Organic Grooves Vinyl 458 Items

Der Saxophonist Sam Rivers hatte sich schon sehr früh in seiner Karriere durch bemerkenswerte Originalität ausgezeichnet. Nach einem kurzen Intermezzo im zweiten großen Quintett von Miles Davis, spielte Rivers im Dezember 1964 für Blue Note sein Debütalbum “Fuchsia Swing Song” ein. Das Repertoire bestand aus sechs Kompositionen von Rivers, die zwar fest im Post-Bop und Blues wurzelten, aber die avantgardistischen Tendenzen des Saxophonisten auch nicht leugnen konnten. Das Highlight des Albums ist die atemberaubende Ballade “Beatrice”, die später sogar von den Tenor-Giganten Joe Henderson und Stan Getz aufgegriffen und interpretiert wurde.

BLUE NOTE CLASSIC VINYL EDITION: Stereo, komplett analog von Kevin Gray von den Originalbändern gemastert, Optimal-Pressung (180 g), wattierte Innenhülle.

Guitarist Kenny Burrell debuted on Blue Note Records in 1956 and over the following seven years made a series of excellent albums for the label that culminated with his masterwork Midnight Blue. Recorded in 1963, the album waded deep into the blues, conjuring an alluring late-night vibe with a profoundly soulful cast including tenor saxophonist Stanley Turrentine, bassist Major Holley, Jr., drummer Bill English, and Ray Barretto on congas.
Burrell originals including “Chitlins con Carne,” “Midnight Blue,” “Saturday Night Blues,” and the stunning solo guitar piece “Soul Lament” set the tone for this timeless classic adorned by one of the all-time great Reid Miles cover designs.

Time and troubles seem to melt away during the fifteen enrapturing minutes of “Idle Moments,” the opening track of Grant Green’s sublime 1963 album of the same name. As the piece unhurriedly unfurls all the unique colours of the ensemble present themselves with Green’s soulful guitar joined by Duke Pearson’s elegant piano, Bobby Hutcherson’s crystalline vibraphone, Bob Cranshaw’s reassuring upright bass, Al Harewood’s subtle drums, and Joe Henderson’s magnificent tenor saxophone. The pace quickens for the rest of this tremendous set including the nimble Green original “Jean de Fleur,” a bluesy take on John Lewis’ MJQ standard “Django,” and a driving performance of Pearson’s original “Nomad.”

After appearing on Blue Note albums by Ike Quebec, Hammond B3 organist Freddie Roach made his own run of soul jazz classics for the label including the standout 1963 date 'Good Move' featuring Blue Mitchell on trumpet, Hank Mobley on tenor saxophone, Eddie Wright on guitar, and Clarence Johnston on drums.

BLUE NOTE TONE POET EDITION: Mono, 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.

Limited Clear Vinyl edition, 300 copies! First released in 1963 on Phillips Records, this was Jorge Ben's debut album. "Samba Esquema Novo", which translates to 'New Style Samba' deliberately sets a new standard in Brazilian music. A beautiful, fresh and vital combination of Ben's percussive guitar and smooth/rough voice backed by Big Band style horns, percussion (the great Dom Um Romao) and strings. In 2007, it was listed by Rolling Stone Brazil as one of the 100 best Brazilian albums in history, but It would be enough to remind you that this is the album containing the first original version of "Mas Que Nada' one of the most popular songs in the world!

The album "Night Lights" by American jazz saxophonist Gerry Mulligan was released in 1963, at the height of the bossa nova boom of the early 1960s. Laid-back rhythms and lyrical compositions leave room for improvisations and charming arrangements of signature solos by his fellow musicians - in addition to three original compositions, there are relaxed versions of Chopin's "Prelude in E Minor" and the Brazilian anthem "Morning of the Carnival" from Luiz Bonfa's "Black Orpheus".



Verve Acoustic Sounds Series: mastered fully analogue from the original tapes by Ryan K. Smith at Sterling Sound, QPR pressing (180 g), firm tip-on gatefold (Stoughton Printing), padded inner sleeve, Gatefold Sleeve.

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.''

The Latin Jazz classic that started it all! Mandatory!

1964 was one of the most momentous years in the musical life of Wayne Shorter. Early in the year the saxophonist was still a member of Art Blakey & The Jazz Messengers, appearing on classic Blue Note albums like Free for All and Indestructible. Shorter made his own auspicious label debut that spring with Night Dreamer and quickly recorded the impressive follow-up JuJu. That summer he joined the Miles Davis Quintet, cementing a line-up that would become one of the seminal bands in jazz history. And when Shorter entered Van Gelder Studio with Freddie Hubbard, Herbie Hancock, Ron Carter, and Elvin Jones on Christmas Eve 1964 they created a masterpiece with Speak No Evil, a transcendent set of six Shorter originals including the swinging title track, “Witch Hunt,” and sublime ballad “Infant Eyes.”

Nobody had expected the extraordinary success of this album and its funky title track. When Blue Note released trumpeter Lee Morgan's “The Sidewinder” in 1964, the label “only” pressed 4,000 copies, but they were completely sold out within three days. The instrumental album reached number 25 in the pop charts and number 10 in the rhythm'n'blues charts, while the soul-jazzy title track, which was shortened for that, was also successful as a single. The album, recorded with tenor saxophonist Joe Henderson, pianist Barry Harris, bassist Bob Cranshaw and drummer Billy Higgins, is now a classic album that should be in every jazz collection.

“Is that what you wanted, Alfred?” we hear in Miles Davis’ unmistakable rasp at the end of “One for Daddy-O,” making it clear that the legendary (and assertive) trumpeter was not just playing the role of sideman on Somethin’ Else, the sole Blue Note album by Cannonball Adderley. The alto saxophonist was a memb¬er of Davis’ band at the time and the depth of their musical camaraderie lifts this session up to rarefied heights throughout, from the breathtaking performance of “Autumn Leaves” that opens the album to the thrilling call-and-response theme of the title track. Pianist Hank Jones, bassist Sam Jones, and drummer Art Blakey round out the quintet on this timeless classic.

Elis Regina one of the greatest Brazilian interpreters of all time! Originally released in 1963 when she was not even 20 years old, this was her fourth album and second for Columbia records. Still a few steps before she became a star, here Elis Regina's fresh and extremely ductile voice shines on top of sophisticated Jazz arrangements by Astor Silva and a mixed repertoire based on charming romantic songs and vibrant sambas, all composed by Brazilian authors, among them a couple of highlights such as Baden Powell's "Se Você. Quiser" and "O Ben do Amor" the title track composed by guitarist Rildo Hora. This is an an early and fine statement in Regina's fast way to the peak of Brazilian music history.

In 1963, tenor saxophonist Harold Vick made his sole album as a leader for Blue Note, the underrated soul jazz gem „Steppin’ Out“. The record finds its groove from the first downbeat and stays firmly in the pocket throughout this set featuring Blue Mitchell, Grant Green, John Patton, and Ben Dixon.



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



Harold Vick (tenor saxophone); Big John Patton (organ);

Grant Green (guitar); Ben Dixon (drums); Blue Mitchell (trumpet)

Limited Clear Vinyl edition, 500 copies! Originally released on Impulse in 1962 "Soul Trombone and the Jazz Clan" was a major statement from one of the great trombone players in American jazz. Here Fuller displays an outstanding hard-bop ensemble based on a bunch of great individuals all at the top of their game. Fuller himself is part of a super strong horn section with trumpeter Freddie Hubbard and tenor saxophonist Jimmy Heath, while the groove is assured by a hard swinging rhythm section with pianist Cedar Walton, bassist Jimmie Merritt and drummer Jimmy Cobb. Fuller gives lots of space to his musicians who naturally respond and empathize with great solos.In one word: an outstanding record!

The album Rock 'n Soul was originally released in 1964 by Grammy Award winning Solomon Burke (†2010). 7 tracks ended up in Top 100 Billboard Hits at the time. "If You Need Me" went as high as #2 in the Black Singles Chart. This extraordinary album is not only soulful but a confirmation that Burke is a genius when it comes to writing music and making it happen in a studio!

Monk's Dream is the first album jazz musician Thelonious Monk released on Columbia Records. Jazz scholars and enthusiasts alike also heralded this combo as the best Monk had been involved with for several years.

180g audiophile vinyl.

Jamaican-born jazz trumpeter Dizzy Reece recorded one of his best opus in 1962. Released on the New Jazz label the album featured greats such as bassist Ron Carter, renowned saxophonist Cecil Payne and pianist Hank Jones. It’s a beautifully recorded and sequenced album, the compositions reflecting Reece’s interest in the music of the Asian continent and regions of North Africa, with each piece transitioning nicely into the next. Asia Minor would be the last session Reece would lead until 1967/68. A fixture of the European jazz scene of the Fifties, Reece came to New York in 1959. This intriguing, Eastern-flavored date, is still regarded has one of the best example of cross-pollination in the jazz genre.

Sahib, besides being an undisputed leader and releasing records for prestigious European and American labels, was one of the key members of the prestigious Kenny Clarke Francy Boland Big Band.

"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.

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.

John Coltrane Quartet — A Love Supreme Analogue Productions' Uhqr, the pinnacle of high-quality vinyl! 45 RPM Ultra High Quality Record release. Limited to 10,000 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 images from the Coltrane home

Audiophile reviews rave about saxophone master John Coltrane's immortal Impulse! records, A Love Supreme (1964) and Ballads (1963). In fact, jazz critics have lauded A Love Supreme as Coltrane's most important recording. The rave reviews which appeared in the magazines Downbeat, Jazz Hot, Jazz Podium and Swing-journal reflected this: critics all over the world, in America, Europe and Japan recognized that Coltrane's deep religious belief had influenced both his approach to life and his music-making.

You're about to experience A Love Supreme 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 12" x 12" 12-page booklet featuring liner notes by Ashley Kahn and images from the Coltrane home.

The original master tape is available but it's not in the best shape. This LP was cut from a flat tape copy made by Rudy Van Gelder and used for cutting in the UK in April of 1965. Of course, the original recording was in December '64, so only a handful of months later. This tape was discovered at Abbey Road and had been untouched between 1965 and 2002. So while the original tape is available and while we would always opt for the original whenever we can, in this case this copy was the better choice as the tape has incurred less overall wear and sounds much better than the original.

A Love Supreme was Coltrane's pinnacle studio outing that at once compiled all of his innovations from his past, spoke of his current deep spirituality, and also gave a glimpse into the next two and a half years (sadly, those would be his last). Recorded at the end of 1964, Trane's classic quartet of Elvin Jones, McCoy Tyner, and Jimmy Garrison stepped in and created one of the most thought-provoking albums of their relationship.

The album not only enabled Coltrane to express himself with great intensity but also lent him the necessary inner peace to conceive a work of almost 40 minutes in length and to lead his quartet along the same path as himself.