Organic Grooves 344 Items

180g

Originally issued in Stereo on Prestige LP (PR 7190) Subsequently reissued in the Prestige/New Jazz budget subsidiary label Status (ST 7190) The John Wright Trio John Wright (piano), Wendell Roberts (bass), Walter McCants (drums). Recorded at Rudy Van Gelder Studios in Englewood Cliff, New Jersey, August 30, 1960 Engineered & mastered by Rudy Van Gelder Cover photo & design: Esmond Edwards Back-liner notes: LeRoi Jones Recording supervised by Esmond Edwards

This session is a model of the emotionally intense ballad programs featured on Prestige's Moodsville subsidiary. The great Kenny Burrell receives a major assist from saxophone patriarch Coleman Hawkins (who is in exemplary early-Sixties form), Hawkins' rhythm section of the time (made up exclusively of natives of Burrell's hometown Detroit) and conga drummer Ray Barretto. The choice of material and variety of settings are inspired, with Burrell heard solo on "No More", over just bass and drums on "Guilty", in two different settings and on three titles by the full sextet. Each soloist is fully engaged throughout, with things shifting into even higher gear when Burrell and Hawkins converse on "Montono Blues" and "I Thought About You".

Vibes player Johnny Lytle was one of the heroes of the early acid jazz club circuit, with his cut 'Selim' being an anthem of the scene.

In his 1967 DownBeat review of the initial release, Amiri Baraka wrote: "The music is beautiful on this album... These two players... are making some of the deepest music anywhere. It wants nothing."

Peter Margasak included the album in his list of "Favorite Albums of 2020," and wrote: "Essential coupling of two insanely rare duo albums from a 1966 concert at Yale University: Pullen at his most ferocious and probing, Graves making a huge step in establishing his radical approach to polymetric movement."

In a review for Point of Departure, John Sharpe commented: "The five pieces represent a true dialogue... Although intensity levels vary, the exchanges remain resolutely non-melodic and non-metric throughout... Even after all this time the music still challenges preconceptions. It remains a classic of the genre and deserves to be widely heard."

Thurston Moore included Nommo in his "Top Ten From The Free Jazz Underground" list, first published in 1995 in the second issue of the defunct Grand Royal magazine, calling the interplay between the musicians "remarkable."

Los Syn were born in 1966 in Chile, formed by four young lads from the US whose parents were working in Santiago at the time, and they released this sole 45 before all going back to the US next year. The record is practically nowhere to be found, and such an amazing example of teen garage folk-punk the way we all lose our head for.

Limited reissue of 500 copies, with an insert with liners by Gary Pilgram (bass player), and two postcards with unseen photos!

The Jungle, regarded as one of the best of B.B. King's many albums, is being reissued on P-vine! Recorded in 1961-62, at the height of his career, and released on Kent after he moved to ABC, six R&B charting hits came from this album. All of the songs are superbly crafted, and are truly the king of the blues. Slow songs such as '5 Long Years' are typical of B.B.'s music of this era. You can't talk about B.B. King without listening to this album!

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..

This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Kenny Burrell's album "Guitar Forms" stands as Burrell’s definitive musical statement. It was nominated for three Grammys in 1965, is considered one of the true masterpieces in the Verve catalog. This is partly due to the outstanding performance of the guitarist himself, of course, but also to the unforgettable arrangements that Gil Evans wrote for five of the album's nine tracks. According to AllMusic, these were in no way inferior to the brilliant arrangements that Evans had made for Miles Davis classics such as "Birth Of The Cool", "Porgy And Bess" and "Sketches Of Spain".



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.

"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.

Ike Turner, a guitarist, pianist, band leader, producer, talent scout... With his diverse talents, he excelled in many fields. In a recent announcement from Rolling Stone magazine, he was ranked 148th in the "250 Greatest Guitarists of All Time," highlighting his undeniable talent as a guitarist. His 1st album "Rock The Blues," recorded in the 1950s and released on Crown Records in 1963, serves as proof of his exceptional skills and originality as a guitarist. P-vine is delightfully reissuing the important album on Japanese edition vinyl with Obi-strip for the first time.

Formed by Kenny Clarke and Francy Boland, the Clarke-Boland Sextett, with the participation of numerous musicians from both Europe and the United States, made significant contributions to the development of jazz in Europe. At the core of this ensemble, the powerhouse sextet consisting of Kenny Clarke, Francy Boland, Sahib Shihab, Jimmy Woode, Joe Harris, and Sadi came together to record the album "Music For The Small Hours" in 1967, and it is now set to be reissued with an obi.

This album spans a wide range of styles, from standards like Burt Bacharach's "Wives & Lovers" to Brazilian and Afro-Cuban influences such as Luiz Bonfá's "Ebony Samba" and Dizzy Gillespie's "Tin Tin Deo." Additionally, it features original compositions like Shihab's "Please, Don't Leave," where he takes on vocal duties. The entire recording exudes a sophisticated and relaxed mood, showcasing the utmost skill of this formidable sextet. "Music For The Small Hours" is a masterpiece that deserves a place in the history of European jazz, boasting the ultimate level of refinement.

Reissue of this incredibly wild proto-punk garage 45 released in Mexico in 1965!!! 500 copies only!!!

Best known for his work with Charles Mingus, pianist Horace Parlan began recording for Blue Note in 1960 with an excellent run of hard bop classics including Speakin’ My Piece, a quintet date featuring a frontline of Stanley Turrentine on saxophone and Tommy Turrentine on trumpet with the rhythm team of George Tucker on bass and Al Harewood on drums.



Blue Note Classic Vinyl Edition: stereo, all-analog, mastered by Kevin Gray from the original master tapes, pressed on 180g vinyl at Optimal, padded inner sleeve.

Underrated drummer’s 1965 album
His debut solo album and one of only two Blue Note albums as leader (the second emerged in 1997)
Recorded at the Van Gelder Studio on 19th May 1965
Featuring Blue Note legend Joe Henderson on tenor, Steve Kuhn on piano and Steve Swallow on bass
Showcasing three fine La Roca originals (the title track, ‘Candu’, ‘Tears Come From Heaven’), Steve Swallow’s ‘Eiderdown’ and interesting takes on the standards ‘Malaguena’ and ‘Lazy Afternoon’
 Produced by Alfred Lion
Includes a famous Reid Miles cover, plus photography by Francis Wolff and liner notes by Ira Gitler

Hardly any other musician has released so little as Hasaan Ibn Ali, born William Henry Langford Jr., in 1931, who died in 1980. Just seven titles in all are his complete output, all of which he composed himself, all of them on the present Atlantic LP, and all recorded in December 1964. The saxophonist Odean Pope, who often practised with him, talks of a second recording session in 1965 for Atlantic, but the recordings were never released because Hasaan was sent to jail shortly afterwards; rumour has it that the tapes were destroyed in a fire – and it might well be that recordings with John Coltrane still exist somewhere or other.
Until then, one should enjoy the Max Roach Trio with Art Davis on the bass to the full. We have here a recording that will astound and fascinate your ears with its originality. A first impression conjures up reminiscences of Cecil Taylor and Herbie Nichols, while Hasaan himself talks of the pianist Elmo Hope as the man who brought him closer to the 'mystery of music'. When asked how the recording session with maestro Max Roach went, Hasaan said: »They scared me to death.«
According to Odean Pope, Hasaan was not an easy person to get on with, and he was convinced of his talent to the point of arrogance. But despite this – or perhaps because of this – one listens spellbound to the 40 minutes on this LP, a legacy and never-fulfilled promise of an extremely talented man. We are indebted to Max Roach, who persuaded the bosses of Atlantic Records to make these recordings. For many, many years they had vanished from the record market, but fortunately they are now available as an audiophile re-release to be listened to and admired.

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.

Art Blakey and the Jazz Messengers with Barney Wilen provide an essential jazz soundtrack to an extended ‘surprise party’ scene in director Roger Vadim’s 'Les liaisons dangereuses'. Originally released on the Fontana label, Blakey’s lively hard-bop and latin originals were used specifically as night club and party music in the film and his ‘No Problem’ became a classic with Blakey’s band in full flight. Decca France present the original soundtrack recording on 180gm vinyl in a deluxe gatefold tip-on jacket with English translation of the original liner notes, and a photo from the film of Gérard Philippe and Jeanne Moreau. Included is a 2pp insert with additional notes by recording producer Marcel Romano from 1988.

All Analog Process From The Original Master Tapes. Cut by Kevin Gray. 1967’s Hip Hug-Her is one of their most beloved records. Spawning two significant hits, their cover of the Young Rascals “Groovin” and the title track "Hip Hug-Her"

180g Vinyl LP pressing. High Priestess of Soul is the last album Simone released under Philips Records. The songs are accompanied by a large band directed by Hal Mooney. The album contains popular songs, such as "Don't You Pay Them No Mind" and African American gospel and folk related songs written by Simone herself, such as "Take Me to the Water" and "Come Ye." After this album title, Nina Simone was sometimes referred to as "the high priestess of soul." Nina Simone was an American singer, songwriter, pianist, arranger, and civil rights activist who worked in a broad range of musical styles including classical, jazz, blues, folk, R&B, gospel, and pop. Simone's musical style fused gospel and pop with classical music, in particular Johann Sebastian Bach, and accompanied expressive, jazz-like singing in her contralto voice.

180 gram high quality pressing vinyl!

Vibraphonist Bobby Hutcherson’s 1966 album Stick-Up! found him in the company of a new band line-up with Joe Henderson, McCoy Tyner, Herbie Lewis, and Billy Higgins. The quintet covers a vast expanse of post-bop territory on five Hutcherson originals plus Ornette Coleman’s “Una Muy Bonita.”

This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.



Bobby Hutcherson (vibraphone); Joe Henderson (tenor saxophone); McCoy Tyner (piano); Herbie Lewis (bass); Billy Higgins (drums)

Originally issued as Savoy Records MG 12154

The Booker Ervin Quintet Booker Ervin (tenor sax), Richard Williams (trumpet), Horace Parlan (piano), George Tucker (bass), Dannie Richmond (drums). Recorded at Medallion Studios, Newark, New Jersey, on November 26, 1960

Sound engineer: Paul Cady Cover art: Lee Jack Morton Liner notes & recording supervision by Tom Wilson Album preparation: Herman Lubinsky

First time vinyl reissue of Jose Roberto Bertrami's 1966 ‘José Roberto Trio’ via Far Out Recordings. Best known as the keyboardist and bandleader of legendary trio Azymuth, the late José Roberto Bertrami also wrote for, arranged for and performed with Elis Regina, George Duke, Sarah Vaughn, Jorge Ben, Eddie Palmieri, Milton Nascimento, Flora Purim and Erasmo Carlos, among countless others.

This slice of Louisiana deep Southern soul has taken on a life of its own since Dave Godin included it on his first “Deep Soul Treasures” CD, and the single has shot up to well over three figures in value.

In 2021 the song is the subject of a cover version by the-name-to-drop Lady Blackbird and we felt it was about time that it was reissued in its original format.

Recorded in Stockholm in 1962, and originally released on Sonet Records, these sessions stand as Ayler's first step into a new sonic world. This was when Ayler was still dealing with classic Jazz standards such as "I'll remember April", M Davis's "Tune Up" and "Rollins Tune", a declared tribute to the older master Sonny Rollins. His already super-strong tenor sax voice dominates a quiet, almost shy, local rhythm section featuring Torbjorn Hultcrant on bass and Sune Spangberg on drums. This was just before stepping into his unique, hyper energetic and ecstatic form of Free Jazz. This was Ayler sowing the seeds of a revolution to come!

It is 1960, Rock’n’Roll has just lost a couple of its protagonists during this and the previous year, the time of the great balladeers has just begun but soon will run out due to the new and exciting beat invasion. In US mainstream the tiki culture has reached a certain peak and is about to collapse but still goes strong and with it comes the so called “exotica” music, a crossover between smooth jazz and swing, Latin grooves, haunting melodies that are rooted in the folkloristic sounds from different parts of this world plus weird sound effects that often create a spooky jungle or dreamy island beach atmosphere. It can even bend your mind that far you would see palm trees growing out of your speakers and witness monkeys and parrots having fun in your room. Eden Ahbez, born in 1908, passed in 1995, a man living an even more consistent dropout and hippie lifestyle way before the movement was born in the mid 60s, a beat poet and composer who wrote the hit tune “Nature boy” that gave Nat King Cole his first big success in 1947, approaches the field of exotica music from a different point of view creating an epic concept album about an utopian society living in peace and harmony on an island far away from the modern western world as we know it. And indeed we find many trademarks of the prototypical exotica music beginning with this relaxed groove combining easy listening swing and Latin patterns, peaceful, dreamy and even transcendental vocal melodies, tinges of folk music from around the world including powerful dances and a whole color palette of mind expanding sounds giving the whole music an even greater depth and width.

First released in Brazil in 1960 this is Joao Gilberto's second studio effort. A seminal album that just one year later introduced Bossa Nova to the United States. Joao Gilberto, one of the true masters of the genre, displays a great selection of songs including various Tom Jobim's classic gems such as "Samba de Uma Nota Só" ("One Note Samba"), "Corcovado" and "Outra Vez". An essential piece of work in the whole history of Brazilian music.

"Recorded for Berry Gordy's short-lived Workshop Jazz imprint, Roy Brooks' simply but authoritatively titled Beat fuses the intellectual rigors of the modern idiom with the physical prowess of soul-jazz to create a record of uncommon scope and reach. Working with Horace Silver Quintet colleagues Blue Mitchell, Junior Cook, and Gene Taylor alongside Detroit contemporaries George Bohanon and Hugh Lawson, Brooks channels influences spanning the breadth of the Motor City scene, resulting in a clutch of challenging but engaging performances with the unmistakable patina of the embryonic Motown sound. While their technical proficiency is stunning, Brooks' rhythms never lose sight of the almighty groove, and for its hard bop stridency, the record has the proverbial good beat and you can dance to it."