Organic Grooves 499 Items

A cult album from 1968 that has long since become known as a groove classic across genre boundaries, now for the first time as a deluxe edition, freshly remastered, with bonus tracks and attractive packaging. Along with Alice Coltrane, Dorothy Ashby was the only world-famous jazz harpist. Thanks to deep grooves and sophisticated orchestral sounds, “Afro-Harping” is her most famous album to date, which is continually breathed new life into thanks to samples and remixes by Pete Rock, Kendrick Lamar, Jay Dee (aka J Dilla), Madlib, Flying Lotus and others. Remastered from the original ¼-inch tapes by Alex Wharton/Abbey Road Studios and featuring eight strong, previously unreleased alternate tracks, including an explosive version of the single “Soul Vibrations”, the classic album is now available for the first time in a high-quality format appropriate to its ever-growing importance.

2-lp: gatefold sleeve, padded black inner sleeves, illustrated eight-page insert with detailed liner notes by Seán Casey/Shindig! magazine.

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.

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?

Monstrous blue-eyed soul / garage double-sider and a must for any rare groove DJ.
250 copies pressed.

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.

Lee Morgan’s 1968 album "Taru" found the trumpeter at a crossroads exploring a variety of styles from modal jazz and post-bop to beautiful balladry and funky boogaloos. The band here is notable for the elevating presence of guitarist George Benson and the addition of tenor saxophonist Bennie Maupin.

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 Gatefold Sleeve with deluxe tip-on jacket.

Elemental Music, together with Universal Music Spain presents a new vinyl reissue of “Samba ’68“, the only album released on the Verve label by prolific Brazilian singer Marcos Valle. In 1968, Valle was commissioned by Verve to record his Brazilian hits in English in order to capitalize on the then-huge Getz-Gilberto-Jobim-Mendes-Astrud market. Marcos’ rapid and stunning artistic growth is apparent on this brilliant Bossa Nova album. Fans of Sérgio Mendes and Astrud Gilberto (both of whom recorded tons of Valle tunes) will enjoy it immensely, for “Samba ’68” is definitely one of the ultimate “loungy” records. “Samba ‘68 is a vibrant set of Brazilian pop, indebted to bossa nova and samba but undeniably Americanized for a domestic audience. The result is a joyous album throughout that wears its dated sound quite well. Marcos Valle interprets eleven of his own songs, including Brazilian standards like ‘Chup Chup, I Got Away,’ ‘Batucada’ and ‘So Nice (Summer Samba),’ as well as new tracks like ‘Crickets Sing for Anamaria’ and ‘The Answer.’ The vocal harmonies of his wife (the Anamaria of the song title) provide a beautiful counterpoint to Valle’s voice on several tracks, making Samba ‘68 one of the best Brazilian crossovers of the 1960s.”(John Bush, AllMusic) Marcos Valle was the Renaissance man of Brazilian pop, a singer/songwriter/producer who straddled the country’s music world from the early days of the Bossa Nova craze well into the fusion-soaked sound of ‘80s Brazilian popular music. Though his reputation in America never quite compared to contemporaries like Caetano Veloso, Milton Nascimento, Gilberto Gil, or even Tom Zé. Valle is one of the most important and popular performers in the history of Brazilian pop.

Reissued for the first time ever on 7 inch, having previously only ever been on the Take A Trip Pussycat LP, Latin Blues Band - (I'll Be A) Happy Man. A dynamic dancefloor jazz and boogaloo belter from 1968, with a legendary piano riff and breakbeats that were most famously sampled by DJ Premier for Christina Aguilera’s classic ‘(Ain´t No Other Man)’. The B side houses another boogaloo bomb in the form of ‘Take A Trip’ that will set you back £80+ for an original copy. Yellow label version with white sleeve.

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.”

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.

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.

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.

Why you'll love it...
There is something raw and disruptive about La Lupe and her modalities of performance, something that far exceeds tropes of so-called hysteria and all the gendered and racial scripts that come along with it. Uncontrolled expression opens up new routes; it presses against obligatory composure.

The boleros, boogaloos and salsas of Reina de la Canción Latina contain lessons about love, about a willingness to stay alive, about what it means to push against the confines. Reina de la Canción Latina asks us to listen to La Lupe outside of a binary mode — to look a little deeper, to find her personhood and to search for flashes of freedom wherever we can.

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.

1968, in the Brazilian dictatorship, Fábio released this psychedelic gem LSD (Lindo Sonho Delirante), writed by him and Carlos Imperial.

A soul / garage floor killer till today. Besides the alucinated rhythm, the song was an explicit provocation to the political society of the 60’s.

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!

Arrangements by Gary McFarland Recorded at Western Recording, Los Angeles
August 6th, 7th and 9th, 1968

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.