Organic Grooves 528 Items

On his sole album as a leader, bassist Melvin Jackson - a veteran of the Eddie Harris band (this album includes two Harris originals) - plays with a bow, plucks and plugs his upright bass into a Maestro G-2 filter box, a Boomerang, an Echoplex, and an Ampeg amp. The result is soulful, psychedelic, and of course, funky – at once one of the grooviest and most avant-garde albums you’ll ever hear.



Verve BY Request Series: remastered, audiophile-quality 180-gram vinyl from Third Man Pressing/Detroit, gatefold sleeve.

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.

Originally released on Sue Records in 1963 this was Ike & Tina Turner fourth album, the one that earned them a first grammy nomination and a further step in the consolidation of their international success. Most of the tunes here are highly energetic up-tempo numbers while the whole album comes as the fruit of a unique combination of raw R&B and highly energetic Rock n Roll.

Sacd

180g 2LP 45rpm

Another legendary Lateef session cut in 1960 for the New Jazz imprint. The co-leader - bassist Doug Watkins - died tragically in a car accident in 1962 at the age of 27. However, prior to his early demise, he recorded dozens of wonderful sessions with some of the greatest jazzmen of his time, among them Sonny Rollins, Art Blakey’s Jazz Messengers and the Horace Silver Quintet. Imagination ! marked his second and final album as a leader, and features Watkins on cello instead of bass. The use of cello - and oboe on some numbers - makes the date stand out a bit from the usual hard bop sessions of the period and straight-ahead jazz fans will want to get this.

Jesús Gómez y su Grupo has been a vinyl jewel impossible to find for decades, a musical treasure ahead of its time with a prodigious voice. Jesús Gómez had not even reached the age of majority when he embarked on the adventure of recording and producing his own album, bringing together songs from the main Afro-Latin rhythms of the moment to which he contributed all his fantastic explosion of creativity. Not long ago, he had earned the epithet of "The Child Prodigy of the Song" which led him to explore and gain experiences in the paths of music since his youth, a passion, but also a craft, that his mother had instilled in him since his childhood and that he shared with other members of his family. Different rhythms, styles, and learnings hardened Jesús so that at only 17 years old he could deliver such a fantastic work, a clairvoyant sound of pure “Salsa” even before it became fashionable to call this type of music that way.

Mythical visits by artists and orchestras from the Caribbean were a catalyst for the appearance of national Venezuelan representatives with a higher professional level who had been working on Afro-Caribbean and Venezuelan rhythms since the 1930s, leaving an indelible mark such as Sonora Caracas, among others. Almost 40 years later, in 1967, as a result of this tradition, a modern and fierce work like this album would be possible, a direct, energetic, rhythmic declaration full of flavors of Guaguancó, Bolero, Descarga, Rumba, and even Guaracha. This base is the hyper fertile ground for the even more fantastic voice of Jesús, with high tones and extreme clarity, perfectly tuned and colorful, a characteristic that will accompany him throughout his life, a blessing, one could say.

Typical of the restless spirit that can be glimpsed on this album, he intertwines rhythms within rhythms, as happens in the singular and mythical “Loca ilusión” that goes from Bolero to Salsa Brava, a turn that leaves a reasonably psychedelic feeling. Let's not forget that we are in a period prior to what would be the canonical Salsa, even since then, this young Venezuelan, at the sound level, was already fluttering over the molasses of the trombones. A gem like “False Love” could get any dance floor on fire right now, a hot guaguancó that should be part of the vault of any Latin music DJ along with the greatest classics like “Tirándote Flores”.

Jesús Gómez is not one to fall short, neither in style nor in rhythm, a true artist from the beginning he also includes Surf and Bossanova pieces, taking his work to other territories without fear. Jesús Gómez y su Grupo was perhaps the definitive step that opened all the doors of a brilliant career for this young man, he would go on to collaborate almost from that moment with countless nationally and internationally renowned orchestras and artists, including Sonora Caracas itself, already historic and still standing at the moment.

If this album reaches your hands, you will have a treasure in it, since it is among the most sought-after in the history of Caribbean music, it has taken El Palmas Music more than 1 year of work to be able to reissue this jewel so that it can finally be accessible to the world while possible, a key piece in the history of salsa in Venezuela and a jewel for the world available maybe for a limited time.

On top of tree and cookies, a successful Christmas should also include proper music. If your household only holds one Christmas album, it should definitely be “Ella Wishes You A Swinging Christmas”. Ella Fitzgerald sings like an angel and swings so hot that it's barely allowed at that celebration. The classic album from 1960, which Rolling Stone placed at number 10 on its “25 Greatest Christmas Albums of All Time” list, is now available in the most appealing edition ever, as a festive red, remastered LP with a fresh new cover design. Give it to your loved ones - or to yourself.

Jeff Beck's second album, originally released in 1969 and featuring Rod Stewart on vocals and Ronnie Wood on guitar.

Track Listing:

Side A: 1. All Shook Up 2. Spanish Boots 3. Girl From Mill Valley 4. Jailhouse Rock Side B: 5. Plynth (Water Down The Drain) 6. The Hangman's Knee 7. Rice Pudding

Here’s the official reissue of the album originally released on Dallas Pompeii label in April 1969. When he was out on tour with his regular gig, the Ike & Tina Turner Revue, Ike found the time to cut this unbelievable instrumental album. Whenever he had some spare time he would drag the band into a local studio and lay down tracks, resulting in these 12 funky soul jams that sound like they were lifted from a blaxploitation movie. The band is tight and laid-back at once, with horns at the forefront most of the time. Los Angeles hip-hop group Jurassic 5 later sampled "Getting Nasty" on their self-titled EP.

180g

It’s a testament to Jimmy Smith’s volcanic creativity that the Hammond B3 organ firebrand recorded not one but two soul jazz classics—Midnight Special and Back at the Chicken Shack—in a single day when he entered Van Gelder Studio on April 25, 1960 with Stanley Turrentine on tenor saxophone, Kenny Burrell on guitar, and Donald Bailey on drums. Blue Note Classic Vinyl Edition: Stereo, mastered from a digital source by Kevin Gray, manufactured at Optimal (180 g), padded inner sleeves.

Jimmy Smith (Hammond B3 organ); Stanley Turrentine (tenor sax); Kenny Burrell (guitar); Donald Bailey (drums)

Vinyl reissue of the live album by American jazz pianist Thelonious Monk. Featuring tracks recorded in Italy in 1961, during an extensive European tour that also resulted in recordings from Paris. The album was originally released on the Riverside label in 1963 and would be Monk's final recording for the label before signing with Columbia. Includes the tracks 'Straight No Chaser', 'Bemsha Swing' and 'Rhythm-A-Ning.

1968’s Love Cry mixes Albert Ayler’s free jazz with a catchy combination of nursery rhythms and brass band marches, resulting in a peak example of experimental jazz of the period. This was Ayler’s last recording with his brother, Donald, who keeps the pace fiery along with the rhythm section of bassist Alan Silva and drummer Milford Graves, and harpsichordist Call Cobbs.



Verve BY Request Series: remastered, audiophile-quality 180-gram vinyl from Third Man Pressing/Detroit, gatefold sleeve.

Toshiko Mariano Quartet is the 1961 album from fourteen time Grammy Nominated pianist and composer Toshiko Akiyoshi - then known as Toshiko Mariano. Women have long been denied the credit they deserve in jazz. It must be noted that as a Japanese women in jazz, Akiyoshi had to battle for acceptance on many fronts. Jazz has been a patriarchy community from the beginning, and even critical praise of her playing could not help but take note of her gender. Leonard Feather, for example, writing at the time in the Encyclopedia of Jazz called out Akiyoshi’s playing as “fiery, powerfully articulated and exceptionally fluent,” but added that there was “nothing delicately feminine.” Even today it is still hard for people to see Jazz in any other way. We are pleased to be a part of shifting the narrative and shine a spotlight on this talented artist and this wonderful album. While she was later to compose using themes, harmonies, and instruments connected to her Japanese heritage, this album captures the pianist early in her career playing a straight ahead, harp bop style. This was already her 7th album as a band leader, and it is a shining example of her confidence and mastery of her instrument and as a band leader. Recorded at the Nola Penthouse Studios in New Your City in December of 1960, the LP includes extraordinary liner notes by Candid A&R man and producer Nat Hentoff giving a context and insight that adds to the experience of hearing these extraordinary performances.