Organic Grooves Vinyl 286 Items

Originally issued in Stereo on Prestige LP (PR 7190) Subsequently reissued in the Prestige/New Jazz budget subsidiary label Status (ST 7190) The John Wright Trio John Wright (piano), Wendell Roberts (bass), Walter McCants (drums). Recorded at Rudy Van Gelder Studios in Englewood Cliff, New Jersey, August 30, 1960 Engineered & mastered by Rudy Van Gelder Cover photo & design: Esmond Edwards Back-liner notes: LeRoi Jones Recording supervised by Esmond Edwards

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".

Vibes player Johnny Lytle was one of the heroes of the early acid jazz club circuit, with his cut 'Selim' being an anthem of the scene.

Los Syn were born in 1966 in Chile, formed by four young lads from the US whose parents were working in Santiago at the time, and they released this sole 45 before all going back to the US next year. The record is practically nowhere to be found, and such an amazing example of teen garage folk-punk the way we all lose our head for.

Limited reissue of 500 copies, with an insert with liners by Gary Pilgram (bass player), and two postcards with unseen photos!

Tenor saxophonist Hank Mobley had already led nine dates for Blue Note Records by the time he arrived at Rudy Van Gelder’s studio on February 7, 1960 with pianist Wynton Kelly, bassist Paul Chambers, and drummer Art Blakey, but on that day the quartet laid down what would become his masterpiece: Soul Station.

The crystalline six-song set was a showcase for Mobley’s lyrical flow from the breezy opening take on Irving Berlin’s “Remember” through bluesy originals like “Dig Dis” and the title track, and the swinging up-tempo numbers “This I Dig of You” and “Split Feelin’s.” Soul Station endures as a jazz classic for the ages..

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

Ike Turner, a guitarist, pianist, band leader, producer, talent scout... With his diverse talents, he excelled in many fields. In a recent announcement from Rolling Stone magazine, he was ranked 148th in the "250 Greatest Guitarists of All Time," highlighting his undeniable talent as a guitarist. His 1st album "Rock The Blues," recorded in the 1950s and released on Crown Records in 1963, serves as proof of his exceptional skills and originality as a guitarist. P-vine is delightfully reissuing the important album on Japanese edition vinyl with Obi-strip for the first time.

Best known for his work with Charles Mingus, pianist Horace Parlan began recording for Blue Note in 1960 with an excellent run of hard bop classics including Speakin’ My Piece, a quintet date featuring a frontline of Stanley Turrentine on saxophone and Tommy Turrentine on trumpet with the rhythm team of George Tucker on bass and Al Harewood on drums.



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

Art Blakey and the Jazz Messengers with Barney Wilen provide an essential jazz soundtrack to an extended ‘surprise party’ scene in director Roger Vadim’s 'Les liaisons dangereuses'. Originally released on the Fontana label, Blakey’s lively hard-bop and latin originals were used specifically as night club and party music in the film and his ‘No Problem’ became a classic with Blakey’s band in full flight. Decca France present the original soundtrack recording on 180gm vinyl in a deluxe gatefold tip-on jacket with English translation of the original liner notes, and a photo from the film of Gérard Philippe and Jeanne Moreau. Included is a 2pp insert with additional notes by recording producer Marcel Romano from 1988.

"Silver’s Serenade" was the last album Horace Silver made with his celebrated Quintet with Blue Mitchell, Junior Cook, Gene Taylor and Roy Brooks. These five Silver tunes epitomize his compositional style: captivating melodies, sophisticated harmonies and intricate rhythms with an unerring sense of swing.



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, and packaged in a deluxe tip-on jacket.

Limited green colored vinyl LP pressing.

Vibraphonist Bobby Hutcherson’s 1966 album Stick-Up! found him in the company of a new band line-up with Joe Henderson, McCoy Tyner, Herbie Lewis, and Billy Higgins. The quintet covers a vast expanse of post-bop territory on five Hutcherson originals plus Ornette Coleman’s “Una Muy Bonita.”

This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.



Bobby Hutcherson (vibraphone); Joe Henderson (tenor saxophone); McCoy Tyner (piano); Herbie Lewis (bass); Billy Higgins (drums)

Originally issued as Savoy Records MG 12154

The Booker Ervin Quintet Booker Ervin (tenor sax), Richard Williams (trumpet), Horace Parlan (piano), George Tucker (bass), Dannie Richmond (drums). Recorded at Medallion Studios, Newark, New Jersey, on November 26, 1960

Sound engineer: Paul Cady Cover art: Lee Jack Morton Liner notes & recording supervision by Tom Wilson Album preparation: Herman Lubinsky

First time vinyl reissue of Jose Roberto Bertrami's 1966 ‘José Roberto Trio’ via Far Out Recordings. Best known as the keyboardist and bandleader of legendary trio Azymuth, the late José Roberto Bertrami also wrote for, arranged for and performed with Elis Regina, George Duke, Sarah Vaughn, Jorge Ben, Eddie Palmieri, Milton Nascimento, Flora Purim and Erasmo Carlos, among countless others.

Numbered, Limited Edition - 5000 Copies!

Available On All-Analog Hq-180 For The First Time Ever!

Mastered by Chris Bellman From The Original Analog Master Tapes!



Sometimes in the course of our exploration of potential titles to reissue, we come across a true gem that somehow escaped mainstream popularity. Our new all-analog Hq-180 of Matador by trumpeter Kenny Dorham and his quintet is the latest and perhaps most crystalline example of this. There has never been a single 180-gram pressing available. It has only been reissued (officially) once in 50 years. When you hear it, you'll scratch your head raw that this under-appreciated gem has been missing for so long.

Working with a soulful Jackie McLean on alto, a loose and swinging Bobby Timmons on piano, and the locked-in rhythm section of Teddy Smith on bass and J.C. Moses on drums, the playing is spontaneous, energetic and expressive. Check out the frenetic interplay between Timmons and Moses during the long trailing section of "Melanie".

"Dorham and McLean, two of jazz' most passionate and lyrical players, are in very good form here. Helped by a varied set of material and an energized Timmons, they have fashioned an album of surpassing interest." - Ira Gitler, Downbeat Magazine, April 1963

Recorded in a single day in 1962, Matador contains the sprawling epic McLean-penned "Melanie" (a suite in three parts), as well as Dorham's smoldering "El Matador" and a stirring take on "Beautiful Love". Throughout the session, Timmons, Smith, and Moses provide sublime support while Dorham and McLean trade sinewy solos. Emotional musical exploration ties to readily approachable post-bop structure that make for a snappy, yet heady, mix of tunes that put a tap in your foot while engaging your head and heart.

Chris Bellman cut Matador from the original analog master tape (one of the few that survived the Universal warehouse fire of 2008, lucky for us) and the sound is revelatory! Tight acoustics of the Soundmaker Studios provide tightened bass, crystal-clear drums and beautifully rounded tones from Dorham's and McLean's horns. This is another fine example of Impex Records cutting through the fat of modern music-making to reveal the very essence of the music and the giant talents who created it. We are elated to bring this sadly-neglected classic back for true believers to add to their collection and (maybe more importantly) to a whole new generation to discover for the first time.

"Kenny Dorham's Matador can safely claim the all too common distinction of being a classic among jazz connoisseurs while virtually unknown to the casual listener... A fantastic session by any standard."- Brandon Burke, AllMusic Guide



Features Numbered, Limited Edition Limited To 5000 Pressings Audiophile 180g Vinyl LP 33rpm Available on all-analog LP for the first time in nearly 50 years First time ever on Hq-180 Mastered by Chris Bellman from the original analog master tapes Original single disc jacket with ribbed paper tip-on over heavy-board stock Pressed at RTI



Musicians

Kenny Dorham trumpet

Jackie McLean alto saxophone

Bobby Timmons piano

Teddy Smith bass

J.C. Moses drums

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!

It is 1960, Rock’n’Roll has just lost a couple of its protagonists during this and the previous year, the time of the great balladeers has just begun but soon will run out due to the new and exciting beat invasion. In US mainstream the tiki culture has reached a certain peak and is about to collapse but still goes strong and with it comes the so called “exotica” music, a crossover between smooth jazz and swing, Latin grooves, haunting melodies that are rooted in the folkloristic sounds from different parts of this world plus weird sound effects that often create a spooky jungle or dreamy island beach atmosphere. It can even bend your mind that far you would see palm trees growing out of your speakers and witness monkeys and parrots having fun in your room. Eden Ahbez, born in 1908, passed in 1995, a man living an even more consistent dropout and hippie lifestyle way before the movement was born in the mid 60s, a beat poet and composer who wrote the hit tune “Nature boy” that gave Nat King Cole his first big success in 1947, approaches the field of exotica music from a different point of view creating an epic concept album about an utopian society living in peace and harmony on an island far away from the modern western world as we know it. And indeed we find many trademarks of the prototypical exotica music beginning with this relaxed groove combining easy listening swing and Latin patterns, peaceful, dreamy and even transcendental vocal melodies, tinges of folk music from around the world including powerful dances and a whole color palette of mind expanding sounds giving the whole music an even greater depth and width.

First released in Brazil in 1960 this is Joao Gilberto's second studio effort. A seminal album that just one year later introduced Bossa Nova to the United States. Joao Gilberto, one of the true masters of the genre, displays a great selection of songs including various Tom Jobim's classic gems such as "Samba de Uma Nota Só" ("One Note Samba"), "Corcovado" and "Outra Vez". An essential piece of work in the whole history of Brazilian music.

"Recorded for Berry Gordy's short-lived Workshop Jazz imprint, Roy Brooks' simply but authoritatively titled Beat fuses the intellectual rigors of the modern idiom with the physical prowess of soul-jazz to create a record of uncommon scope and reach. Working with Horace Silver Quintet colleagues Blue Mitchell, Junior Cook, and Gene Taylor alongside Detroit contemporaries George Bohanon and Hugh Lawson, Brooks channels influences spanning the breadth of the Motor City scene, resulting in a clutch of challenging but engaging performances with the unmistakable patina of the embryonic Motown sound. While their technical proficiency is stunning, Brooks' rhythms never lose sight of the almighty groove, and for its hard bop stridency, the record has the proverbial good beat and you can dance to it."

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.

Howlin' Wolf is the third studio album from Chicago blues singer/guitarist/harmonica player Howlin' Wolf. It is a collection of six singles previously released by the Chess label from 1960 through 1962. Because of the illustration on its sleeve, the album is often called The Rockin' Chair Album, which was eventually adopted on subsequent pressings.

180g vinyl.

180g vinyl including download code.

180g vinyl, remastered, two bonus songs.

180g vinyl

Organist Gloria Coleman discovered drummer Pola Roberts and formed a female band with her. In 1963, the "Soul Sisters", joined by guitarist Grant Green and Leo Wright on saxophone recorded this satisfying and soulful album, unique in the Impulse catalog. Produced by Bob Thiele and recorded by Rudy Van Gelder.



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

John Coltrane Quartet — Ballads
Analogue Productions' UHQR, the pinnacle of high-quality vinyl!
45 RPM Ultra High Quality Record release limited to 5,000 copies
Mastered from the original tape by Ryan K. Smith at Sterling Sound
Pressed at Quality Record Pressings using Clarity Vinyl®
Includes a 12" x 12" 12-page booklet featuring liner notes by Ashley Kahn and recording session images by Jim Marshall

Audiophile reviews rave about saxophone master John Coltrane's immortal Impulse! records, A Love Supreme (1964) and Ballads (1963). Ballads is an album that will never go out of style and never be unwelcome on any jazz lover's turntable.

You're about to experience Ballads at its peak of vinyl perfection — in UHQR format on Clarity Vinyl, with the added bonus of a double 45 RPM cut by Ryan K. Smith at Sterling Sound. Ryan's cut has his characteristic clarity and transparency all set against Quality Record Pressing's usual noiseless backgrounds on 200-gram flawless records. Each UHQR will be packaged in a deluxe box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product.

For this 45 RPM 2LP edition you'll also receive a !2" x 12" 12-page booklet featuring liner notes by Ashley Kahn and recording session images by Jim Marshall.

The intense passionate Coltrane interpretation of standards such as "All Or Nothing At All," "What's New," "It's Easy To Remember" and the Sinatra classic "Nancy (With The Laughing Face)" are the essence of Ballads. When asked why attempt such an undertaking, Coltrane replied "Variety."

While it may have been a short detour by Trane before he exploded off into the nether regions of jazz music a few years later, it is still a fantastic document of one of the premier jazz groups of the 1960s.

Recorded December 21, 1961 and September 18 & November 13, 1962 at Rudy Van Gelder Studios.

"It's impossible to sleepwalk through tracks like "You Don't Know What Love Is" and "I Wish I Knew" and impart them with even a fraction of the emotional heft that the Quartet achieves. This is the type of jazz album in which the music just washes over the listener with it's restrained grace and beauty, and while it may not have the adventurousness that some listeners think Trane should have had each and every time he recorded, I'd say it shows off a side of him that only makes us appreciate his more bold and daring albums even more." — The Jazz Record

Recorded at the 1962 Jazz Jamboree festival in Warsaw and originally released in 1963 on Danish Metronome label, here's a true gem from one of the most important figures in Polish music and a founding father of European Jazz. "Ballet Etudes" was one of the three full LPs released during Komeda' short lifetime. His fluent modern jazz conception was a perfect synthesis between the American influence and the European harmonic complexity, a unique kind of marriage colored by a clear Slavic lyricism. For many years considered a rare collector item "Callet Etudes" comes back to life as a major statement in East-European music history.” Allan Botschinsky - trumpet, Jan Wróblewski - tenor sax, Krzysztof Komeda - piano, Roman Dylag - bass, Rune Carlsson drums.

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.