Organic Grooves Vinyl 502 Items

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!

This is 180g vinyl.

Intensity marked everything that Booker Ervin played. In his harmonic concept, slashing attack, and broad Texas sound, Ervin demanded attention and constantly built improvisations of searing drama and epic sweep. His primary legacy is a series of albums recorded for Prestige in the 1960s, of which this was his first, a riveting quintet recital where the alto saxophone of Frank Strozier supplies an urgent complement and the rhythm section is piloted by Horace Parlan, Ervin’s longtime compatriot from their days together in the Charles Mingus Jazz Workshop and in a cooperative quartet that worked at "Minton’s Playhouse". In addition to four inspiring originals by Ervin and drummer Walter Perkins, the session features an eloquent reading of Fats Waller’s immortal "Black And Blue" and an exploration of the show tune "Just in Time". Both the latter and "No Land’s Man" are included in two versions, the shorter of which were cut for release as a 45rpm single.

An exact repro vinyl reissue of this magnificent 1962 vintage blues delivery.

Debut studio album by the American instrumental R&B/funk band. The title single was a worldwide hit that has been covered by dozens of artists. 'Green Onions' was the first album released on the famous Stax label.

"Lightnin'" is among the rewarding acoustic dates Lightnin' Hopkins delivered in the early '60s. The session has an informal, relaxed quality, and this approach serves a 48-year-old Hopkins impressively well on both originals like "Thinkin' 'Bout An Old Friend" and the familiar "Katie Mae" and enjoyable interpretations of Sonny Terry & Brownie McGhee's "Back To New Orleans" and Arthur 'Big Boy' Crudup's "Mean Old Frisco". Hopkins' only accompaniment consists of bassist Leonard Gaskin and drummer Belton Evans, both of whom play in an understated fashion and do their part to make this intimate setting successful. From the remorseful "Come Back Baby" to more lighthearted, fun numbers like "You Better Watch Yourself" and "Automobile Blues", "Lightnin'" is a lot like being in a small club with Hopkins as he shares his experiences, insights and humor with you.

The first studio date of the Charles Lloyd Quartet, with Keith Jarrett, Cecil McBee, and Jack DeJohnette, was recorded and released just a few days before the band took both the European and American festival circuits by storm. First came Europe, which was just getting the disc as the band was tearing up its stages. While the live dates are now the stuff of legend, it's easy to overlook the recordings, but to do so would be a mistake. "Dream Weaver" is a fully realized project by a band -- a real band -- in which each member has a unique part of the whole to contribute. Jarrett's unusual piano style fits musically with Lloyd's lyricism in a way that it shouldn't. Jarrett was even then an iconoclast, playing harmonic figures from the inside out and relying on counterpoint to create new spaces, not fill them in. (Just listen to "Autumn Sequence", where his solos and his backing harmonics are equally strident and inventive as Lloyd's Eastern explorations of mood and mode.) And then there's the rhythm section of McBee and DeJohnette, whose modal inventions on the intervals make the "Dream Weaver" suite an exercise in open time, allowing all players to wander around inside it and take what they want out. The set closes with a group party jam on "Sombrero Sam", with Lloyd and Jarrett trading eights on a Cuban variation on a fantasia. There were no records like this one by new groups in 1966.

Originally from 1961, here is a searing soul tinged R'n'B pleader. This reissue is backed with the original flip, which also is a nice mover.

180g

Womack returned to American in 1969 to cut My Prescription, also produced by Moman, at a time that the venue was becoming exceptionally hot with visits from the likes of Elvis, Dusty Springfield, Neil Diamond and others. Womack's sophomore album may however well be one of the most demonstrative showcases of studio and session crew, incandescent on a finely-honed program of classy and soulful performances, with the singer in full control. Tracks like 'How I Miss You Baby,' 'Arkansas State Prison' and 'I Can't Take It Like A Man' stand as some of Womack's greatest moments, and taken as a whole, My Prescription stands not only the man's first truly great solo album, but also a timeless slice of sophisticated southern soul-making.

This session is a model of the emotionally intense ballad programs featured on Prestige's Moodsville subsidiary. The great Kenny Burrell receives a major assist from saxophone patriarch Coleman Hawkins (who is in exemplary early-Sixties form), Hawkins' rhythm section of the time (made up exclusively of natives of Burrell's hometown Detroit) and conga drummer Ray Barretto. The choice of material and variety of settings are inspired, with Burrell heard solo on "No More", over just bass and drums on "Guilty", in two different settings and on three titles by the full sextet. Each soloist is fully engaged throughout, with things shifting into even higher gear when Burrell and Hawkins converse on "Montono Blues" and "I Thought About You".