Organic Grooves 440 Items

After creating a storm in the 50s with over 30 chart-hitting singles, BB King didn’t slow for a moment as he marched into the next decade. The Great B.B. King, the blues legend’s fifth release for Crown Records, was released in 1960 and collects a number of his iconic 50s hits including “Sweet Sixteen” and “I Had A Woman (Ten Long Years)”. P-vine is delighted to be revisiting this essential album for a limited pressing on 180g heavyweight vinyl paired with an iconic Japanese obi strip.

Originally released in 1962, The Twenty-Fifth Day Of December is The Staples Singers’ holiday classic, featuring traditional songs such as “Joy To The World, “Silent Night,” “Go Tell It On The Mountain” and more. This reissue features the original album artwork and is cut from the analog master, pressed on 180-gram vinyl at Memphis Record Pressing and housed in a tip-on jacket.

Record Store Day 2021 Drop 2 release

The long-awaited reissue of this rare Eastern and psychedelic Jazz LP by the famous Hungarian guitarist, originally released in 1968.

"Due to his decision to settle in Los Angeles, tenor saxophonist Harold Land has long been underrated. A strong bop stylist who later on would be influenced a great deal by John Coltrane, Land in 1959 had a sound closer to Sonny Rollins. For this excellent straight-ahead quintet set with trumpeter Dupree Bolton and pianist Elmo Hope, Land performs four of Hope's superior but little-known compositions along with two of his own. This is high-quality hard bop, easily recommended to fans of straight-ahead jazz." Scott Yanow -All Music Guide

"[...] Tenor saxophonist Harold Land leads an all-star sextet that includes guitarist Wes Montgomery, trumpeter Joe Gordon, pianist Barry Harris, bassist Sam Jones and drummer Louis Hayes. Together, they perform three of Land's originals, "Don't Explain," and Charlie Parker's "Klactoveedsedstene," and an early version of Montgomery's "West Coast Blues." The music is as well-played and swinging as one would expect from this superior bop group." Scott Yanow -All Music Guide

Most listeners only became aware of Billy Preston as a solo artist after he signed to Apple Records in the late 1960s. But he'd been recording for a long time prior to that, dating back to when he was a teenager. This instrumental album for Sam Cooke's SAR label (issued on its sister Derby imprint) was cut in March 1963, when Preston was still going to high school in Los Angeles. The very fact that it's wholly instrumental indicates that it's pretty early in Preston's evolution, and though he does play some piano, it's really on the more uptempo, organ-dominated tunes where he hits the best groove. In truth, these aren't any great shakes even when it comes to soul organ instrumentals, but they have a nice swinging bounce that places them a cut above period background music, though they fall a good ways short of being spellbinding. The slower numbers (including covers of hits by Sam Cooke and Ray Charles) verge on easy listening; in contrast, the more urgent cuts are cookin', with bop, jazz, and gospel influences spicing up the soul/R&B recipe. (allmusic)

American Rhythm 'n' Blues singer Nathaniel Mayer (1944-2008) is mostly remembered for his raw vocal timbre and for his particularly wild live act. Originally released in 1963 on Detroit based label Fortune Records, "Going Back To The Village Of Love" still sounds like an incredibly explosive hyper-energetic irreverent piece of pure Detroit sound.

There is little doubt that John Lee Hooker was one of the most commercially successful blues artists that ever lived. He rose above his contemporaries with worldwide hit records and a particularly long series of albums, and a career that lasted for over sixty years. He was always prolific and attracted other artists to collaborate with him without ever losing his own highly distinctive style. One of the real and lasting strengths of "That's My Story" as an album is in its immediacy. Orrin Keepnews knew just how to use studio microphone placement to make the listener feel right in the middle of the session. Nothing extraneous is used to move John Lee away from you, making it evident that the producer's original intention with the album has certainly been fulfilled. No wonder that this laid-back work, so quickly recorded, has stood the test of time as one of John Lee Hooker's most revered records.

In 1965, just one year after Paul Butterfield had formed his blues band – named after himself - and launched one of the very best groups among the white Chicago blues community, the band produced this dynamic and visionary album. The group presents a wide range of contrasting numbers, both eastern and western, which reflect the LP’s title – something totally new and innovative. In the first few titles, traditional standard numbers come over rather enigmatically while supporting original and rhythmic compactness, but this soon gives over to a tactically well-formed instrumentation and lengthy solo interludes. The all-embracing motto 'blues' is taken up by the band in Nat Adderley’s "Work Song" at the very latest, with mind-expanding ways of playing and varying sounds. Catapulted by Mike Bloomfield’s artistry on the guitar into the world of rock, all the musicians celebrate these well-known jazz standards and each man contributes his personal skill into forging a perfectly balanced team effort. The title number "East-West" ultimately demolishes the world of the blues. In the tonal mixture of confidently prepared rock ingredients and borrowings from Indian music (raga rock), we have an amalgamation of rock, blues, jazz and oriental melodies which result in an emotional, unheard-of sound that is well worth the hearing.

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

Recording: July 1966 at Chess Studios, Chicago (il), by Jac Holzman Production: Barry Friedman, Mark Abramson, Paul Rothchild

One of the major statements in the history of Jazz and African American liberation movements. Originally released in 1960 on Candid Records, Max Roach’s Freedom Now Suite consists of five original compositions and performances staging and celebrating different moments and aspects of the African American history and culture. Here is a wonderful cast of musicians reunited around Max Roach – drums and Abbey Lincoln – vocals. Throughout the album you can find great contributions from the likes of Booker Little – trumpet, Julian Priester – trombone, Walter Benton – tenor saxophones, James Schenk – bass and three percussionists Michael Olatunji, Raymond Mantilla and Tomas du Vall. Highlights include the highly intense triptych for Drum and Voice by Roach & Lincoln and a special appearance of tenor sax giant Coleman Hawkins on the opening Driva Man.

Alexis Korner's third album, originally released on the Transatlantic Label in 1964, after two live albums recorded at the Cavern at the Marquee, featuring his all-time hits 'Stormy Monday ' and Chicken Shack'. A true masterpiece from one of the godfathers of the white blues movement from the 60's.

To call Marcos Valle 'a legend' of Brazilian music is much more than just easy press-release hype. As singer, writer, musician and record producer, Marcos has played an integral role shaping the sound of the country’s music from the 'golden era' of the 60s and 70s, through to the modern day. Alongside his brother, Paulo Sergio Valle, they have penned a huge catalogue of classic songs, not just for themselves but for other greats such as Elza Soares, Astrud Gilberto, Claudia to name a few.
‘Braziliance!’ takes things back to the early heady days of Marcos’ career with the bright and optimistic sound of Rio's Bossa Nova scene. It includes an instrumental version of ’Crickets Sing For Anamaria’ or 'Os Grilos’ in Portuguese, which would also be re-recorded with
vocals. Though only in his early twenties at the time, ‘Braziliance!’ depicts very sophisticated production for a musician so young. Recorded in 1966, produced by Louis Oliveira and Ray Gilberts with arrangements by the very talented Emir Deodato, the album was released on Warner Bros. Records. The artwork presents a very clean-cut, wholesome looking Marcos but darker things were around the corner for Brazil. The ‘Tropicalica’ movement was on its way and about to shake thighs up both musically and politically. Unlike some of his Bossa Nova contemporaries, Marcos continued to stay relevant, surfing the changes and adapting to the musical developments that culture and society projected and needed, without comprising his art.
Under exclusive license to Light In The Attic Records & Distribution, LLC | Mr Bongo Records.

The drum hero’s classic 1963 album
 Recorded at Van Gelder Studios, Englewood Cliffs, New Jersey, during November and December 1961
The Jazz Messengers’ 11th Blue Note album
Featuring the classic Messengers line-up of Freddie Hubbard (trumpet/flugelhorn), Wayne Shorter (tenor), Curtis Fuller (trombone), Cedar Walton (piano) and Jymie Merritt (bass)
Showcasing three classic Shorter compositions (‘Backstage Sally’, ‘Contemplation’, ‘Reincarnation Blues’) plus Fuller’s ‘Bu’s Delight’, Walton’s ‘Shaky Jake’ and a take on Henry Mancini’s ‘Moon River’
Produced by Blue Note co-founder Alfred Lion
Includes photography by BN co-founder Francis Wolff and liner notes by esteemed writer Leonard Feather

A scorcher from the golden age of gospel, via its cardinal label.
From 1960, during the family’s second decade with Savoy, featuring Gertrude Ward, Christine Jackson, Mildred Means and Vermettya Royster — and Clara, totally riveting and in-your-face with evangelistic fervour and raw soul.

Plus a rambunctious, floor-filling Wade In The Water, by Jessy Dixon and his Singers.

Handsomely sleeved (showing a contemporary but slightly different Wards lineup).