Organic Grooves Vinyl 422 Items

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.

Re-issue of 1968 album by British jazz guitarist (born January 2, 1933 in Doncaster, England). He played with Norman Burns, "Ray Ellington's Quartet", Benny Goodman (in tour in England, 1971), "Don Lusher's Big Band", and as a session man in the 1970s, 1980s and 1990s.

Judd uses varying permutations of the following instruments on various tracks. Twelve string guitar, electric Fender guitar, electric Gibson guitar (l4) with a Charlie Christian bar pick-up, and a Maton acoustic guitar.

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.

First time vinyl reissue of Jose Roberto Bertrami's 1966 ‘José Roberto Trio’ via Far Out Recordings. Best known as the keyboardist and bandleader of legendary trio Azymuth, the late José Roberto Bertrami also wrote for, arranged for and performed with Elis Regina, George Duke, Sarah Vaughn, Jorge Ben, Eddie Palmieri, Milton Nascimento, Flora Purim and Erasmo Carlos, among countless others.

Be With is delighted to present Jorge López Ruiz’s El Grito (Suite Para Orquesta De Jazz), eternal Argentinian magic released on CBS in 1967 that must be one of the most sought-after South American jazz LPs. Living in Buenos Aires in the 60s, driven by creative impulse and rage Jorge López Ruiz used music as his platform to protest the Argentine military dictatorship: “I could never stand dictatorships, to be told how you have to think, what you have to do. Nor did I endure discrimination”. A young López Ruiz had appeared on a television panel alongside writer, politician and philosopher Arturo Jauretche, criticising the Onganía dictatorship. Jauretche told López Ruiz “Now say it with music”. This was the deep inhale that lead to El Grito, literally “The Scream”. As López Ruiz later explained “Jauretche urged me that my protests should not remain in words and acquire the consistency of a work… but it was not so much what he told me but how he told me, what prompted me to make the work take shape, first in a live concert and then in a recording”. As the police and military began resorting to kidnapping, torture and summary executions to quiet dissent, with depressing inevitability the artist community and their work were a particular target of the increasingly brutal regime. El Grito was banned not long after it was released and the majority of original copies were unceremoniously destroyed. The work of a genius artist living under an opressive dictatorship, erased by the government of the time, this is buried treasure in every sense and it’s been a rare record for over 50 years.

Polysom Brazil vinyl LP repress import, released in 1964.

Very unknown artists from Brixton (London), they have recorded two singles on Beacon label in 1968. And no more info about them. But we Love these four tracks of killer Soul & R'n'B in the vein of Ike & Tina.

Vibes player Johnny Lytle was one of the heroes of the early acid jazz club circuit, with his cuts 'Selim' and 'The Man' being anthems of the scene.

The Ohio-born player’s first album as a leader was on the Jazzland label in 1962 with “Nice And Easy”. His second, three years later, on Riverside, "The Village Caller", made him a star in the jazz world. When Riverside encountered difficulties, co-owner Orrin Keepnews collaborated with Lytle on two albums which came out on the Detroit label, Tuba.

The first of these, "The Loop", featured his regular trio partners, organist Milt Harris and drummer “Peppy” Hinnant. This line-up was augmented on some tracks by former Miles Davis pianist Wynton Kelly and bassist George Duvivier. A 7” version of the title track actually spent five weeks in the Billboard Hot 100 in January 1966. As for the album, as well as the acid jazz cut 'The Man', it features a stunning version of Duke Pearson's 'Cristo Redentor' and the dancefloor-friendly 'Possum Grease' and 'Hot Sauce'. The band also stretch out on extended track ‘The Shyster’.

"The Loop” is a classic album and Ace’s pressing is the first time it has been legally reissued on vinyl.

Vibes player Johnny Lytle was one of the heroes of the early acid jazz club circuit, with his cut 'Selim' being an anthem of the scene.

There is nothing hurried about this disc. That said, the music is focused and will stretch your mind. Lewis employed masterful melodic improvisers here: Paul Gonsalves, Eric Dolphy, Jim Hall among others. Listen to "Body And Soul" as it builds powerfully and the soloists explore every possible melodic theme, where the quiet power of these master musicians is almost too much to take. Listen to "I Remember Clifford" where the players are essentially the MJQ with Jim Hall replacing Milt Jackson. This set swings, but oh-so-elegantly. Just like Mr. Lewis.
S.C.Berry
Whether you're an old-time jazz afficionado or new to the genre, this album is essential. In my opinion, Lewis' lovely solo on "Body & Soul" makes his version virtually definitive - 15 minutes of bliss. The rest of the album, particularly "Afternoon In Paris", is at the same level. "Wonderful" is the perfect title for this record.
E Barrios

Recording: July and September 1960
Production: Nesuhi Ertegun & Tom Dowd

There is little doubt that John Lee Hooker was one of the most commercially successful blues artists that ever lived. He rose above his contemporaries with worldwide hit records and a particularly long series of albums, and a career that lasted for over sixty years. He was always prolific and attracted other artists to collaborate with him without ever losing his own highly distinctive style. One of the real and lasting strengths of "That's My Story" as an album is in its immediacy. Orrin Keepnews knew just how to use studio microphone placement to make the listener feel right in the middle of the session. Nothing extraneous is used to move John Lee away from you, making it evident that the producer's original intention with the album has certainly been fulfilled. No wonder that this laid-back work, so quickly recorded, has stood the test of time as one of John Lee Hooker's most revered records.

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!

180g vinyl

180g vinyl.

John Coltrane Quartet — Ballads
Analogue Productions' UHQR, the pinnacle of high-quality vinyl!
45 RPM Ultra High Quality Record release limited to 5,000 copies
Mastered from the original tape by Ryan K. Smith at Sterling Sound
Pressed at Quality Record Pressings using Clarity Vinyl®
Includes a 12" x 12" 12-page booklet featuring liner notes by Ashley Kahn and recording session images by Jim Marshall

Audiophile reviews rave about saxophone master John Coltrane's immortal Impulse! records, A Love Supreme (1964) and Ballads (1963). Ballads is an album that will never go out of style and never be unwelcome on any jazz lover's turntable.

You're about to experience Ballads at its peak of vinyl perfection — in UHQR format on Clarity Vinyl, with the added bonus of a double 45 RPM cut by Ryan K. Smith at Sterling Sound. Ryan's cut has his characteristic clarity and transparency all set against Quality Record Pressing's usual noiseless backgrounds on 200-gram flawless records. Each UHQR will be packaged in a deluxe box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product.

For this 45 RPM 2LP edition you'll also receive a !2" x 12" 12-page booklet featuring liner notes by Ashley Kahn and recording session images by Jim Marshall.

The intense passionate Coltrane interpretation of standards such as "All Or Nothing At All," "What's New," "It's Easy To Remember" and the Sinatra classic "Nancy (With The Laughing Face)" are the essence of Ballads. When asked why attempt such an undertaking, Coltrane replied "Variety."

While it may have been a short detour by Trane before he exploded off into the nether regions of jazz music a few years later, it is still a fantastic document of one of the premier jazz groups of the 1960s.

Recorded December 21, 1961 and September 18 & November 13, 1962 at Rudy Van Gelder Studios.

"It's impossible to sleepwalk through tracks like "You Don't Know What Love Is" and "I Wish I Knew" and impart them with even a fraction of the emotional heft that the Quartet achieves. This is the type of jazz album in which the music just washes over the listener with it's restrained grace and beauty, and while it may not have the adventurousness that some listeners think Trane should have had each and every time he recorded, I'd say it shows off a side of him that only makes us appreciate his more bold and daring albums even more." — The Jazz Record

One of the most influential albums in all of jazz. Recorded in 1964 with the likes of Jimmy Garrison, Elvin Jones & McCoy Tyner

First released in Brazil in 1960 this is Joao Gilberto's second studio effort. A seminal album that just one year later introduced Bossa Nova to the United States. Joao Gilberto, one of the true masters of the genre, displays a great selection of songs including various Tom Jobim's classic gems such as "Samba de Uma Nota Só" ("One Note Samba"), "Corcovado" and "Outra Vez". An essential piece of work in the whole history of Brazilian music.