Organic Grooves Vinyl 446 Items

The only one of tenor saxophonist Tina Brooks’ albums as a leader to be released during his too-brief lifetime, 1960’s True Blue is a hard bop masterpiece featuring Brooks’ distinctive compositions performed by an exceptional quintet with Freddie Hubbard on trumpet, Duke Jordan on piano, Sam Jones on bass, and Art Taylor on drums.



Blue Note Classic Vinyl Edition: Stereo, mastered from a digital source by Kevin Gray, manufactured at Optimal (180 g), padded inner sleeves.

Bobby Hutcherson’s cutting-edge 1969 session "Medina" found the vibraphonist with a remarkable band featuring Harold Land on tenor saxophone & flute, Stanley Cowell on piano, Reggie Johnson on bass, and Joe Chambers on drums. The set presents original compositions by Hutcherson, Cowell, and Chambers.
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 single sleeve with deluxe tip-on jacket.

Terumasa Hino is undoubtedly one of the most famous Japanese jazzmen. Learning the trumpet at the age of 9, he began his career as a professional musician by playing in the orchestra of an US Army base, before joining Hideo Shiraki"s Quintet and then forming his own band in 1964. On Hi-Nology we find his brother Motohiko Hino on drums, Hiroma Suzuki on electric piano, Kumitsu Inaba on electric bass and Takeru Muraoka ontenor sax. The inspiration from the "electric period" of Miles Davis (notably Miles In The Sky released in 1968) is felt and is even accepted, since the opening piece is entitled "Like Miles". Coincidentally, Hi-Nology was recorded on July 31, 1969, the day after the release of In a Silent Way and has nothing to envy of this great record by Miles Davis.

180g 2LP 45rpm

Jewels of Thought is an album by the American jazz saxophonist Pharoah Sanders. It was recorded at Plaza Sound Studios in New York City on October 20, 1969, and was released on Impulse! Records in the same year.

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.

Quantity: 1000
Release type: RSD Limited Run / Regional Focus Release

With his big, warm, round-toned sound, sophisticated phrasing, and hip quotes, Dexter Gordon was one of the major forces on the tenor saxophone from the mid-1940s until his death in 1990. Gordon was cited by both Sonny Rollins and John Coltrane as a major influence on their playing and is acknowledged as a jazz icon.

The popularity of mainstream jazz was on the decline in the States during the 1960s. The Vietnam war and racial turmoil were in high gear, and many of the music’s top-flight musicians, including Gordon, migrated to Europe in order both to escape and to make a living playing jazz. Gordon eventually settled in Copenhagen, Denmark. During this period, he usually played and recorded backed by a piano trio, but this 1969 recording is different. The usual quartet has been expanded with some of those premiere jazz ‘refugees’, each a major voice on his instrument, assembled for the session.

One of the great modern jazz trombonists, Slide Hampton, is also a composer/arranger of note. The album was a collaborative venture between Gordon and Hampton, and three of the compositions and all the arrangements on the album are his. The classy Jamaican trumpeter Dizzy Reese completes the front line. The rhythm section includes two jazz giants who were Gordon’s constant companions at Copenhagen’s famous Club Montmartre, fellow American expatriate pianist Kenny Drew and the great Danish bassist N-H Örsted-Peterson. The Gordon/Drew pairing is one of the classic horn-/piano matchups in jazz, and has often been compared with the Miles Davis/Red Garland and John Coltrane/McCoy Tyner pairings. Art Taylor, who “helped define the sound of modern drumming”, was brought in from Paris to complete the all-star rhythm section.

In the late 1960s, vibraphonist Roy Ayers was among the top young talents in jazz, thriving during a remarkable era for the genre. While Ayers would later become a jazz-funk pioneer and delve heavily into R&B fusions, his third album Stoned Soul Picnic is a masterful showcase of soul-jazz grooves. Produced by Herbie Mann, Stoned Soul Picnic features a memorable Laura Nyro-penned title track, along with an exceptional lineup of musicians, including Gary Bartz, Hubert Laws, Ron Carter, Herbie Hancock, and Grady Tate. Originally released in 1968, this early Roy Ayers classic is now receiving an official reissue via Nature Sounds.

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!

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.

Kashmere Stage Band (ksb), founded by music teacher Conrad O. Johnson was an elite performing unit of the student band at Kashmere High School, Houston, Texas, from the late 1960s until 1978. All original Kashmere LPs had 1000 copies or less originally pressed, which were sold both locally and around the world as the band toured. And now, P-vine is proud to present the historically renowned albums from the band on limited reissue vinyl! some of them will be reissued on vinyl for the first time.

[Items line-up] Kashmere Stage Band / Our Thing ('69) Kashmere Stage Band / Bumper To Bumper Soul ('70) ※First time reissued on vinyl Kashmere Stage Band / Thunder Soul ('71) ※First time reissued on vinyl Kashmere Stage Band / Zero Point ('72) Kashmere Stage Band / Kashmere "73" Live in Concert ('73) ※First time reissued on vinyl Kashmere Stage Band / Out Of Gas But Still Burning ('74) Kashmere Stage Band / Plays Originals ('74) Kashmere Stage Band / Expo '75 Concert Tour Japan/Okinawa ('75) ※First time reissued on vinyl

Here are the fabulous Mar-Keys, the Memphis based group, remembered to be the first house band at Stax Records. A bunch of talented, solid studio musicians who formed the foundation for the legendary Stax sound. Originally issued in early 1962, "Do the Pop-Eye" was the band's second album, a collection of minimal, infectious Soul-Funk-Rock instrumentals. Among the players: guitarist and composer Steve Cropper, bassist Donald “Duck” Dunn and organist Booker T. Jones. Just the right people to lay down the perfect groove for a quintessential album of instrumental music to dance to.

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

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

After his great success as a new discovery through playing on tour and in the studio with Art Blakey’s creative and inspirational group, the Jazz Messengers, Freddie Hubbard made a dozen LPs over 16 years for Blue Note and Impulse under his own direction.
It was no wonder then that a big record company made him a lucrative offer in autumn 1966. All in all, Atlantic Records released six LPs and the very first, entitled "Backlash", is still until today the best of the bunch.
Three numbers by Freddie Hubbard, one by Bob Cunningham, and two by friends, provide the basis for a successful transition between hard bop and soul beat. Hubbard made high demands on his fellow musicians James Spaulding, Albert Dailey and especially the bass player Bob Cunningham and the drummer Ray Appleton because they had to cope with the ever-changing beat. Right from the very first note, it is obvious that Freddie Hubbard had Fats Navarro and Clifford Brown in his heart and fingers. All the titles are excellent. Of special note, however, is "Little Sunflower". The sound colouring of the flute harmonizes particularly well with Hubbard’s brass, and Ray Barretto’s contribution is more than mere decoration. You’re certainly on the right track with this LP, no matter whether it’s the beginning of a Freddie Hubbard collection or a further contribution to a large jazz collection.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.

Recording: 1967 by Tom Dowd, Phil Jehle and Adrian Barber
Production: Arif Mardin

Johnnie Mae Mathews is fondly referred to as being 'The Godmother Of Detroit Soul' as she was responsible for creating at least 8 different Detroit record labels and for discovering and nurturing many future Motown artists in their early years. In fact she was a major source of inspiration for the young Berry Gordy, founder of Motown. We are delighted to finally be releasing what many people consider to be the pinnacle of independent Detroit Soul music, the impeccable and gut-wrenching 'I Have No Choice', the defining record of Johnnie Mae Mathews many recordings with the equally impressive 'That’s When It Hurts' on the flip. 'I Have No Choice' is a record that has finally hit the heights it always deserved after being a cult record for almost 50 years and is now commanding a staggering £1200-1500 for a decent original copy for those lucky enough to be in that league. This will be a historic RSD release with comprehensive notes and photos from Johnnie Mae Mathews expert Richard Gilbert. If you’re a Soul music fan, then this record is indispensable. Full picture sleeve featuring Johnny herself in full swing, with liner notes, and fully remastered, heavyweight vinyl 45.

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.

In April 1966, the duo of Graves and pianist Don Pullen played at Yale University. As John Corbett writes in the liner notes, "This performance was something of a turning point for Graves. Until then he had been working in other people's bands or collective ensembles. He was phenomenally busy. In 1965 alone, he recorded with Nyaq (two LPs), Giuseppi Logan Quartet, Paul Bley Quintet and Lowell Davidson Trio, and he made his first recording released under his own name, Percussion Ensemble. Every one of these is important in its own way, but none of them quite anticipate how radical was the music that he and Pullen would unleash that evening in New Haven." Originally released on the artists' own Self-Reliance Program label, this legendary one-night performance would be split into two volumes: In Concert At Yale University and Nommo. While rooted in African rhythms, Graves' music has its own sense of time. As the drummer stated in a 1966 DownBeat interview, "Time was always there, and the time I see is not the same as what man says time is. It works by impulsion."