) Initially working as a guitar player for such greats as Sonny Boy Williamson & Etta James, Impulse Records eventually offered Mel Brown the chance to record his own material. Recorded in 1967 in Hollywood, CA, for the Impulse record label, Brown amassed a group of session musicians who had played with Charles Mingus, Marvin Gaye, and Dizzy Gillespie. Much of the album was arranged by Oliver Nelson, who worked with Thelonious Monk, Sonny Rollins, Jimmy Smith and more. His touch is felt all over the record and helps solidify the journey. These recording sessions also reflected the Sunset Strip and the energy of late ‘60s Los Angeles so incredibly, you can almost hear the go-go boots hit the floor to dance til they drop.

Yes, *that* Al Hirt record. Featuring the godlike "Harlem Hendoo", looped unforgettably by De La Soul for the legendary Buhloone Mind State cut, "Ego Trippin' (Part Two)"!

Al Hirt's infamous Soul In The Horn is inextricably tangled up in crate-digger lore. Originally released in 1967, the album has been in heavy, heavy demand for over 30 years, entirely down to the majestic soul-jazz fire of "Harlem Hendoo". And it's a song so good, so vital, so timeless, that it will always tower above everything else in its proximity. This one track alone is worth the price of admission - even if the cost of entry were $100 or even $1000.

However, it would be an error to dismiss this record as merely a one tracker, loaded as it is with dope samples for adventurous beat makers. Certainly the funkiest Al Hirt record, it definitely lives up to the "soul" in the title. Thanks to composer Paul Griffin and arranger Teacho Wiltshire, Hirt got uncharacteristically free and groovy throughout. It comes on more like an obscure KPM library funk record than the easy listening Al was notorious for.

A Louisiana trumpeter and band leader who made Allen Toussaint’s “Java” famous, Al Hirt was also known for TV themes, Dixieland, Swing and being a minority owner of the New Orleans Saints. Unlike every other Al Hirt record - and despite most "diggers" claiming otherwise - this here gem is genuinely hard to come across "in the wild". Normally, you can't give Al Hirt records away, except this particular one, which raises pulses in the crate digging community to life-threatening levels. For every owner claiming to have found their copy for a dollar, there's scores more claiming to have *never* unearthed one in the field. So, paradoxically, you can consider this the most tricky-to-pull "thrift store record", ever. This is why we're finally making it available for everyone, not just those with endless hours to spend scouring the global goodwills!

Soul In The Horn represented an expressive detour into authentic soul-jazz for Al Hirt. Throughout, we're struck by a fierce, fiery energy that's otherwise absent from his typically easy listening work. Without question, the slinky, magical "Harlem Hendoo" is the standout, here. It's also the reason why the record is so scarce and commands awe among crate diggers, sounding like something from an obscure and deeply revered spiritual jazz record. As is often the case, the true genius of the song is tricky to do justice to; it's like a minor miracle of songwriting and performance that simply swooned down from the heavens on the back of horns, bells and harpsichord. It's one of the sweetest musical compositions ever recorded inside a studio - it's only failing is that it's just too short. Sampled brilliantly by De La Soul, it has also been used by The Roots for "Stay Cool" and Nightmares On Wax for "Damn".

The rest of the record makes for a mighty fine listen. From the opening cover of Booker T. & The MG's "Honey Pot", to the propulsive, ultra-funky "Mess Around", it's nothing but a good time. Given its title, the elegant stepper "Calypsoul" sounds exactly as you'd hope whilst the melancholic, wistful "Long Gone" hurts so good. Truly, this is just dying to be looped up, Al's muted playing capturing a soulful longing only horns can often achieve. The bluesy, slo-mo swing of "Sweetlips" oscillates between cool disaffection and swelling pride whilst the graceful, low-key funky "Girl" closes out the A-Side in the fine style. Ushering in the B-Side, the brief but brilliant strut of "Love Ya' Baby" shines brightly before the skipping funky-jazz of true highlight "Sunday-Goin' To Meetin' Time" demands both your attention and your dancing shoes. The mellifluous piano-funk of bass and horn-drenched "Snap Back" serves as the sumptuous prelude to "Harlem Hendoo"'s main character energy before the irrepressible, upbeat R&B of "Ludwig" closes out this quite remarkable album. An album deserving of a place in every serious record collection.

The audio for Soul In The Horn has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. This is after-hours music. Let it speak for itself. Listen. Listen to the soul in Al Hirt's horn.

When first released Astro-Sounds From Beyond The Year 2000 promised an uncharted trip beyond the now generation! And it certainly delivered, as soon as the needle drops onto the opening track ‘Flameout’
we are in astral freak-out territory with cosmic strings phased beats & displaced fuzz guitars... Despite being released as a budget label’s take on the burgeoning psychedelic scene Astro Sounds, delivers the real deal.
This is thanks in no small part to the central role played by Wrecking Crew guitarist Jerry Cole. Cole had previously been the involved some L.A. session colleagues and cut his own psychedelic
album: The Inner Sounds of the Id by 'The Id' and was the perfect choice to front Astro Sounds which can be considered a development from the seminal sounds of the Id.
Astro Sounds has suffered from some unofficial releases that offer poor audio quality. This Vinyl Exotica re-issue is remastered from the original tapes and is presented on coloured vinyl

LP issued to celebrate more European artists than ever before winning the annual “Downbeat” polls in 1969. On this release they all perform as a unit.

Flutist Herbie Mann is backed by a large rhythm section and a small horn section on this Creed Taylor-produced A&M set (which has been reissued on CD). Actually the most interesting aspect of the R&B-oriented date (which includes such songs as “Hold on, I’m Comin’,” “House of the Risin’ Sun” and “Unchain My Heart”) is that the up-and-coming flutist Hubert Laws is matched with Mann on several tracks.

The Brazilian singer-songwriter and guitarist Joyce Silveira Moreno was born and raised in the middle of Copacabana, a short beach stroll from the epicentre of the bossa nova universe. Since her older brother was friendly with leading lights of the bossa nova movement such as Roberto Menescal and Eumir Deodato, she was steeped in the form at an early age and witnessed its key evolution first-hand. She began studying journalism in 1967, shortly before her controversial song “Me Disseram” reached the finals of Rio’s second International Song Competition. The following year, her self-titled debut album was produced by Armando Pittigliani, with orchestration by Dorival Caymmi and arrangements by Gaya; along with her own compositions, the album also featured songs by her rising-star friends, including Caetano Veloso and Marcos Valle.

In 1962, legendary jazz pianist Bill Evans collaborated for the first time on record with jazz guitarist Jim Hall to create the landmark album Undercurrent. And even though it is a two-person improvisational affair, it is almost unfathomable that these two giants alone fill up all the grooves on this record. The thoughtful interplay between these two musicians created such a beautiful, lush, and emotional journey that their work influenced many. At the time of this recording, Bill Evans was one of the top jazz pianists (his performance with Miles Davis on Kind Of Blue is still a high-water mark), but he had stopped performing and recording after the death of his peer, bassist Scott LaFaro. Eventually, he was persuaded to return to music, and this was one of the first recordings upon his return. Guitarist Jim Hall - who had worked with Ella Fitzgerald, Sonny Rollins, and Chico Hamilton - started his partnership with Evans during this time. Recorded over two sessions in April and May 1962, the two have that beautifully unspoken musical language of give and take; their recordings are refreshingly busy but also incredibly sparse. These two giants understand that intertwining their personalities and harmonic styles could create greatness. This notable re-issue is an all-analog production affair—AAA Mastered and cut live by audio guru Kevin Gray (Miles Davis, Herbie Hancock, Charles Mingus)—and it’s never sounded better. So dim the lights and let this music breathe with you; it’s an incredible listen and an essential album for both the novice listener wanting to dip their toe into the genre or the audiophile who needs to replace their well-worn vinyl copy. And depending on your day, it will color your mood in any emotive shade you desire.