Organic Grooves Vinyl 431 Items

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.

Nice copy considering its age, with some yellowing and light ring wear, but artwork still looking good. Clear signs of use and slightly worn grooves, however plays fine, with just minimal surface noise audible only in some quiet sections.

Slightly warped vinyl, no skipping, plays VG. Cover has discolouration, tear in bottom spine and slight wear. 1968 reissue.

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.

Original US pressing.

Record is close to VG+.

seam split. OBI is missing

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.

Vinyl with scuffs and hairlines

Cover closer to VG+

Copy close to VG+

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."

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.

Sleeve has handwriting.

Cover has small seam splits.

Cover is close to VG+.

Original US pressing. Taped bottom spine.

Some stains on cover. Original US mono pressing.

Original US Pressing. Close to VG+

"Promo" on upper right corner of cover.