Organic Grooves Vinyl 480 Items

Why you'll love it...
Ray Barretto’s songs are cinematic. Artfully composed, richly orchestrated, each one feels like something deserving of big-screen wonderment. And, indeed, from Martin Scorsese’s Mean Streets (''Ritmo Sabroso'') and Oliver Stone’s JFK (''El Watusi'') to Lee Daniels’ Precious (''Teacher of Love'') to Tom McCarthy’s Spotlight (''Cocinando Suave''), his music as a bandleader made it into movies of major importance across the decades. Of course, you don’t need to be a card-carrying cinephile to appreciate the moods and magnitudes expressed by his work, especially his seminal 1968 album Acid for Fania Records.

It takes more than a minute into ‘’Acid'' before Barretto begins showing off on the congas, leading into a nearly three-minute solo marked by fabulous flourishes that culminates with the full band, including pianist Cruz, showing their united might. Elsewhere on Acid, the group would have dutifully jumped headfirst into this mode, but here it is just a spectacular finish to a rhythmic story — Barretto’s story — told like the best film you’ve never seen.

Why you'll love it...
Freddie Roach’s first three albums introduced him to the world, but Brown Sugar showed it who he was. It was the album that Roach made to capture the energy of soul jazz. To somehow take the sounds in the city, in the clubs, and bring them to a record. In his original liner notes, Roach writes that the album is an ode to late nights and loud clubs, to backs damp with sweat, arms wrapped around waists. ‘’Not caring for the moment about troubles or problems,'' he wrote of people dancing, ‘’their bodies quivering under smiles that seemed to promise ‘after the dance.’'' After talking to Alfred Lion, president of Blue Note, they decided that the album needed to be made up of standards — not the standards of the stage or screen, but the standards of the people. ‘’To get the ‘soul,’'' Roach wrote, ‘’I decided to do show soul tunes.''

New York based Jazz singer Helen Merrill moved to Europe after her London debut concert in 1959. as she is living in Italy for 4 years, Helen also performed Japan in 1960 and 1963.

Vinyl LP pressing.

Hank Mobley was inspired by 'Birth of the Cool' on his 1966 album 'A Slice of the Top' featuring Duke Pearson’s arrangements for an octet that added euphonium and tuba to a group with James Spaulding on alto sax, Lee Morgan on trumpet, McCoy Tyner on piano, Bob Cranshaw on bass, and Billy Higgins 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, and packaged in a gatefold sleeve with deluxe tip-on jacket.

Produced entirely by Norman Whitfield, The Temptations’s "Puzzle People" takes the next step along the path that Cloud Nine started, and takes the Detroit band further away from a classic soul sound, and more towards the realm of psychedelic soul. Although a few ballads, including “Running Away (Ain’t Gonna Help You),” are still present, the album is primarily composed of Sly & the Family Stone/James Brownderived proto-funk tracks such as the lead single “Don’t Let the Joneses Get You Down,” and the number-one Billboard Pop hit “I Can’t Get Next to You.” Also included are psychedelic-styled covers (recorded with distorted guitars, clavinets, and spacy reverb and sound effects) of contemporary songs such as The Isley Brothers’ “It’s Your Thing,” The Beatles’ “Hey Jude,” and Roger Miller’s “Little Green Apples.” "Puzzle People" was released on the same day (September 23, 1969) as "Together", a duets album of covers by The Temptations and label mates Diana Ross & the Supremes. It peaked into the Top 5 on the Billboard Pop Albums chart, and spent fifteen weeks at number one on the R&B Albums chart.

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

One of the great line-ups of Art Blakey & The Jazz Messengers coalesced when saxophonist Wayne Shorter joined trumpeter Lee Morgan, pianist Bobby Timmons, and bassist Jymie Merritt, as heard on the 1960 album "A Night In Tunisia". Opening with a fiery version of Dizzy Gillespie’s famous piece, the rest of the set showcased new bandmember originals.

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.

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.

Why you'll love it...
The late '60s were a mixed bag for Muddy Waters. In 1969, Waters needed to pivot, and away from the longhairs. He made ‘Fathers and Sons’.

Why you'll love it...
The songs that populate Odetta and the Blues are 1920s blues and jazz standards sung by the likes of Bessie Smith, Gertrude “Ma” Rainey, Mississippi John Hurt, Leroy Carr and other titans of the time and genre. Most are traditional, unattributable to any one songwriter — but all are linked to Black musicians. In this way, the album feels like an important (and understandable) aspect of Odetta’s quest to show America the myriad ways this country’s music wouldn’t be what it is without Black Americans.

Odetta makes each track sound timeless and true, but also utterly, entirely her own. I think that’s the hallmark of a true and truly unique talent — and a sign that the artist in question understands the assignment, as it were: to find the throughlines between their perspective and the art itself; to preserve the original message and add one of your own, like a constructive game of Telephone. There’s an art to being a cover artist and an art to being an archivist.

Why you'll love it...
Tennessee Woman is an undervalued Chicago blues masterpiece, a flawlessly executed showcase for Charlie Musselwhite’s unique blues harp sound, an album that perfectly meshed the urban, raucous sounds of Chicago electric blues of Musselwhite’s adult life and the down-home sound of the Memphis blues of his youth. Musselwhite never set out to be a musician; he just wanted to find a job in Chicago that would allow him some spending money to see the blues musicians he loved. When it came time to make his own records, all of Charlie Musselwhite went into Tennessee Woman, and you can hear it from the first notes.

180 gram audiophile vinyl
Sleeve finished with linen laminate
Recorded live at the Philharmonic Hall at Lincoln Center, New York, February 12, 1964
Featuring Herbie Hancock, George Coleman, Ron Carter and Tony Williams
Album produced by Teo Macero
Black vinyl

Recorded at the same Feb. 12, 1964 New York concert that yielded the more balladic album My Funny Valentine, Four & More showcases the Miles Davis quintet at their blistering best. The great trumpeter and bandleader (1926-1991), and his stellar group, which was less than a year old at the time of this recording, mostly essayed tempos that ranged from Indianapolis 500 to Bonneville Salt Flats. Offering a well-balanced, albeit reconfigured, repertoire featuring the familiar hard-bop strains of “Four” and “Walkin’,” newer, original free bop compositions like “Joshua” and “Seven Steps To Heaven,” and the standard “There Is No Greater Love,” which the ensemble performed relatively infrequently and is the only tune herein not taken at a supersonic pace, the quintet electrified a sold out Philharmonic Hall. Spurred on consistently by the mercurial rhythm section of pianist Herbie Hancock (23 years old at the time), bassist Ron Carter (then 26), and especially by the cross rhythms of 18-year old genius drummer Tony Williams, Davis’ work, particularly in the upper register, was seldom more commanding. As for his front line partner, tenor saxophonist George Coleman, Davis would write in his autobiography that he “played better that night than I ever heard him play.”

Four & More is available on black vinyl and comes in a sleeve finished with linen laminate.

Why you'll love it...
During the pagan hours of an otherwise uneventful Harlem pre-dawn in 1963, Gary Bartz glimpsed a galactic mystery that conventional aeronautics could not explain. Only a few weeks prior, the nascent alto saxophone virtuoso had acquired his first telescope to pursue a newfound passion for astronomy. The purchase was already yielding dividends.

The recent Juilliard graduate’s fascination with the heavens began with astrology, but the then 22-year-old quickly realized that those celestial sketches were just photographs of the sky as captured during a specific orbit. Why bother with the rough blueprint when you could witness the entire electromagnetic spectrum in its full glory?

Why you'll love it...
Let’s start with the scream. We tend to define our singers by how “great” their voice is, how deftly they can ascend and descend major and minor scales, and how they can turn up and turn down the emotion inherent in their voices. But when considering Wilson Pickett, it begins and ends with his scream. He could take you on a journey, he could butter you up, he could make you feel things in your vital organs, but you don’t get a nickname like “Wicked Pickett” because you’re a crooner.

Pickett’s “Hey Jude” forms the spiritual centerpiece and title track of hisfinal trip up to the mountain-top, his last true masterpiece LP. He’d take forays to Philadelphia for the new sound of soul, and even go vaguely disco in the late ’70s. But for his final album of the ’60s, a decade where he dominated the soul charts, he’d unwittingly help start southern rock, and scream his way across one of the most recognizable tunes in the history of song. Not bad for 31 minutes and eight seconds worth of music.

The collaborative album 5 Na Bossa was originally released in 1965 on Philips Brazil and featured some of the top player of the genre. If you are into the sound of Nara Leão, Edu Lobo and Tamba Trio this is a magical encounter, bringing together Nara's soft voice, Edu's battering guitar and Tamba's swinging vocals. Featuring classic compositions like ‘Reza’ and ‘Zambi’ this album is a must have for any fans of the latin jazz legacy. The set was recorded live at the Paramount Theater in Sao Paulo.

Recorded in 1965 at Rudy Van Gelder's studio in New Jersey, Roland Kirk's album Rip, Rig and Panic finds him teamed with the most awesome rhythm section he ever recorded with: pianist Jaki Byard, bassist Richard Davis, and drummer Elvin Jones. It received a 5 stars rating on AllMusic, with reviewer Thom Jurek stating that "Rip, Rig, and Panic may be pre-Rahsaan Roland Kirk's greatest outing. Kirk and his quartet moved through a series of musicological changes that defined him as an artist at the time. Five of the seven compositions are his, and reach through each of the phases that Kirk was interested in integrating into his compositional and improvisational voice. Positively smashing."

Originally released on Roulette records in 1960, this is a unique and yet often overlooked document in the form of a split album featuring early, little known works by John Coltrane and Lee Morgan. Coltrane, already in full modal flight, is featured with an unusual quartet that includes McCoy Tyner on piano, Steven Davis on bass and the great Billy Higgins on drums. Lee Morgan's straight ahead hard bop set sees the young trumpet genius leading a hard swinging group that includes a fabulous Wayne Shorter on tenor sax, Bobby Timmons on piano (both were Morgan's colleagues in Art Blakey Jazz Messengers) Jimmy Rowser on bass and Art Taylor on drums. A must have item for fans of these two masters of modern jazz

Even by the high-water marks set by Herbie Hancock’s tremendous 1960s Blue Note output, 1965’s Maiden Voyage remains one of the pinnacle artistic achievements of the great pianist’s career. Hancock is joined here by his Miles Davis Quintet bandmates Ron Carter on bass and Tony Williams on drums, along with Freddie Hubbard on trumpet and George Coleman on tenor saxophone. The quintet embarks on an oceanic exploration of five original Hancock compositions, several of which have since become enduring standards of the jazz lexicon including the title track, “Eye of the Hurricane,” and “Dolphin Dance.”

Mixed Bag is the debut studio album by Richie Havens, released in 1966. Mixed Bag is frequently cited as the singer's best work,[1] and was his first album to appear on Billboard's charts (appearing on both the jazz and pop charts). The recording was the first to introduce a wider audience to Havens's rich baritone vocals and the full-sound of Havens's distinct guitar style (thumb-chorded and played in open E tuning).[1] Electric Havens and Mixed Bag were two of the records reported among the personal collection of Havens' one-time Greenwich Village buddy, Jimi Hendrix.