Organic Grooves Vinyl 343 Items

All of You is a live album by American jazz pianist Ahmad Jamal featuring performances recorded at Jamal's own club in Chicago in 1961 and released originally on the Argo label. Jamal's group had a personal sound of its own, often playing quietly and leaving space but never losing the passion. These versions of "Time on My Hands," "Star Eyes" and "All of You" in particular are well worth hearing. On the cover, photographed by Don Bronstein, one of the first staff photographers for Playboy magazine, Jamal sits in an MAA chair, designed by George Nelson.

Yes, *that* Al Hirt record. Featuring the godlike "Harlem Hendoo", looped unforgettably by De La Soul for the legendary Buhloone Mind State cut, "Ego Trippin' (Part Two)"!

Al Hirt's infamous Soul In The Horn is inextricably tangled up in crate-digger lore. Originally released in 1967, the album has been in heavy, heavy demand for over 30 years, entirely down to the majestic soul-jazz fire of "Harlem Hendoo". And it's a song so good, so vital, so timeless, that it will always tower above everything else in its proximity. This one track alone is worth the price of admission - even if the cost of entry were $100 or even $1000.

However, it would be an error to dismiss this record as merely a one tracker, loaded as it is with dope samples for adventurous beat makers. Certainly the funkiest Al Hirt record, it definitely lives up to the "soul" in the title. Thanks to composer Paul Griffin and arranger Teacho Wiltshire, Hirt got uncharacteristically free and groovy throughout. It comes on more like an obscure KPM library funk record than the easy listening Al was notorious for.

A Louisiana trumpeter and band leader who made Allen Toussaint’s “Java” famous, Al Hirt was also known for TV themes, Dixieland, Swing and being a minority owner of the New Orleans Saints. Unlike every other Al Hirt record - and despite most "diggers" claiming otherwise - this here gem is genuinely hard to come across "in the wild". Normally, you can't give Al Hirt records away, except this particular one, which raises pulses in the crate digging community to life-threatening levels. For every owner claiming to have found their copy for a dollar, there's scores more claiming to have *never* unearthed one in the field. So, paradoxically, you can consider this the most tricky-to-pull "thrift store record", ever. This is why we're finally making it available for everyone, not just those with endless hours to spend scouring the global goodwills!

Soul In The Horn represented an expressive detour into authentic soul-jazz for Al Hirt. Throughout, we're struck by a fierce, fiery energy that's otherwise absent from his typically easy listening work. Without question, the slinky, magical "Harlem Hendoo" is the standout, here. It's also the reason why the record is so scarce and commands awe among crate diggers, sounding like something from an obscure and deeply revered spiritual jazz record. As is often the case, the true genius of the song is tricky to do justice to; it's like a minor miracle of songwriting and performance that simply swooned down from the heavens on the back of horns, bells and harpsichord. It's one of the sweetest musical compositions ever recorded inside a studio - it's only failing is that it's just too short. Sampled brilliantly by De La Soul, it has also been used by The Roots for "Stay Cool" and Nightmares On Wax for "Damn".

The rest of the record makes for a mighty fine listen. From the opening cover of Booker T. & The MG's "Honey Pot", to the propulsive, ultra-funky "Mess Around", it's nothing but a good time. Given its title, the elegant stepper "Calypsoul" sounds exactly as you'd hope whilst the melancholic, wistful "Long Gone" hurts so good. Truly, this is just dying to be looped up, Al's muted playing capturing a soulful longing only horns can often achieve. The bluesy, slo-mo swing of "Sweetlips" oscillates between cool disaffection and swelling pride whilst the graceful, low-key funky "Girl" closes out the A-Side in the fine style. Ushering in the B-Side, the brief but brilliant strut of "Love Ya' Baby" shines brightly before the skipping funky-jazz of true highlight "Sunday-Goin' To Meetin' Time" demands both your attention and your dancing shoes. The mellifluous piano-funk of bass and horn-drenched "Snap Back" serves as the sumptuous prelude to "Harlem Hendoo"'s main character energy before the irrepressible, upbeat R&B of "Ludwig" closes out this quite remarkable album. An album deserving of a place in every serious record collection.

The audio for Soul In The Horn has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. This is after-hours music. Let it speak for itself. Listen. Listen to the soul in Al Hirt's horn.

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.

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.

Reissue of the 5th studio album by Brazilian jazz legend Antônio Carlos Jobim. Considered one of Jobim’s best albums, this masterpiece peaked at #5 on the Billboard Jazz Albums chart. It features a plethora of star sidemen, such as Dom Um Romão, Claudio Slon, Jerome Richardson, Ron Carter & Urbie Green, among others, as well as superb arrangements by Claus Ogerman.

Why you'll love it...
"‘I Never Loved a Man the Way I Love You’ runs the stylistic gambit without feeling Franklin is doing things just for show. The album isn’t trying to function as a resumé of her skills. Genre shifts feel organic and natural. “Don’t Let Me Lose This Dream” is built on a bossa nova groove, while “Do Right Woman Do Right Man” has a little country ballad flavor. “Dr Feelgood (Love Is A Serious Business)”—one of four songs penned by Franklin herself—is a bluesy belter. She might have been Queen of the genre, but pigeonholing Franklin in soul is like calling Sugar Ray Leonard just a welterweight. She could shuffle through styles as smooth as velvet. Everything is stamped with her own distinct character."

1961 Art Blakey and his Jazz Messengers made their only recording for the label Impulse! Records. It marked a turning point for the popular hard bop formation as it was their first appearance as a sextet with trombonist Curtis Fuller, and secondly their last recording with pianist Bobby Timmons. Also unusual is the fact that only one piece by a band member was on the program and otherwise only standards were played.
VERVE BY REQUEST SERIES: remastered, audiophile-quality 180-gram vinyl from Third Man Pressing/Detroit, Gatefold Sleeve.

Limited Clear Vinyl edition, 300 copies! This is Art Blakey and his Jazz Messengers, with guests Bud Powell - piano and Barney Wilen - alto sax, caught live at the Théâtre des Champs-Élysées in Paris in1959. At that time Blakey's Messengers were no less than Lee Morgan – trumpet, Wayne Shorter – tenor sax, Walter Davis Jr. – piano and Jymmy Meritt – bass. In other words one of the greatest Hard Bop combos ever, a pool of great young individuals under the direction of one of the most influential drummers and band leaders in the history of Jazz. No need to add that "Paris Jam Session" is regarded as an essential release in Blakey's extensive discography.

Art Blakey's "Live In '65" boasts an exceptional one-hour concert from Paris in 1965. This performance showcases one of the few undocumented Blakey bands, the New Jazzmen, featuring Freddie Hubbard on trumpet, Jaki Byard on piano, Reggie Workman on bass, Nathan Davis on sax, and, of course, Blakey on drums.

Freddie Hubbard's incendiary playing on "Blue Moon" and the blistering 24-minute version of his own "Crisis" shows that he was one of the most innovative trumpeters in jazz history.

On this live session, the audiences seem to have been enthusiastic and appreciative. »Everywhere we’d go people would say, this is the best Jazz Messengers we’ve heard!«, according to Davis. »And because of the way Jaki would play and Reggie would go, it was like a semi-freedom thing – with Messengers heads, you know, but when we got to soloing...! And Blakey was ridin’ and oatin’ the time ... but he would always be loose enough to follow, to keep it going. He’s one helluva musician.«

Exclusive reissue for Plattenladenwoche 2011!

The Shadow of Your Smile is a studio album by Astrud Gilberto. With arrangements by Don Sebesky, Claus Ogerman, and João Donato, it was released via Verve Records in 1965. It peaked at number 66 on the Billboard 200 chart.

The Jungle, regarded as one of the best of B.B. King's many albums, is being reissued on P-vine! Recorded in 1961-62, at the height of his career, and released on Kent after he moved to ABC, six R&B charting hits came from this album. All of the songs are superbly crafted, and are truly the king of the blues. Slow songs such as '5 Long Years' are typical of B.B.'s music of this era. You can't talk about B.B. King without listening to this album!

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.

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.

"A quick listen to the lively bop on 'Newer Than New' may enlist a perplexing question: Was this music really recorded 40 years ago? Apparently so, but the music still sounds fresh and exciting. If pianist Harris set out to show bop was still a vital force in 1961, he accomplished his task. Of course he didn't do this alone. Trumpeter Lonnie Hillyer, alto Charles McPherson, bassist Ernie Farrow, and drummer Clifford Jarvis join him on eight tunes that would've made Parker and Gillespie proud. The influence of bop pioneers is evident on tunes like "The Last One" and "Anthropology," both giving the horns lots of room to soar against the backdrop of dynamic rhythm. "Mucho Dinero," one of several Harris originals, has an exuberant Latin feel. After the horns set the piece in motion, Harris takes the first solo, creating colorful textures with his keen sense of harmony. Newer Than New also places special emphasis on the young horn players, providing McPherson and Hillyer lots of room to show what they've got. Both echo Parker and Gillespie without copying them. Hillyer displays a fat rich tone on numbers like "Easy to Love," while McPherson's resonant pitch, no matter how quickly he's playing, always comes across. Farrow and Jarvis keep the shifting rhythms heavy in the mix, pushing each soloist to create something vital. The title 'Newer Than New' perhaps mocks the obsession with the latest thing, as opposed to opting for the timelessness of high-octane improvising. Jazz styles, like all styles, come and go, but great music like 'Newer than New' transcends styles. It's also fun (and illustrative) to listen to an album like this back to back with the latest retro jazz. Barry Harris and his colleagues make great jazz without the least bit of self-consciousness."

—Ronnie D. Lankford, Jr. (All Music Guide)

Although Ben E King's name is synonymous with The Drifters, he only actually sang on a dozen tracks with them, most of which were recorded concurrent with the start of his own solo career. This compilation anthologises Ben's solo recordings between 1960-62, presenting his early singles plus a handful of standout album tracks.

All his early hits are here, including the Drifters-like First Taste Of Love, his first million-seller Spanish Harlem, his signature song Stand By Me, the lilting Latin shuffle of Amor, the dramatic, bluesy Here Comes The Night/Young Boy Blues, his Sex'n'Soul double-sider Ecstasy/Yes, the explosive Don't Play That Song, the soulful Too Bad, the haunting I'm Standing By and Goffin & King's Tell Daddy.

Ben E. King’s ‘Don’t Play That Song!’ album is pressed on a single clear LP and is a one time pressing.

This vinyl release is a part of Atlantic Records' 75th Anniversary vinyl collection.

Blue Note’s 1960s roster boasted numerous Hammond B3 organ whizzes including the soulful Kansas City born master Big John Patton. The dynamic quintet that Patton assembled for his 1965 album Oh Baby! packed a punch with the B3 master joined by trumpeter Blue Mitchell, tenor saxophonist Harold Vick, guitarist Grant Green, and drummer Ben Dixon.

Big John Patton (organ); Blue Mitchell (trumpet); Harold Vick (tenor sax); Grant Green (guitar); Ben Dixon (drums)

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

A follow up to the similarly-titled Conversations With Myself album recorded several years before -- and like that one, a record that has Bill Evans playing "with" himself, via the technology of overdubs! The album's less a solo album, than a duet one -- given that most of the numbers feature Evans working between melody and rhythm on overlapping piano lines -- creating a mini chorus of pianos that sounds totally great, and wonderfully unique! Titles include "Emily", "Yesterdays", "Santa Claus Is Coming To Town", "Funny Man", "The Shadow Of Your Smile", "Little Lulu" and "Quiet Now”

In 1962, legendary jazz pianist Bill Evans collaborated for the first time on record with jazz guitarist Jim Hall to create the landmark album Undercurrent. And even though it is a two-person improvisational affair, it is almost unfathomable that these two giants alone fill up all the grooves on this record. The thoughtful interplay between these two musicians created such a beautiful, lush, and emotional journey that their work influenced many. At the time of this recording, Bill Evans was one of the top jazz pianists (his performance with Miles Davis on Kind Of Blue is still a high-water mark), but he had stopped performing and recording after the death of his peer, bassist Scott LaFaro. Eventually, he was persuaded to return to music, and this was one of the first recordings upon his return. Guitarist Jim Hall - who had worked with Ella Fitzgerald, Sonny Rollins, and Chico Hamilton - started his partnership with Evans during this time. Recorded over two sessions in April and May 1962, the two have that beautifully unspoken musical language of give and take; their recordings are refreshingly busy but also incredibly sparse. These two giants understand that intertwining their personalities and harmonic styles could create greatness. This notable re-issue is an all-analog production affair—AAA Mastered and cut live by audio guru Kevin Gray (Miles Davis, Herbie Hancock, Charles Mingus)—and it’s never sounded better. So dim the lights and let this music breathe with you; it’s an incredible listen and an essential album for both the novice listener wanting to dip their toe into the genre or the audiophile who needs to replace their well-worn vinyl copy. And depending on your day, it will color your mood in any emotive shade you desire.

When giants of Jazz join together in conjugal jamming the resultant jousting can be less than jubilant. That was often the case in the era when promoters and record producers thought it a bright idea to create battle conditions at concerts and on albums. Undercurrent features the protagonists unsupported by a rhythm section, and relies on their intuition and telepathic understanding to create the interplay revealed in this album. Much admired as an influence on other Pianists, Bill Evans won seven Grammy Awards and a led a Trio that released many acclaimed albums. While Jim Hall continued playing, composing and arranging touring the world, receiving myriad awards in recognition of his achievements.

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!

Trumpeter Blue Mitchell had a soulful, swinging style and was equally at home in jazz, R&B, and funk settings. This 1965 date featured his Horace Silver bandmates Junior Cook on tenor sax and Gene Taylor on bass along with a 24-year-old Chick Corea on piano and 22-year-old Al Foster on drums.

“BLUE NOTE TONE POET EDITION: Stereo, produced by Joe Harley, mastered by Kevin Gray from the original analogue master tapes, pressed on 180g vinyl at RTI, packaged in a deluxe gatefold tip-on jacket.

All Analog Process From The Original Master Tapes. Cut by Kevin Gray. 1967’s Hip Hug-Her is one of their most beloved records. Spawning two significant hits, their cover of the Young Rascals “Groovin” and the title track "Hip Hug-Her"

All Analog Process From The Original Master Tapes. Cut by Kevin Gray. Long out of print 1965 Mono release. Featuring the legendary The Mar-Keys’ horn section. Includes the hit single "Soul Dressing". Limited Clear Vinyl Pressing

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.

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.

/ Bar Kays 'soul finger'

Exclusive Version Of The Mega Northern Soul Classic With None Other Than The One And Only Mrs. Holloway Providing The Soulfulful Vox

Depending on the nature of the person involved, success either dictates more and more compulsive activity, or else it permits relaxation. With Cannonball Adderley, the latter certainly appears to be the case; and this album can, among other things, serve as a testimonial to the truth of the impression. In a peculiar way, the present album is a result of that success. For it is something that Adderley might well not have dared attempt in the past, and that he might not have been able to convince his record company to do. This his most satisfying LP. The nature of this album should be immediately apparent from Adderley's choice of associates. Cannonball feels, and many agree, that pianist Bill Evans is unexcelled when moody delicacy is called for.