Organic Grooves Vinyl 498 Items

Der frühreife und begnadete Schlagzeuger und Komponist Tony Williams war bereits Mitglied des Miles Davis Quintet und wirkte an zahlreichen bahnbrechenden Blue-Note-Aufnahmen mit, darunter Herbie Hancock "Empyrean Isles", Eric Dolphy "Out To Lunch", Andrew Hill "Point Of Departure", Jackie McLean "One Step Beyond" und Grachan Moncur III "Evolution", als er im August 1964 sein eigenes abenteuerliches Debütalbum "Life Time" aufnahm, als er gerade einmal 18 Jahre alt war.

Williams hatte nicht die Absicht, auf seiner Jungfernfahrt als Leader auf Nummer sicher zu gehen und machte sich daran, seinen kompromisslosen Ausdruck auf diesem Programm mit innovativen Originalkompositionen zu dokumentieren. Seite 1 präsentiert die ausgedehnte zweisätzige Suite "2 Pieces of One", bei der der Schlagzeuger von dem Tenorsaxophonisten Sam Rivers und den Bassisten Gary Peacock und Richard Davis unterstützt wird. Seite 2 beginnt mit dem fröhlichen "Tomorrow Afternoon", bei dem Williams, Rivers und Peacock mitwirken. Auf dem frei improvisierten "Memory", bei dem Herbie Hancock am Klavier und Bobby Hutcherson am Vibraphon mitwirken, spielt Williams verschiedene Perkussionsinstrumente, und das nachdenkliche Klavier-Bass-Duett "Barb's Song to the Wizard", das von Hancock und Ron Carter gespielt wird und das Album abschließt, ist ganz auf ihn zugeschnitten.

Diese Stereo Tone Poet Vinyl Edition wurde von Joe Harley produziert, von Kevin Gray (Cohearent Audio) von den originalen analogen Masterbändern gemastert, bei Record Technology Inc. (RTI) auf 180g Vinyl gepresst und in einer luxuriösen Gatefold-Tip-on-Hülle verpackt.

Blue Note’s modern jazz classic “Point of Departure” features pianist and composer Andrew Hill in a sextet with alto saxophonist Eric Dolphy, tenor saxophonist Joe Henderson, trumpeter Kenny Dorham, bassist Richard Davis and drummer Tony Williams. AllMusic calls the album "a stellar date, essential for any representative jazz collection, and a record that, in the 21st century, still points the way to the future for jazz”.



Blue Note Classic Vinyl Edition: stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

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!

While stationed in Germany in the RAF during the late 1950s and early 1960s, York-born alto and soprano saxophonist Trevor Watts met the drummer John Stevens, with whom he would form the Spontaneous Music Ensemble upon returning to the UK in 1965, which became an important vehicle for British free improvisation. Watts’ spin-off project Amalgam came two years later with Stevens and bassist Jeff Clyne, previously in the Jazz Couriers with Ronnie Scott; their debut LP Prayer For Peace is jazz improv at its most melodic, an unpredictable album of varying shades, with three unique takes of the song ‘Judy’s Smile.’

Alexis Korner's third album, originally released on the Transatlantic Label in 1964, after two live albums recorded at the Cavern at the Marquee, featuring his all-time hits 'Stormy Monday ' and Chicken Shack'. A true masterpiece from one of the godfathers of the white blues movement from the 60's.

Born from a studio jam organized by Al Santiago in 1961, the "Alegre All Stars" was inspired by the famous late 50's Cuban jam sessions. Originally published by Alegre Records, a New York City based label specialized in Latin music, this album stands as a legendary release in the field. This is like an open door on a wild Nuyorican party including food, drinks and an ongoing selection of highly infectious Latin grooves to dance to.

The virtuoso trombonist Albert Mangelsdorff was one of the prominent figures of European Jazz of the 60s – 70s. Eastern influences with a perfect blend of Western culture characterized this album recorded in Frank- furt after the groups Asian tour. “Now Jazz Ramwong” sees the group in its best shape: alto saxophonist Gunther Kronberg, tenor saxophonist Heinz Sauer, bassist Gunter Lenz and drummer Ralf Hubner. A really mind-blowing mix of jazz, folk and Eastern sounds. The album contains “Three Jazz Moods”, a jazz adaptation of Ravi Shankar’s music.

Unorthodox saxophonist Albert Ayler straddled different jazz streams during his brief career. After playing with Stanley Turrentine and Harold Budd in the late 1950s, a move to Sweden brought him into the limelight, fronting his own trio. Debut album Something Different!!!!!! comprised four dissonant songs delivered live with bassist Torbjörn Hultcrantz and drummer Sune Spångberg, with a barely recognisable rendition of showtune “I’ll Remember April,” an off-kilter take of Sonny Rollins’ “The Stopper” (retitled “Rollins’ Tune”) and a wobbly cut of Miles Davis’ “Tune Up,” along with the original “Free.” An exceptional musical experience!

One of the key 60s free jazz recordings!

Recorded in Stockholm in 1962, and originally released on Sonet Records, these sessions stand as Ayler's first step into a new sonic world. This was when Ayler was still dealing with classic Jazz standards such as "I'll remember April", M Davis's "Tune Up" and "Rollins Tune", a declared tribute to the older master Sonny Rollins. His already super-strong tenor sax voice dominates a quiet, almost shy, local rhythm section featuring Torbjorn Hultcrant on bass and Sune Spangberg on drums. This was just before stepping into his unique, hyper energetic and ecstatic form of Free Jazz. This was Ayler sowing the seeds of a revolution to come!

180 Gram Vinyl!

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!