Organic Grooves 687 Items

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"

All of You is a live album by American jazz pianist Ahmad Jamal featuring performances recorded at Jamal's own club in Chicago in 1961 and released originally on the Argo label. Jamal's group had a personal sound of its own, often playing quietly and leaving space but never losing the passion. These versions of "Time on My Hands," "Star Eyes" and "All of You" in particular are well worth hearing. On the cover, photographed by Don Bronstein, one of the first staff photographers for Playboy magazine, Jamal sits in an MAA chair, designed by George Nelson.

Forget lightning in a bottle, we have Lightnin' on a vinyl! Recorded in New York in 1960 with famed producer Bobby Robinson, Mojo Hand is considered by many to be one of the finest blues records of all time. Since P-vine reissued it for the first time ever in 1983, word of the record’s quality quickly spread, with original copies now selling for thousands of dollars on the second hand market! Whether it’s the boogie of title song “Mojo Hand”, or the low and slow blues of “Have You Ever Loved a Woman”, the Lightnin’s acoustic blues is soulful. Don’t miss Mojo Hand, available for the first time ever on limited edition red vinyl with an obi-strip, only from P-vine Records.

An avant-garde masterpiece, a vocal-instrumental suite, a work of collective improvisation, directly addressing the racial and political issues of it’s day, We Insist! Max Roach’s Freedom Now Suite is one of the most important artistic statements of Civil Rights Movement and one of the most groundbreaking jazz albums of all time. Max Roach was already almost a decade into his career as one of the most influential jazz drummers and composers when he teamed up with lyricist Oscar Brown Jr. to collaborate on a piece they planned to perform at the centennial of the Emancipation Proclamation in 1963. Recorded just months after the February 1960 Greensboro sit-ins, the album stands as an early musical testament to the burgeoning rage, anger and passion that would take the Civil Rights Movement from its early victory in Montgomery in 1955 into a future that would dramatically alter race relations in the United States.

The second release from the newly launched New York City based jazz label Candid Records, and produced by label co-founder, famed music critic and social activist, Nat Hentoff, the album is a bold statement, focused on civil injustices in black history ranging from slavery to contemporary racial prejudices, and featuring some of the finest jazz musicians ever, including Abbey Lincoln, Coleman Hawkins, Eric Dolphy, Booker Little, and Michael Babatunde Olatunji.

The five movements of the work are organized as a historical progression through African-American history, a shape similar to the one in Duke Ellington’s Black, Brown and Beige. The Freedom Now Suite moves from slavery to Emancipation Day to the contemporary civil-rights struggle and African independence.

The LP includes extraordinary liner notes written by Hentoff himself, giving a context and insight that adds to the experience of hearing these magnificent performances.

"Trumpet Africaine" was Hugh Masekela's debut album, recorded in New York and released in 1962, two years after Masekela had left South Afrika as reaction to the increasing inhumanity of the apartheid regime. Masekela's trumpet shines on top of Hugo Montenegro's fine orchestral arrangements while the tracklist includes, among others, five fresh instrumental versions of Miriam Makeba's songs. Trumpet Africaine was an important early statement from one of the most representative South African musicians of its time.

Under-recognized trumpeter Johnny Coles recorded only one album for Blue Note but 1963’s Little Johnny C is a little-known treasure of the catalog featuring Coles at the helm of a dynamic sextet with tenor saxophonist Joe Henderson, alto saxophonist Leo Wright, pianist Duke Pearson, bassist Bob Cranshaw, and drummers Walter Perkins & Pete La Roca.



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.

Renaldo Domino blasted onto the fertile Chicago soul scene of the late 60's with a voice as sweet as sugar and deep grooves that sound just as fresh five decades later. Releasing singles on Mercury subsidiaries Smash and Blue Rock, and later Twinight records, Renaldo’s all-too-brief career has still managed to leave an impact to all those lucky enough to hear it.

Domino's Renaldo first record: I Love My Girl & I'm Hip To Your Game, came out in 1967 on the impossible to find Arnell records. I'm Hip To Your Game was later released on Smash in 1969

Renaldo returned to the spotlight in 2007 when the Chicago reissue powerhouse Numero Group put him on the cover of their deluxe box set Eccentric Soul: Twinight's Lunar Rotation (which included other greats Syl Johnson, The Notations, and many more). Renaldo’s performing career began to flourish once again with shows around country. In early 2019 Renaldo teamed up with producer Jeremy Kay and arranger JB Flatt and set out to record new tracks that would live up to Renaldo’s great early records. Assembling a crack team of Brooklyn’s best they pulled out all the stops, creating a mix between the lush arrangements of Chicago’s early soul style and the hard-hitting beat of current Brooklyn soul. The new single “No Laggin’ & Draggin’” / “Give Up The Love”, released Feb 2020, is now available on Colemine Records. Backed by The Heavy Sounds, Renaldo’s live performances continue to deliver with passion and precision, making new fans young and old.

Andrew Hill’s 1968 album Dance With Death stands as one of the most gratifying though under-recognized sessions of the brilliant pianist’s discography featuring his singular compositions performed by a versatile quintet with Charles Tolliver, Joe Farrell, Victor Sproles, and Billy Higgins.

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.

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.

HIGHLIGHTS:First solo LP by the talented Peruvian artist Betico Salas, lead trumpet player of the great Sonora de Lucho Macedo, one of the best ensembles playing Cuban repertoires in the early '60s.This 1966 album features Alfredo Linares on piano and sonero vocals by Benny del Solar, and combines a mix of guarachas, guanguancó and even cumbias. Betico Salas would later release two more albums and become a legendary trumpet player in Peruvian musical history.First time reissue.- DETAILS:Alfredo Linares on piano and sonero vocals by Benny del Solar stand out on this album. Benny del Solar sings lead vocals on the cumbia of Argentine origin 'Nos vamos a casar'; the Colombian 'Lo que pasa es que la banda está borracha', a continental hit since the early sixties; the guaracha 'A los muchachos de Belén', by Puerto Rican musician Tito Rodríguez; the guaracha 'Ritmo del amor'; the elegant Cuban guaguancó 'Así namá', also well known for Tito Rodríguez's rendition; and the cumbia 'Qué le digo a mi mujer'. Singer, César Gonzales, who would have an extensive career in Peruvian tropical music, sang lead vocals in the guaguancó by the Sonora Matancera 'Lindo Omelenko' and the bolero 'El árbol', a hit for the singer Roberto Ledesma, also recorded that same year by Peruvians Carmita Jiménez, Anamelba, Raul del Mar and Lucho Macedo himself, who decided to sing for his new record label.The mythical singer Johnny Arce, years later known as Mr. Macondo, also appears on the album on the two guarachas: 'La renga', a composition by Esther Forero, known as La novia de Barranquilla; and 'Yo soy candela', a composition by the Colombian Ray Rodríguez.Finally, 'La chola' is a cumbia by Peruvian composer Tomás Benítez; and 'Mambo Jazz' is a version of the descarga 'Yayi's instant mambo', an innovative instrumental track performed by Puerto Rican Willie Rosario, who recorded it in the United States at the start of 1966 with his own orchestra.Betico Salas would later release two more albums and bec...