Organic Grooves Vinyl 538 Items

This release comes on 180g vinyl and was remastered from the original tapes.Be With have raided the KPM archives to re-issue another of our favourites from the KPM 1000 series. They say: A Dramatic Suite Of Themes, Montage, Sequences And Generics. We say: An enormously influential and heavy KPM set of timeless, killer funk breaks from 1972 by the mighty John Cameron. Jazzrock is an aggressive, percussion-heavy album with an energy that leaves jaws on the floor. Breaks and beats for days with electric piano, bass loops, and pounding percussion. Funky jazz with a deep, tough, soundtrack feel. As with all of our KPM re-issues, the audio for The Road Forward comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity. And don’t worry! Those KPM stickers aren’t stuck directly on the sleeves!

Hardly any other musician has released so little as Hasaan Ibn Ali, born William Henry Langford Jr., in 1931, who died in 1980. Just seven titles in all are his complete output, all of which he composed himself, all of them on the present Atlantic LP, and all recorded in December 1964. The saxophonist Odean Pope, who often practised with him, talks of a second recording session in 1965 for Atlantic, but the recordings were never released because Hasaan was sent to jail shortly afterwards; rumour has it that the tapes were destroyed in a fire – and it might well be that recordings with John Coltrane still exist somewhere or other.
Until then, one should enjoy the Max Roach Trio with Art Davis on the bass to the full. We have here a recording that will astound and fascinate your ears with its originality. A first impression conjures up reminiscences of Cecil Taylor and Herbie Nichols, while Hasaan himself talks of the pianist Elmo Hope as the man who brought him closer to the 'mystery of music'. When asked how the recording session with maestro Max Roach went, Hasaan said: »They scared me to death.«
According to Odean Pope, Hasaan was not an easy person to get on with, and he was convinced of his talent to the point of arrogance. But despite this – or perhaps because of this – one listens spellbound to the 40 minutes on this LP, a legacy and never-fulfilled promise of an extremely talented man. We are indebted to Max Roach, who persuaded the bosses of Atlantic Records to make these recordings. For many, many years they had vanished from the record market, but fortunately they are now available as an audiophile re-release to be listened to and admired.

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.

Expertly utilised in hit series 'Breaking Bad' to soundtrack Walt and Jesse's meth manufacturing, The Peddlers 'On A Clear Day You Can See Forever' is a sumptuous smooth soul journey - full of exquisite organ solos and deep vocal tones.
2019 marks 50 years since it's release and with original copies pushing £40 it's a chance to bag this iconic record at a fraction of the price.
Remastered and reissued on 7 inch with large / dinked centre hole in Epic generic paper sleeve.

Fat Albert Rotunda is the venture into jazz-funk by keyboardist Herbie Hancock. The record is
centered around the music Hancock wrote the Fat Albert cartoon show. It’s one of the records which
appeared in the period between his landmark album Maiden Voyage of 1965 and his 1973 classic
Head Hunters. Fat Albert Rotunda is a unique item in Herbie Hancock’s long and diverse catalog, with
funky tracks like "Fat Mama" and modern jazz-oriented tunes like "Tell Me A Bedtime Story". The
sextet which is backing Hancock consists of some of the most prominent musicians of that time, like
Joe Henderson on tenor sax, Johnny Coles on trumpet and Buster Williams on the bass.
Herbie Hancock is one of the most prolific jazz pianists of the 20th century. A child prodigy, he played
with the greats such as Donald Byrd and Miles Davis. As he was a bit of a geek, he enjoyed gadgets &
buttons and he was one of the first to embrace and master the electric piano, but he always stayed
true to the acoustic sound. In fact, he always bounced back and forth between his electronic and
acoustic sound, touching upon almost every development in R&B, Funk and Jazz while retaining an
original and distinctive voice.

1965 funky Instro-Soul album from Chicago that originally came out on Mercury. It deals with new interpretations of James Bond themes and own Bond inspired compositions. Feat. Studiomusic Clarence Perry (tenor), Richard McCrea (organ) and Ed Townsend (Piano).

"Comin’ Home Baby" – that’s how the LP begins and that’s what catapulted it right into the charts. Not to one of the top places, but from this time on Herbie Mann was one of the superstars in Atlantic’s collection of jazz musicians. He was known as 'our man with the flute', and the critics in the early Sixties were full of praise for him. He became even more famous, and probably richer, through soundtracks and later on sometimes rather commercialised productions. Well, good for him. 'The Man' serves up jazz pure on this recording, made live at the legendary Village Gate club, which is no wonder considering the rhythm group that includes Ahmad Abdul-Malik and Rudy Collins. The composer of "Comin’ Home Baby", Ben Tucker, also makes an appearance as a guest soloist before the two Gershwin numbers from "Porgy And Bess" offer a wealth of rhythm pure. On the cover text of the LP, Willis Conover, who hosted the Newport Jazz Festival as a sideline (older jazz fans will know his baritone voice from AFN broadcasts), describes in detail the ethnic background of the musicians who come from all over the world – from Romania to Puerto Rico. The three numbers are by no means commonplace. Perhaps a tasty flute cocktail would be a good description. This true rarity from Atlantic’s treasure trove in the early Sixties has long been marked down on the wish list of many fans and at long last it’s available again.

When this album was first released in 1969, the young combo around vibraphonist and singer Andre Tanker conveyed a new style mix, which apparently naturally merged quite different musical influences into a new whole. At the centre of the music of the Andre Tanker Five was jazz in its Caribbean, Trinidadian style, a combination of the modern jazz of those days and the sounds of the extremely popular steeldrum bands of the time. A very decisive addition is typical for Trinidad: Calypso. Calypso stands for the attitude to life of this young generation of musicians, for the 'Good Time Feeling' and the desire to incorporate danceable Caribbean rhythms and Afro-Latin grooves into their individual style.
Although the original sounds of the young Andre Tanker Five are deeply rooted in the music of the West Indies, Afro-American elements always remain in the foreground. The young combo is musically equally at home in the Caribbean as in the 'hip' jazz clubs of the US megacities and the juke joints of the south with their sultry blues as well as the soul dance halls in Detroit or Memphis. The combination of vibraphone and electric guitar plus bass/drums is also rather unusual in those days. Not a pure instrumental album, 'Afro Blossom West' delivers some surprising vocals - rather unusual for a groove-jazz-based project with a sophisticated rhythmic sound.
Bandleader and vibraphonist Andre Tanker is considered a very creative and versatile musician. His exciting improvisations are a dominant feature of this group. Party In The City, Lena and Swahili are original compositions of which he sings the first two himself. Guitarist Clarence Wears is a gifted accompanist and effective soloist. His sometimes 'funky soul style' is more reminiscent of 'Memphis' than 'Trinidad'. Bass player Clive Bradley, who also plays piano and guitar, is a fine all-round musician who knows his music to the limit, and the rhythm section around Kester Smith (drums and timbales) and Mikey Coryat (congas) are able to provide the necessary power, but they can also play softly and subtly when the mood demands it.
As the album's name suggests, the combo refers deeply to the music and rhythms of Africa, whose roots - when shifted to the West - have produced the calypso, blues and Afro-Latin rhythms heard on this LP. We have had the album reworked from the original master tapes for this limited high quality LP edition by mastering expert Tom Meyer. New liner notes by Ron Reid shed light on the history of Andre Tanker, his combo and the circumstances that led to this creative product!

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.

This 1961 set of standards, favoring ballads, is Gene Ammons in his prime. For the most part, this session is tight and structured, keeping Ammons firmly locked in the groove more so than on some of his more wandering dates. His big-as-a-house tone stands center stage in front of a sympathetic piano-bass-drums trio of Richard Wyands, Doug Watkins and J.C. Heard, respectively.

For the few people lucky enough to have heard the entire album in the five
decades since its release, the mythical POPERA COSMIC LP is now considered
to be France’s first dedicated psychedelic album and the shrouded blueprint for
the hugely influential Gallic concept album phenomenon that followed – including
SERGE GAINSBOURG’s HISTOIRE DE MELODY NELSON and GÉRARD
MANSET’s LA MORT D’ORION.
Spearheaded by FRANÇOIS WERTHEIMER (songwriter for VANGELIS, BARBARA
and BYG RECORDS), composed with future JODOROWSKY soundtracker
and genius all-rounder GUY SKORNIK, and based on an embryonic concept
co-conspired by a teenage JEAN-MICHEL JARRE, this instantly deleted 1969
recording is a true essential for any outernationalradicalised record collection.
With credentials that mark the birth of the cosmic funk (later disco) that helped
shape the influential sound of France today, this LP also includes the first pressed
instrumentals by members of SPACE ART, some of the best orch rock arrangements
by WILLIAM SHELLER (Lux Aeterna, Eriotissimo) and orchestrator PAUL PIOT
(Jean Rollin), as well as sitar psych benchmarks courtesy of uber legend SERGE
FRANKLIN – all pinned down by the rhythm section that would later be known to
prog aficionados as ALICE.
Subtitled LES ESCLAVES (The Slaves), this street theatre/rock opera (influenced
by the work of Julien Beck’s Living Theatre) now celebrates its 50th birth-day
standing firmly as a sonic tome to the birth of the no-no era (that rebuked
France’syé-yé” hamster wheel) leading directly to the thematic progressive
network of WAKHÉVITCH, MANSET and MAGMA while comprising an inter-Gallic
intergalactic super group from the early annals of France’s pop psych revolution.
Imagine a rock opera where the cast of MISTER FREEDOM perform CLASH OF
THE TITANS at the foot of THE HOLY MOUNTAIN – then pinch yourself...

Born Booker T. Washington White, Bukka’s trajectory as a blues performer follows a familiar template for his
time. Born in Mississippi, maybe in Houston, MS – maybe in Aberdeen, MS – maybe in 1902, maybe in 1909
or even 1906 he recorded throughout the 1930s. Bukka even recorded while incarcerated in the Mississippi
State Penitentiary aka Parchman Farm. Asked about his time at Parchman White commented “Well, I mostly
played guitar.”
During the 1940s and 50s as Blues moved from the Delta to Chicago, from rural to urban, Bukka’s career went
dormant. And then, like many of his time, his talent was “rediscovered” in the early 60s, in no small part thanks
to a brilliant guitarist in his own right, John Fahey. Performances and all new recordings happened throughout
the 60s, building interest in Bukka White’s Delta roots. This compilation of White’s best early material was first
issued in 1969 (1970 in the US), collecting Bukka’s 78s recorded for Vocalion and Okeh. His influence on rock
performers of that day cannot be understated. He opened for rock bands he’d inspired at venues like The
Fillmore, played his instrument in such a fashion that some said it’s like he was trying to destroy that guitar, his
most famous guitar, a 1933 National Duolian, was even known as “Hard Rock.” And then there’s the fact that
his song “Shake‘em On Down” was so influential on Led Zeppelin that they, “borrowed” from the song for both
“Hats Off To Roy Harper” and “Custard Pie.”
Bukka White was many things, a strong influence on his cousin B.B. King, a cotton picker, a mule driver, a hobo,
a player in the old Negro Leagues, a boxer, a preacher, a convict, a factory laborer and, as celebrated here,
one of America’s blues pioneers.

180 gram vinyl!

180 gram pressing!