Organic Grooves Vinyl 417 Items

Drummer Roy Haynes was just about everywhere in the golden age of jazz, recording classic albums with some of the most legendary names of the genre. The hard-bop-verging-on-post-bop Out Of The Afternoon is an excellent example of the adventurous spirit that was taking flight in the jazz world in the early 1960s. Haynes swings as the leader of this 1962 Impulse! session, featuring A-list jazzmen Roland Kirk (multiple instruments including stritch and nose flute!), Tommy Flanagan (piano) and Henry Grimes (bass).

VERVE ACOUSTIC SOUNDS SERIES: mastered fully analogue from the original tapes by Ryan K. Smith at Sterling Sound, QPR pressing (180 g), firm tip-on gatefold (Stoughton Printing), padded inner sleeve.

1968’s Love Cry mixes Albert Ayler’s free jazz with a catchy combination of nursery rhythms and brass band marches, resulting in a peak example of experimental jazz of the period. This was Ayler’s last recording with his brother, Donald, who keeps the pace fiery along with the rhythm section of bassist Alan Silva and drummer Milford Graves, and harpsichordist Call Cobbs.



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

"Legendary Sun Records producer Sam Phillips knew talent when he saw it, and when he started up his new Phillips label in the early 1960s, one of the first acts he signed was Frank Frost and his electric Delta blues trio. Now known as one of the greatest harp players of his generation, Frost learned his trade playing with none other than Sonny Boy Williamson and his influence can be heard whenever he blows. Originally released in 1962, Hey, Boss Man! is one of the last great electric blues albums."

Recorded in New York in 1957 (though not released until 1962), 'Tijuana Moods' was, according to Mingus himself, "the best album i ever made." The music is a vigorous stew of Mexican rhythms and sophisticated post-Ellington arrangements, further invigorated by the soloing of trumpeter Clarence Shaw, trombonist Jimmy Knepper, and, particularly, saxophonist Shafi Hadi. Mingus's vision of Tijuana was clearly sensual, the music evoking strippers, frenetic street scenes, and heart-broken lovers. Making use of suite like thematic material and various forms of counterpoint, the group sounds much larger than it is, and points toward Mingus's later experiments with form. the bristling sound and spirit of the music, however, are its primary attractions - a remarkable place where Mexican fantasy and hard bop meet.

The house band at Memphis's legendary Stax Records, Booker T. & the M.G.'s played on some of the most legendary and unforgettable soul recordings in history. Originally released in 1962, the title-track of their debut LP Green Onions is arguably the most recognizable piece of instrumental pop and soul ever to be released; an absolute stone classic of a jam, with Booker T.'s organ at the fore. In addition to being a classic group, Booker T. & the M.G.'s were one of the first soul and rock groups to have both white and black members, and understandably their music is often associated with the Civil Rights Movement that was going on all around them in the American south of the 1960s. Essential American originals from Booker T. & the M.G.'s.

Toshiko Mariano Quartet is the 1961 album from fourteen time Grammy Nominated pianist and composer Toshiko Akiyoshi - then known as Toshiko Mariano. Women have long been denied the credit they deserve in jazz. It must be noted that as a Japanese women in jazz, Akiyoshi had to battle for acceptance on many fronts. Jazz has been a patriarchy community from the beginning, and even critical praise of her playing could not help but take note of her gender. Leonard Feather, for example, writing at the time in the Encyclopedia of Jazz called out Akiyoshi’s playing as “fiery, powerfully articulated and exceptionally fluent,” but added that there was “nothing delicately feminine.” Even today it is still hard for people to see Jazz in any other way. We are pleased to be a part of shifting the narrative and shine a spotlight on this talented artist and this wonderful album. While she was later to compose using themes, harmonies, and instruments connected to her Japanese heritage, this album captures the pianist early in her career playing a straight ahead, harp bop style. This was already her 7th album as a band leader, and it is a shining example of her confidence and mastery of her instrument and as a band leader. Recorded at the Nola Penthouse Studios in New Your City in December of 1960, the LP includes extraordinary liner notes by Candid A&R man and producer Nat Hentoff giving a context and insight that adds to the experience of hearing these extraordinary performances.

The “straight horn” referred to in the title of this superb album from 1961 is the soprano saxophone, and Lacy is recognized as one of the greatest to ever play the instrument, ranking alongside John Coltrane and Sidney Bechet. Because of the difficulty involved in mastering it’s pitch challenges, very few jazzmen concentrated on it. Lacy is widely considered the first “modern” musician to specialize on the instrument. Lacy had long and prolific career and a fascinating style trajectory. At sixteen he began playing Dixieland with the likes of Pee Wee Russell. In the mid 1950’s he played free jazz with Cecil Taylor, and appeared with his groundbreaking quartet at the 1957 New Port Jazz Festival. He made a notable appearance on the 1959 Gil Evens, Great Jazz Standards album. Along the way, Lacy became obsessed with the music of Thelonious Monk, working with him several times including the 1963 Big Band and Quartet in Concert album, and devoted much of this life’s work to the interpretation of Monk’s materiel

When he first came on the scene, Phil Woods was often referred to as “The New Bird,” in a nod to the legendary Charlie Parker. A testament to his genius on the saxophone to be sure. But while obviously indebted to Parker - as all modern jazz saxophonists of a certain era were - there is no question that Phil Woods was an original. After earning a degree in music from Juilliard in the early 1950’s, Woods found himself in the orbit of the great Quincy Jones. At Jones’ invitation Woods joined Dizzy Gillespie’s infamous Jazz Ambassadors - a tour sponsored by the US State Department as part of a global cultural diplomacy initiative - and subsequently became a member of Jones’ own touring band. This recording, his 9th album as a band leader, consists entirely of Woods’ five-part Rights of Swing Suite. An ambitious large-scale composition based solidly on jazz traditions. A culmination of the influences the then 30 year artist had absorbed. Arguably considered one of Woods finest recordings, the record features a stellar section made up of Wood’s fellow Quincy Jones band members. (It should be noted that these same musicians, for the most part, are also the section on Benny Bailey’s Candid Records recording, Big Brass, recorded a a few months prior in November of 1960). Recorded at the Nola Penthouse Studios in New Your City on two dates in January and February of 1961, and conducted by Quincy Jones. The LP includes extraordinary liner notes by Candid A&R man and producer Nat Hentoff, and in-depth commentary from Woods himself, giving a context and insight that adds to the experience of hearing these extraordinary performances.

At the time of this recording, Mingus had been working regularly with the piano-less quartet of Eric Dolphy, Ted Curson and Dannie Richmond. The same group featured on the 1960 Candid release, Charles Mingus Presents Charles Mingus. The Mingus album, also recorded that year, features one track, "Stormy Weather," recorded with that same quartet, and two tracks recorded with a larger group featuring piano and additional horns. Of note, "mdm (Monk Duke & Me)” consumes the majority of this album. The piece consists of three intertwining themes - Duke Ellington's “Main Stem”, Thelonious Monk's “Straight, No Chaser”, and Mingus' “Fifty First Street Blues.” Released in 1961, and recorded in the fall of 1960 by Candid A&R and Producer Nate Hentoff at the Nola Penthouse Sound Studios. The LP includes extraordinary liner notes written by Hentoff, giving a context and insight that adds to the experience of hearing these magnificent performances.

A fascinating blend of jazz and contemporary classical influences, How Time Passes is the debut album from the envelope pushing trumpeter and composer Don Ellis. Known for his extensive musical experimentation, particularly in the area of time signatures, Ellis began his long career in the New York City’s post bop and avant-garde jazz scenes of late 1950s. Most notably he appeared on Charles Mingus’ Mingus Dynasty, and albums by George Russell and Maynard Feguson. But he also worked with, among others, the Glenn Miller Orchestra, Lionel Hampton, and Woody Herman. On subsequent albums, Ellis would take an even wilder direction. Here, on his first recoding date as a band leader, the experimentation begins. Ellis stretches the boundaries of bop-based jazz playing with time, tempo and meter. It is the start of his exploration of Third Stream - a fusion of jazz and contemporary classical music. The album title itself - How Time Passes - was taken from an article written by the controversial German composer Karlheinz Stockhausen on the “function of time.” The exceptional section features Ron Carter on bass, the underrated Jaki Byard on piano and saxophone, and Charlie Persip on drums. The LP includes extraordinary liner notes by Candid A&R man and producer Nat Hentoff, and noted musician, historian and writer Gunther Schuller - the originator of the term “Third Stream” - giving a context and insight that adds to the experience of hearing these extraordinary performances.

Collecting recordings made between 1953 and 1956, Miles Davis Plays For Lovers is a look at the more sensitive and sensual side of the great trumpeter, focusing on his sultry and smoky late night ballads. Mostly featuring his legendary mid-50s quintet of Coltrane, Garland, Chambers, and Jones, this collection highlights that groups ability to slow things down to a soulful, brilliant simmer. Classic jazz ballads that swing, perfect for late nights with a lover at your side.

Howlin' Wolf was a true bluesman who stuck to his own style. This LP reissue of an album compiled from his recordings in 1951-1952 for RPM label, sub-label of Modern Records and released in1962 on Crown Records, also a substance of Modern.

The album features Willie Johnston on guitar, a rule-breaking mix of primitive delta blues and fancy jazz chords; Willie Steele on drums and unidentified musicians providing unparalleled backing; and Ike Turner on vibrant piano, Wolf barked out wild and tough blues in West Memphis.

Although the piano, the guitar and the harmonica were clearly out of tune, the sounds were outstandingly thumping and beautiful - there was no greater shock. This is a classic in blues history that captured the rampaging blues wolf of the blues at the beginning of his career, when he made his recording debut after the age of 40. The reissue LP will be available with iconic OBI strip.

Byard Lancaster was a composer/multi-instrumentalist born in Philadelphia in 1942. He started playing alto saxophone at an early age and later took up flute and bass clarinet. While attending Berklee College of Music, Lancaster and pianist Dave Burrell organized late-night jam sessions with fellow students and touring musicians. In 1965, he moved to New York and quickly became part of the city's burgeoning scene – playing with jazz luminaries such as Archie Shepp, Sunny Murray, Bill Dixon and Marzette Watts. It's Not Up To Us, Lancaster's 1968 debut as a leader, was originally released on Vortex, a subsidiary of Atlantic responsible for first albums by Chick Corea, Keith Jarrett and Sonny Sharrock. Featuring guitarist Sharrock (another Berklee alum), It's Not Up To Us is true fire music – fusing elements of free jazz, soul/R&B and traditional folk song. On the opening title track, Lancaster's luminous flute draws the listener in, while bassist Jerome Hunter grounds the tune with a simple descending theme over Keno Speller and Eric Gravatt's syncopated rhythms. "John's Children," a reference to the group's status as post-Coltrane players, showcases the modal strumming of Sharrock's steady drones as Lancaster cries into the void. After repeated listens, Lancaster's original compositions become visceral aural memories ingrained in the ear, while the standards ("Misty" and "Over The Rainbow") sound the most avant-garde pieces on the album. This first-time vinyl reissue is recommended for fans of Albert Ayler, Don Cherry and Pharoah Sanders.

Volker Kriegel is considered the pioneering Jazz-rock and Fusion guitarist from Europe. 1968 was a crucial year for his career as he released "With A Little Help From My Friends," his first solo album, and signed with American vibraphonist Dave Pike, joining what would quickly emerge as one of the most popular and influential jazz fusion combos. This precious document reissued for the first time by Cinedelic Jazz with bonus tracks highlights all his qualities that enabled him to become one of the most acclaimed and innovative guitarists in European jazz. The original album included two recording sessions; Side A in Cologne and Side B in Frankfurt, with different performers. Side A as a trio with double bass and drums, and on the other with the addition of vibraphonist Claudio Szenkar. The covers performed are the two by Lennon-McCartney 'With A Little Help From My Friends' and 'Norwegian Wood’, and the traditional Brazilian 'Nãnã Imborô'. Added to the original album are four previously unreleased tracks of great depth recorded at the Deutsches Jazz Festival in Frankfurt in 1968: "Teaming Up" and "Vian-De" by Kriegel himself, "Spanish Soul" by Szenkar and "Nina's Dance" lasting over 9 minutes and featuring Tony Scott on Clarinet and Gustl Mayr on Tenor Sax. Over the years, Kriegel would go on to participate in over 200 albums.

In the mid-'60s, Albert Ayler found himself at the center of major transformations within jazz. On his albums for ESP-Disk', his delivery was radically aggressive and his tone blistering – aiming for something beyond the New Thing. His music would be further energized when (at the behest of John Coltrane) Bob Thiele signed him to Impulse! As Ayler told The Plain Dealer at the time, "It's not about notes anymore. It's a sound – a feeling. The approach we're taking will discontinue the use of the word 'jazz.'" In Greenwich Village, Ayler's first LP on Impulse!, perfectly captures the Cleveland-born saxophonist's radiant intensity. Sourced from a pair of live engagements – February '67 at the Village Theatre on New York's Lower East Side and December '66 at the Village Vanguard – these recordings show an improved clarity in production and performance. Both sets feature two basses (including Alan Silva and Henry Grimes) which allowed the ensemble to go in different harmonic directions while maintaining an organic unity. Of particular interest are "For John Coltrane," a tribute to Ayler's mentor who would pass later that year, and "Truth Is Marching In" where trumpeter Donald Ayler joins his brother to celebrate and ultimately deconstruct several jazz traditions to stunning effect. Vibrant in sound and vision, Albert Ayler's In Greenwich Village is a landmark statement in free jazz and a career high-point for this truly original artist. Superior Viaduct is honored to present this classic album on vinyl for the first time domestically in 30 years.

A quite obscure release from a Los Angeles based alto saxophonist named Vi (Elvira) Redd, a blues infected player, singer and educator who since the early 50's has performed with many Jazz greats like Dexter Gordon, Max Roach, Roland Kirk, Count Basie and others. Originally released in 1962, "Bird Call" was Redd's debut album, a hard swinging studio session featuring a top class band that included pianist Russ Freeman, Leroy Vinnegar or Bob Whitlock on bass, guitarist Herb Ellis, trumpeter Carmell Jones, vibraphonist Roy Ayers and her then-husband, Richie Goldberg, on drums. Another invaluable document from the historical yet unknown L.A.'s black community Jazz scene.

Long before becoming an icon of funk, acid jazz, and R&B, Roy Ayers was a promising young jazz vibraphonist. Originally released in 1967, Virgo Vibes was Ayers' second album, and his debut for Atlantic. With five cool, funky jazz tracks, the LP features talented musicians like Joe Henderson, Charles Tolliver, Bruno Carr, Jack Wilson and the mysterious pianist Ronnie Clark (Herbie Hancock playing under a pseudonym). A rare treasure infused with the relaxed, sunny vibe that defined Ayers’ stellar career, Virgo Vibes is now available again on vinyl.

Recorded live by Rudy Van Gelder this is one of a pair of Dolphy's albums documenting the 1961 historical residency at the Five Spot, the New York's major temple of the early avantgarde. This is timeless music performed by one of the essential lineups in modern Jazz. A marvelous quintet featuring the great Booker Little on trumpet and the amazing rhythm section of Mal Waldron — piano, Richard Davis — double bass and Ed Blackwell — drums plus, of course, master Eric Dolphy on alto saxophone, bass clarinet and flute. "All forward thinking and challenged listeners need to own these epic club dates" Allmusic

1968 Debut album from the king of the psychedelic bayou. First ever reissue of the Original Mono Mix sourced from the Original Master Tapes. Mastered by Kevin Gray. Limited Edition Green Vinyl.

When Charlie Byrd toured South America in 1961, Bossa Nova—a melding of Brazilian samba rhythms with the harmonic structures and cool sound of West Coast jazz—was booming. He brought back records for Stan Getz to hear and they planned a session. The result was Jazz Samba—the first album of Bossa Nova music by jazz artists and the one that created the Bossa Nova wave.



VERVE ACOUSTIC SOUNDS SERIES: Stereo, mastered fully analogue from the original tapes by Ryan K. Smith at Sterling Sound, QPR pressing (180 g), firm tip-on gatefold (Stoughton Printing), padded inner sleeve.

Billy Preston’s mastery of the organ was such that he was commissioned for collaboration by The Beatles, The Stones and countless others, his classic Hammond work a defining element of ‘Get Back.’ Released in 1964 when Preston was still 19, The Most Exciting Organ Ever mixes swinging originals such as ‘Low Down,’ ‘Soul Meetin,’ ‘The Octopus’ and ‘Billy’s Bag’ with expressively soulful covers of standards such as ‘If I Had A Hammer’ and ‘Don’t Let The Sun Catch You Crying,’ ably showcasing Preston’s awesome dexterity and unmatched ability on his chosen instrument. With every track a winner, the title rings true!

Among the most famous husband-and-wife soul duos of all time, Ike & Tina Turner scored an incredible array of hits in the 1960s and 70s, before Tina finally exited the partnership. The debut LP on the Pompeii label, So Fine dates from 1968, a couple of years after a support slot on a Rolling Stones tour boosted their profiles; in addition to a remake of early hit ‘A Fool In Love,’ there’s an awesome take of Johnny Otis’ ‘So Fine’ and a competent rendition of ‘Shake A Tail Feather.’ Tina is fully in her element, the Ikettes keep up the harmonic pressure, and producer Ike handles the rest. Recommended listening for all soul fans!

Isolated at the rural fringe of Northern California, Bailey's Nervous Kats took Shasta County by storm in the early '60s. Combining surf, rock n' roll, exotica, and R&B, the Kats were a teenage dream draped in Magnatone amplifiers and crisp white polo tees. Their self-titled_and only_LP came at the dead end of the band's run, issued on Orville Simmons' one-shot Emma imprint in 1965. The mid-century modern LP of your dreams.

Charles Mingus brought together an amazing lineup spanning the totality of the nation's jazz scene with such luminaries as Eric Dolphy, Buddy Collette, Clark Terry, Zoot Sims, Pepper Adams, Jaki Byard, Grady Tate, and more. Brought together to perform new Mingus compositions for the first time in public, the recording was initially considered weak due to limited rehearsal time but the years have been kind to this recording and it's a fantastic set of Mingus compositions, including the powerful "Freedom" which rivals the works on Mingus Ah-Um (1959) for its strength of purpose and message, in a similar vein to Max Roach's legendary We Insist! album (1960). Mingus is one of the most important figures in 20th century music and this live recording documents his compositional and arranging process as well as sheer swinging joy.

Looking Ahead is the debut album by American jazz musician Ken McIntyre, recorded with fellow alto saxophonist Eric Dolphy in 1960 and released on the New Jazz label in January 1961. From the beginning Mr. McIntyre considered himself part of the avant-garde or ''new thing'' movement in jazz, as spearheaded by musicians like Ornette Coleman, Bill Dixon and Cecil Taylor, although his own music was considerably more traditionally melodic than theirs. He played a whole fleet of reed instruments, including oboe, bassoon, bass clarinet and saxophones. In 1964, on the album ''Way, Way Out,'' he recorded bouncing, urgent jazz tunes with chilly, dissonant string arrangements; in 1966, he accompanied Mr. Taylor on the album ''Unit Structures,'' a landmark recording of the jazz avant-garde.