Organic Grooves 498 Items

Why you'll love it...
Ray Barretto’s songs are cinematic. Artfully composed, richly orchestrated, each one feels like something deserving of big-screen wonderment. And, indeed, from Martin Scorsese’s Mean Streets (''Ritmo Sabroso'') and Oliver Stone’s JFK (''El Watusi'') to Lee Daniels’ Precious (''Teacher of Love'') to Tom McCarthy’s Spotlight (''Cocinando Suave''), his music as a bandleader made it into movies of major importance across the decades. Of course, you don’t need to be a card-carrying cinephile to appreciate the moods and magnitudes expressed by his work, especially his seminal 1968 album Acid for Fania Records.

It takes more than a minute into ‘’Acid'' before Barretto begins showing off on the congas, leading into a nearly three-minute solo marked by fabulous flourishes that culminates with the full band, including pianist Cruz, showing their united might. Elsewhere on Acid, the group would have dutifully jumped headfirst into this mode, but here it is just a spectacular finish to a rhythmic story — Barretto’s story — told like the best film you’ve never seen.

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.

One of the great line-ups of Art Blakey & The Jazz Messengers coalesced when saxophonist Wayne Shorter joined trumpeter Lee Morgan, pianist Bobby Timmons, and bassist Jymie Merritt, as heard on the 1960 album "A Night In Tunisia". Opening with a fiery version of Dizzy Gillespie’s famous piece, the rest of the set showcased new bandmember originals.

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

Why you'll love it...
During the pagan hours of an otherwise uneventful Harlem pre-dawn in 1963, Gary Bartz glimpsed a galactic mystery that conventional aeronautics could not explain. Only a few weeks prior, the nascent alto saxophone virtuoso had acquired his first telescope to pursue a newfound passion for astronomy. The purchase was already yielding dividends.

The recent Juilliard graduate’s fascination with the heavens began with astrology, but the then 22-year-old quickly realized that those celestial sketches were just photographs of the sky as captured during a specific orbit. Why bother with the rough blueprint when you could witness the entire electromagnetic spectrum in its full glory?

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.

Sharps and Flats, led by Nobuo Hara, has been a driving force in Japan's big band jazz scene with its diverse activities and distinctive musicality. Among the many works produced throughout their long career, 'Little Giant' stands out as one of their most iconic albums. Originally released in 1970 as part of Victor's Japanese Jazz series, this album is notable for the participation of renowned composers and arrangers such as Masao Yagi, Kiyoshi Yamaya, Norio Maeda, and Masahiko Sato. In addition to their original compositions, the album features unique arrangements of pieces by Oliver Nelson, who had a close connection with Sharps and Flats.

The album's intricate and adventurous arrangements, combined with the band's high-level performance quality, are truly remarkable. You'll be captivated by the hipness of "Little Giant," the strength of "Dark Horse," the cutting-edge sound of "Orbit 8:11," and the sophistication of "Flexibility." This dynamic performance, marked by a perfect balance of tension and relaxation, showcases the full potential and allure of Sharps and Flats. This album is a masterpiece that brings out the best in the band.

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.

Virtually all serious and even casual music lovers ought to be familiar with, or at least are likely to have heard The Dave Brubeck Quartet, even without realizing it — for the quartet's best-known hit "Take Five" has graced the soundtracks of multiple films, including "Mighty Aphrodite," "Pleasantville" and "Constantine." The piece is famous for its distinctive, catchy saxophone melody, as well as its use of unusual 5/4 time — so distinctive, it's a rare jazz track that became a pop hit.
Including the monster hit "Take Five", the Brubeck Quartet's "Time Out" is a jazz and audiophile classic. Every album collection needs a copy. And now, cut at 33 1/3 RPM on 200-gram premium vinyl, pressed at Quality Record Pressings (Acoustic Sounds' own industry-lauded LP manufacturer), Analogue Productions brings you "Time Out" renewed.
Like its 45 RPM sibling, "Time Out" is presented here packaged in a deluxe gatefold jacket. Inside are eight fantastic black and white images shot during the recording session at Columbia's famous 30th Street Studios. Sony Music supplied the images for use in our SACD reissue, and gave us persmission to use them in our LP reissue as well.
The jacket is also special — very heavy-duty. It's produced for us by Stoughton Printing featuring a printed wrap mounted to a heavyweight chipboard shell, producing an authentic ‚old school‘ look and feel. This jacket is a beauty! Never has "Time Out's" colorful iconic cover art looked so vibrant.
The record label's sales executives didn't want a painting on the cover when "Time Out" debuted in 1959 on Columbia Records, Brubeck told an interviewer. An entire album of originals? That wouldn't work either, he was told. Some standards and some show tunes were needed in the mix. Fortunately, Brubeck ignored the conventional wisdom and "Time Out" became the original classic we know it as today. Brubeck became proof that creative jazz and popular success can go together.
The album was intended as an experiment using musical styles Brubeck discovered abroad while on a United States Department of State-sponsored tour of Eurasia. In Turkey, he observed a group of street musicians performing a traditional Turkish folk song that was played in 9/8 time, a rare meter for Western music. Paul Desmond, who was Brubeck's alto saxophonist, wrote "Take Five“, at Brubeck's urging to try and write a song in quintuple (5/4) time.
"Time Out" peaked at No. 2 on the Billboard pop albums chart and was certified platinum by the Recording Industry Association of America. "Take Five" became a mainstream hit, reaching No. 25 on the Billboard Hot 100, and No. 5 on Billboard's Easy Listening survey, the precursor to today's Adult Contemporary charts. The song was included in countless movies and television soundtracks and still receives significant radio play.

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.”

Bobby Hutcherson’s cutting-edge 1969 session "Medina" found the vibraphonist with a remarkable band featuring Harold Land on tenor saxophone & flute, Stanley Cowell on piano, Reggie Johnson on bass, and Joe Chambers on drums. The set presents original compositions by Hutcherson, Cowell, and Chambers.
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 single sleeve with deluxe tip-on jacket.

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.

In the 1950s, the Big Four, led by George Kawaguchi, was a pioneering force in Japan's modern jazz scene, gaining immense popularity. Despite changes in its lineup, the group continued to make a significant impact on Japanese jazz. The album 'George & Sleepy' was originally released in 1969 as part of Victor's Japanese Jazz series. While the original liner notes described it as an attempt to recreate the nostalgia of the George Kawaguchi Big Four, this album is far from just a retrospective. Tracks like "Lover" and "Charade" nostalgically evoke the classic Big Four, offering pure enjoyment. Meanwhile, the album also impresses with more contemporary elements, such as the refined groove of "Tuesday Samba" and the exotic, beat-driven "Vietnam." This thrilling album masterfully showcases the timeless appeal of jazz, blending the past and present through the deep, skillful performances of these jazz veterans.

The only original album by West Coast soul vocal group The Ballads, released in 1969, is still a favourite among soul fans, but has only been reissued on vinyl once before, in 1982. P-vine is honoured to be able to reissue it on LP with a Japanese obi.

The album is extremely rich and wonderful, with gems such as Gene Chandler's 'God Bless Our Love' and 'The Gift Of Love', as well as Detroit-style dance numbers, and will also include a bonus track that was only released as a single. The album captures the band's cradle period in the 1970s, when they began to fully embrace a sweet soul style.

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.

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!

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.

Dolphy had left his native California and come east as part of Chico Hamilton's group, settling in New York in 1960 and becoming part of Charles Mingus's group. This first recording as a leader brought comparisons with Ornette Coleman but the two were really parallel figures in the then-emerging avant-garde. Dolphy did not eschew 'changes', as Coleman did, but he used them in new ways. This LP was significant not only for his alto saxophone but introduced his individual approach to the flute and, particularly, the bass clarinet.

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.''

In 1969, Sahib Shihab and five leading members of the Clarke-Boland Big Band, including Francy Boland, Jimmy Woode, Kenny Clarke, and Fats Sadi, recorded this album for West Germany's Vogue label. The album features the exquisite Latin jazz track "Seeds," the waltz number "Peter's Waltz" dedicated to his son, and the modal piece "Mauve." Each track is highly stylish and sophisticated, showcasing a pinnacle of European jazz that could only be achieved by this exceptional lineup.

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.

Kashmere Stage Band (ksb), founded by music teacher Conrad O. Johnson was an elite performing unit of the student band at Kashmere High School, Houston, Texas, from the late 1960s until 1978. All original Kashmere LPs had 1000 copies or less originally pressed, which were sold both locally and around the world as the band toured. And now, P-vine is proud to present the historically renowned albums from the band on limited reissue vinyl! some of them will be reissued on vinyl for the first time.

[Items line-up] Kashmere Stage Band / Our Thing ('69) Kashmere Stage Band / Bumper To Bumper Soul ('70) ※First time reissued on vinyl Kashmere Stage Band / Thunder Soul ('71) ※First time reissued on vinyl Kashmere Stage Band / Zero Point ('72) Kashmere Stage Band / Kashmere "73" Live in Concert ('73) ※First time reissued on vinyl Kashmere Stage Band / Out Of Gas But Still Burning ('74) Kashmere Stage Band / Plays Originals ('74) Kashmere Stage Band / Expo '75 Concert Tour Japan/Okinawa ('75) ※First time reissued on vinyl