Search "rom+foot+signal" 426 Items

LP | 1972 | EU | Reissue (Be With)

Release: 1971 / US – Reissue

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG+

slight storage wear. US reissue.

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John Cameron

Jazzrock

LP | 1958 | UK | Reissue (Fat Cat / Not Now)

Release: 1972 / EU – Reissue

Genre: Organic Grooves

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This release comes on 180g vinyl and was remastered from the original tapes. Be With have raided the KPM archives to re-issue another of our favourites from the KPM 1000 series. They say: A Dramatic Suite Of Themes, Montage, Sequences And Generics. We say: An enormously influential and heavy KPM set of timeless, killer funk breaks from 1972 by the mighty John Cameron. Jazzrock is an aggressive, percussion-heavy album with an energy that leaves jaws on the floor. Breaks and beats for days with electric piano, bass loops, and pounding percussion. Funky jazz with a deep, tough, soundtrack feel. As with all of our KPM re-issues, the audio for The Road Forward comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity. And don’t worry! Those KPM stickers aren’t stuck directly on the sleeves!

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John Coltrane

Soultrane

17,99 €*

Release: 1958 / UK – Reissue

Genre: Organic Grooves

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John Keating With The Keating Sound

Keating...Straight Ahead

LP | 1965 | US | Original (London)

7,99 €*

Release: 1965 / US – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG

John Lewis With Hank Jones

Live In Tokyo

LP | 1978 | JP | Original (Trio)

28,99 €*

John McLaughlin With The One Truth Band

Release: 1978 / JP – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: Near Mint

Vinyl is close to NM. Japanese pressing. Tiny wear. OBI is missing.

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Electric Dreams

LP | 1979 | US | Original (Columbia)

Release: 1979 / US – Original

Genre: Organic Grooves, Rock & Indie

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Used Vinyl

Medium: VG+, Cover: VG+

John Monaghan With The North Texas State University Lab Band

Early Tracks By John Monaghan

LP | 1972 | US | Original (NTSU Lab Jazz)

LP | 1976 | AU | Reissue (The Roundtable)

Release: 1972 / US – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG+

US original.

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Judy Bailey Quartet

Colours

31,99 €*

Junior Mance Trio With The Bob Bain Brass Ensemble

Release: 1976 / AU – Reissue

Genre: Organic Grooves

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Preorder shipping from 2024-11-15

- First vinyl reissue of the 1976 Australian Jazz-Funk album.- Featuring the Jazz-Dance anthem Colours Of My Dream.- Replica Gatefold sleeve with new liner notes.

Behind the deceptive veneer of the demure monotone artwork, something unassuming lies within this long-play waiting to be explored. Intrigued by the ironic title, enticed by the elegant text positioned alone on the beautifully tactile matte canvas, the listener will experience musical wonderment at odds with the presentation and discover that the 1976 album Colours is a powerful yet sophisticated set of electric soul-jazz. An inspired recording that bursts with warmth and texture, the pivotal recording from an exceptional jazz musician. HER name - Judy Bailey.

Over the course of a 70 year career, the pianist and composer established herself as one of the central figures of Australian jazz. Her crowning achievement Colours is a spirited and ambitious recording that captured the maturation and shifting jazz landscape of the mid 1970s Australia. Alongside other notable albums recorded mid decade including the 1975 self titled album by Melbourne's Arena (see Roundtable SIR014)) and Jackie Orszaczky's Beramiada (1975), the album signalled the countries transition from semi-acoustic jazz to electric jazz-funk. Regularly compared to the albums released on Creed Taylor's CTI label, Colours parallel these recordings with their clean production and spacious soul-jazz arrangements. In particular the crisp drums and processed bass heard on Bob James and Joe Farrell albums, the sprightly flute of Hubert Laws or perhaps the more sensual side of Flora Purim's vocals could all be suggested as a source of influence.

Continuing to celebrate and re-document Australia's jazz music legacy, The Roundtable are pleased to offer the first vinyl reissue of this seminal Australian Jazz recording. Presented in a replica gatefold sleeve with new liner notes, the full palette can once again be appreciated including the moody funk of Fall Down Dead, the Iberian Waltz Toledo, the Jazz-Dance anthem Colours Of My Dream and the spacey impressionist piece The Eleven Eight Song.

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Get Ready, Set, Jump!!!

LP | 1964 | US | Original (Capitol)

Release: 1964 / US – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG, Cover: G+

Junior Mance Trio With The Bob Bain Brass Ensemble

Get Ready, Set, Jump!!!

LP | 1964 | US | Original (Capitol)

10,99 €*

Release: 1964 / US – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG, Cover: VG

CD | 2024 | UK | Original (XL)

Kamasi Washington

Fearless Movement

16,99 €*

Fearless Movement Black Vinyl Edition

Release: 2024 / UK – Original

Genre: Organic Grooves

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Washington calls Fearless Movement his dance album. “It’s not literal,” Washington says. “Dance is movement and expression, and in a way it’s the same thing as music—expressing your spirit through your body. That’s what this album is pushing.” Dance as an embodied form of expression signals a shift in focus for Washington. Where previous albums dealt with cosmic ideas and existential concepts, Fearless Movement focuses in on the everyday, an exploration of life on earth. This change in scope is due in large part to the birth of Washington’s first child a few years ago. “Being a father means the horizon of your life all of a sudden shows up,” says Washington. “My mortality became more apparent to me, but also my immortality—realizing that my daughter is going to live on and see things that I’m never going to see. I had to become comfortable with this, and that affected the music that I was making.” The album features Washington’s daughter—who wrote the melody to “Asha The First” during some of her first experimentations on the piano—as well as a host of collaborators new and old. André 3000 appears on flute, George Clinton lends his voice, as do BJ The Chicago Kid, Inglewood rapper D-Smoke and Taj and Ras Austin of Coast Contra, the twin sons of West Coast legend Ras Kass. Washington further enlisted lifelong friends and collaborators Thundercat, Terrace Martin, Patrice Quinn, Brandon Coleman, DJ Battlecat and more. The album also features “The Garden Path,” a song Washington performed for the first time ever, making his late-night television debut, on “The Tonight Show Starring Jimmy Fallon.”

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Kamasi Washington

2LP | 2024 | UK | Original (XL)

33,99 €*

Fearless Movement Red & Blue Vinyl Edition

Release: 2024 / UK – Original

Genre: Organic Grooves

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Kamasi Washington

2LP | 2024 | UK | Original (XL)

30,39 €* 31,99 € -5%

LP | 2021 | EU | Original (Dualismo Sound)

Release: 2024 / UK – Original

Genre: Organic Grooves

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Kaymany & Asestar

Keith Mansfield & John Cameron

Release: 2021 / EU – Original

Genre: Organic Grooves

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The city of Rome once again confirms the excessive abundance of records produced for the music industry, television and, even, shopping malls. The mistery that surrounds the musicians involved in these sessions makes the journey even more interesting and tense. “Was really that drummer involved in that record?” - “I don’t know” or, of course, “I don’t remember…”. Certainly, a new distinctive brick has now been added to the Italian Jazz-Fusion heritage.

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Voices In Harmony

LP | 1973 | UK | Reissue (Be With)

LP | 2023 | EU | Original (Hyperjazz)

Release: 1973 / UK – Reissue

Genre: Organic Grooves

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Voices In Harmony was released in 1973 as “a selection of contemporary pop titles featuring voices, brass and rhythm”. We choose to describe this collection of works by Keith Mansfield and John Cameron as “a string-laced, harmony-drenched KPM classic”.

From the bright, lilting harmonies of “Liquid Sunshine” to the melting flutes of “Loving Touch” and “Gentle Persuasion”, this is warm, effervescent soul music for dreamy, idyllic moods. The supreme “Husky Birdsong” is so, so smooth, with its unrelenting bossa bassline and warm keyboards. “Half Forgotten Daydreams” is a gorgeous wordless groove.

As with all ten re-issues, the audio for Voices In Harmony comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.

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Khalab

Layers

20,69 €* 22,99 € -10%

Kid Howard's La Vida Band

Release: 2023 / EU – Original

Genre: Organic Grooves, Rock & Indie

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Every person we meet, every moment we live through, all the love we feel, and the losses we endure, add another layer to the intricate pattern of our lives. Like multicolored threads, these layers twist together to form a complex, vibrant tapestry — a reflection of our life journey until this point. On his new album Layers, Khalab acknowledges and celebrates the encounters that have shaped his ever-evolving musical vision. The record, out on August 25th with his own Hyperjazz Records, represents the culmination of a creative journey that began with his Eunoto EP (Black Acre Records, 2015), evolved with the Afro-Futuristic soundscapes of 2018’s highly acclaimed album Black Noise 2084 (On The Corner Records/!K7), and has since developed further through a series of experiences and deep musical collaborations. Layers summons all the alchemy of Khalab’s live performances, and embodies the transcendental power of music making as a collective art form. Over the past five years, Khalab has shared the stage at Italian and International festivals with many exceptional musicians, an experience which has sharpened the musicality of his compositions and enhanced the depth and complexity of his sound. “Since the release of Black Noise 2084 I’ve increasingly developed the stage and band dynamic, focusing on arranging with the musicians in mind, and this album was almost entirely conceived together with musicians I’ve collaborated with” says Khalab. In a testament to the label’s close-knit and highly collaborative nature, Khalab's live band includes a cadre of musicians from the Hyperjazz family, including David Paulis and Enrico Truzzi of Phresoul, as well Pietro Santangelo, Fabio Sasso, and longstanding creative-partner Nicola Guida. The album’s nine tracks feature an impressive lineup of collaborators old and new, including UK drummer and producer Emanative, Burkinabe singer, guitarist, and m’bira player Gabin Dabiré (passed away a few weeks ago), Italian producer Clap! Clap!, multi-wind instrumentalist Tamar Osborn, drummer and producer Tommaso Cappellato, British-Bahraini trumpeter Yazz Ahmed, Bristol’s vocalist and producer Grove, multi-instrumentalist Tenderlonious, Italian jazz singer Alessia Obino and British-born Nigerian spoken-word artist Joshua Idehen. Layers still revolves around the key components of Khalab’s sound — dark and trancey electronics and his research into Black music and all its evolutions — but with a bigger emphasis on harmonic arrangements. Across the album, Khalab’s productions twist and pulsate into mesmerizing motifs, as the interplay between different instruments coalesce into focused melodies and rich, complex textures. Khalab and his collaborators masterfully blend gloomy and radiant tones, eliciting feelings of both doom and hope. The album will be preceded by three lead singles: “Layers” feat. Joshua idehen, “Tunnel Of Jealousy” feat. Lady Blue Eyes, and “Female Side” feat. Tommaso Cappellato.

For Khalab, Layers represents the end point of a journey that began with the synthesis of ancestral rhythms and electronic experimentation on Black Noise 2084, and has taken him on a meandering route through a Mauritanian refugee camp (M’berra, Real World Recordings, 2021), and deep into the catalogs of legendary Italian labels Soul Note and Black Saint (for the Hyperituals compilations, released on his own Hyperjazz label). In Khalab’s own words: “For me this feels like coming full circle, because everything will be more experimental going forward”. Credits All tracks written & arranged by Khalab Produced by Khalab & DJ Knuf With the vital contribution of these amazing musicians: A1. Yazz Ahmed (flugelhorn, trumpet), Alessia Obino (voice), Nicola Guida (synths), Fabio Sasso (drums) A2. Emanative (drums), Tamar Osborn (baritone saxophone), Grove (lyrics, voice) A3. Lady Blue Eyes (voice) A4. Cristiano Crisci (synths), Pietro Santangelo (tenor saxophone) A5. Joshua Idehen (lyrics, voice), Cristiano Crisci (additional synths) B1. Tommaso Cappellato (synths), Enrico Truzzi (drums), David Paulis (electric bass), Cristiano Crisci (additional synths) B2. Gabin Dabiré (voice, m’bira) B3. Tenderlonious (flute) B4. Magnus PI (percussion), Alessia Obino (voice), Pietro Santangelo (tenor saxophone), Enrico Truzzi (drums) Mix by DJ Knuf at Studio 33, Rome Remix by Khalab at Studio 33, Rome Megamix by Satori Stereo Saiyan Mastered by Frank Merritt at The Carvery, London Visual project design by Marco Klefisch

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Afraid To Stay Here, Afraid To Leave This Town

LP | 1961 | US | Original (Jazzology)

12,99 €*

Release: 1961 / US – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG+

Kimiko Kasai With Gil Evans And His Orchestra

Satin Doll

LP | 1972 | JP | Reissue (CBS/Sony)

48,99 €*

Kimiko Kasai with Herbie Hancock

Release: 1972 / JP – Reissue

Genre: Organic Grooves

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Used Vinyl

Medium: Near Mint, Cover: VG+

Japanese reissue from 1977. With insert. OBI is missing. Few paper scuffs.

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Butterfly

LP | 1979 | EU | Reissue (Be With)

34,99 €*

Kjell Öhman Feat. Arne Domnerus

Release: 1979 / EU – Reissue

Genre: Organic Grooves

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This is the 2020 repress. Due to its super-rare status as a Japan-only release, this exquisite collection of covers never got the recognition it deserved at the time, despite incredibly inspired performances from Kimiko, Herbie and the supremely talented musicians assembled for the project. From heavenly drummer Alphonse Mouzon and renowned organist Webster Lewis to bassist Paul Jackson, reedman Bennie Maupin and the master percussionist Bill Summers, the legendary performers crafted amazingly good vocal versions of Herbie / Headhunters jazz-funk.

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The Hammond B-3 Connection

LP | SE (Opus 3)

39,99 €*

Release: SE

Genre: Organic Grooves

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Klaus Weiss Rhythm And Sounds

Sound Inventions (Selected Sound)

LP | 1979 | EU | Reissue (Be With)

Koma Saxo With Sofia Jernberg

Release: 1979 / EU – Reissue

Genre: Organic Grooves, Electronic & Dance

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The second Be With foray into the archives of revered German library institution Selected Sound is one of our favourites, Sound Inventions from Klaus Weiss Rhythm And Sounds, originally released in 1979. From the notoriously strong mind of Niagara drummer / library-funk overlord Klaus Weiss, Sound Inventions is loaded with tripped out studio funk-freakery, mad samples and swaggering abstract funk grooves. From dramatic deep disco with dark Italo/Moroder leanings to heavy German funk breaks, this is absolutely sensational. Absolute synth-and-string-drenched magic. Born in 1942 in Gevelsberg, Germany, Klaus Weiss began his career as a jazz drummer at sixteen (with a group called the Jazzopators) before working with the internationally successful 60s groups the Klaus Doldinger Quartet and the Erwin Lehn Big Band. In 1965 he formed his own trio, the first of many groups to bear his name, and as his renown as a bandleader grew over the next decade it naturally lead to working in production music. About as cult as it gets when it comes to library music legends (German or otherwise), he produced essential records on German library labels Coloursound, Selected Sound and Sonoton.

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Koma West

LP | 2022 | FI | Original (We Jazz)

26,99 €*

Kristoffer Eikrem & Kjetil Jerve Ft. Jimmy Halperin

Release: 2022 / FI – Original

Genre: Organic Grooves

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Used Vinyl

Medium: Near Mint, Cover: Near Mint

Red vinyl

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Live In Blue Note Nara

Tape | 2018 | EU | Original (Dugnad)

Release: 2018 / EU – Original

Genre: Organic Grooves

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Krokofant With Stale Storlokken & Ingebrigt Haker Flaten

Fifth

LP | 2021 | EU | Original (Rune Grammofon)

33,99 €*

Kurt Elling Feat. Charlie Hunter

Release: 2021 / EU – Original

Genre: Organic Grooves

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As David Fricke Pointed Out In His Liner Notes To "Q", The Previous Album From This Expanded Edition Of Krokofant, This Is Not Just Another Novelty Guest-Project. In Fact, All The Involved Were So Happy After Finishing "Q" That A Follow-Up Was Decided Upon Straight Away. So Here It Is, With Four New Tunes From Guitarist And Leader Tom Hasslan, Each Clocking In Between Eight And Twelve Minutes. Originally A Guitar And Drums Duo, Tom And Axel Met In A Guitar Shop In Kongsberg, A Town In Southern Norway Famous For Its Annual Jazz Festival Since 1964, And Recognised For Its Experimental And Innovative Profile. Jorgen Was Invited To Join Them For The Sessions That Resulted In Their Self-Titled Debut Album In February 2014. Two More Albums Followed In 2015 And 2017.When Considering Guest Musicians For "Q", To Become Their Fourth Album, Keyboard Maestro Ståle Storlokken (Elephant9, Supersilent, Terje Rypdal) Was The Trio's First Choice. He Had Seen Krokofant Live In 2015 And, In His Own Words, "Had An Instant Kick", So He Said Yes Straight Away. Ingebrigt Håker Flaten (Scorch Trio, The Thing, Atomic) Had Seen Them The Same Year, And After A Few Backstage Beers Practically Invited Himself To Join Up At Some Time. By His Introduction, A "Proper" Rhythm Section Was Born And Work Was Lifted From Hasslan's Shoulders. Hasslan's Tunes Are Perfect Vehicles For Storlokken To Present The Full Scope Of His Playing; From Sheer Pastoral Beauty To Full On Jazz Skronk. The Same Can Be Said About Mathisen, Who Is Given Ample Room For Soloing. The Tunes Are Rich In Harmonic Structures And Melodic Hooks, But There Is Also Room For Adventures Into More Free Passages. Many Names Have Been Mentioned In Connection With Krokofant Over The Years, But With The Distinctive Sax And Organ Combination, It's Difficult Not Think Of Van Der Graaf Generator In Their Prime. Which Is The Highest Accolade In Our Book, Anyway. Thus The Expanded Krokofant Is Everything A Progressive Jazz And Rock Fan Could Wish For; Positive Energy, Melodic Rich...

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Superblue: The Iridescent Spree

LP | 2023 | EU | Original (Edition)

23,99 €*

Release: 2023 / EU – Original

Genre: Organic Grooves

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Lambert, Hendricks & Ross with The Ike Isaacs Trio featuring Harry Edison

The Hottest New Group In Jazz

LP | 1973 | US | Reissue (Columbia Special Products)

4,79 €* 5,99 € -20%

Release: 1973 / US – Reissue

Genre: Organic Grooves

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Used Vinyl

Medium: VG, Cover: VG

Larry Coryell With Stanley Cowell, Buster Williams, Beaver Harris

Toku Do

LP | 1988 | US | Original (Muse)

Release: 1988 / US – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG, Cover: VG

Lars Erstrand Quartet Feat. Kjell Öhman

Dream Dancing

LP | SE (Opus 3)

39,99 €*

Release: SE

Genre: Organic Grooves

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Latin-Jazz Sinfónica! Feat. Germanpops Orchestra

Kaleidoskop

2LP | 2023 | EU | Original (Neuklang)

61,99 €*

Release: 2023 / EU – Original

Genre: Organic Grooves

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Lee Konitz With Warne Marsh

LP | 1955 | EU | Reissue (Speakers Corner)

34,99 €*

Lee Wiley With Billy Butterfield And His Orchestra

Release: 1955 / EU – Reissue

Genre: Organic Grooves

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What a great rhythm group! A dream comes true: Oscar Pettiford and Kenny Clarke – and then Billy Bauer on the guitar and alternately Ronnie Ball (UK) or Sal Mosca (USA) on the piano. No wonder that things really take off when these masters of improvisation from the Lennie Tristano school get going.
In June 1955, in the Atlantic studio, standards provided the starting base for the long and wonderfully sophisticated improvisations by Lee Konitz and Wayne Marsh, who were at that time pupils of the great Chicago maestro. Although the numbers are declared as own compositions, such as "Background Music" and "Ronnie’s Line", they are actually none other than adaptations of "All Of Me" or "That Old Feeling" – but at the very highest level. Lee Konitz always called this 'The Twelfth Step'. The repertoire is enriched by seldom-heard compositions by the great Oscar Pettiford. 'Time-keeping' – a neologism of prime importance for jazz musicians – is the most important element in "Donna Lee" and "There Will Never Be Another You" – and there is no better drummer for this music than Kenny 'Klook' Clarke, who lived in those days in the USA before moving to Paris in 1956 where there was no racial discrimination.
Of course, you can buy these recordings on various digital discs. But that can’t be compared to a superb black disc and a cover with lines notes by the famous Barry Ulanov.

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A Touch Of The Blues

LP | 1977 | JP | Reissue (RCA)

Release: 1977 / JP – Reissue

Genre: Organic Grooves

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Used Vinyl

Medium: Near Mint, Cover: Near Mint

Lee Wiley With Eddie Condon And His All-Stars

Lee Wiley 1944-45

LP | 1984 | JP | Original (Baybridge)

Les Swingle Singers Perform With The Modern Jazz Quartet

Release: 1984 / JP – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG+

Japanese pressing. With OBI and insert.

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Place Vendôme

LP | 1966 | JP | Reissue (Fontana)

5,99 €*

Lester Young Quartet With John Lewis & Hank Jones

Release: 1966 / JP – Reissue

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG

OBI is missing!

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Collates

LP | US | Reissue (Waxtime)

19,99 €*

Release: US – Reissue

Genre: Organic Grooves

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Linda Ronstadt With Nelson Riddle And His Orchestra

Lush Life

LP | 1984 | JP | Original (Asylum)

Linda Ronstadt With Nelson Riddle And His Orchestra

Release: 1984 / JP – Original

Genre: Organic Grooves, Pop

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Used Vinyl

Medium: VG+, Cover: VG+

Japanese pressing with obi.

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Lush Life

LP | 1984 | JP | Original (Asylum)

Linda Ronstadt With Nelson Riddle And His Orchestra

Release: 1984 / JP – Original

Genre: Organic Grooves, Pop

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Used Vinyl

Medium: VG+, Cover: VG

No obi.

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Lush Life

LP | 1984 | EU | Original (Asylum)

4,99 €*

Release: 1984 / EU – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG

Louis Armstrong With Orchestra Directed By Sy Oliver

Satchmo Serenades

LP | 1980 | US | Original (MCA)

8,99 €*

Release: 1980 / US – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG+

LP | 2024 | UK | Original (Riot Season)

Louse

Creep Call

Lucky Thompson With Emmett Berry, Martial Solal, The Henri Renaud Trio, Gérard Pochonet, Guy Lafitte

Release: 2024 / UK – Original

Genre: Organic Grooves

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More brutal sounds from the thriving UK scum/noise rock underground.

LOUSE: purveyors of the finest cellar-dweller scum rock since 2020; a disgusting cocktail comprised of 4 parts Foot Hair (Box Records) and 2 parts The Shits (Rocket Recordings), served over a capsized cruise-liner.

Described as wielding “damp and sticky instruments”, being “rotten from the inside” and sonically “stinking drunk, shirtless with no shoes, crawling around in your head”, LOUSE gleefully pummel one riff into oblivion, deranged howls & punishing buzzsaw guitars growl over driving disco beats and slide bass. A carnival in an open sewer.

Creep Call – LOUSE’s debut LP, after various tapes, live recordings and a split 10” lathe cut with The Shits – is a true statement of intent. Presented by the magnificent Riot Season, the record is the result of a (wasted) life’s work honing and toning the platonic ideal of single-riff noise rock, all wrapped up in a grindhouse, Giallo-flick package.

Briefly elevated from the basement, Creep Call was recorded with James Atkinson at The Station House Studio in 2023 and mastered by S. Bishop, so the carnage has never sounded better. Perfectly balanced ugliness drenched in feedback, pumped up with Stooges keys and sax (honk honk) - the closest thing to experiencing the deafening, goofy, beer-soaked-undergarment chaos of a LOUSE show first hand.

Creep Call features wholesome ruminations on perpetual home invasion, road-side pornography addiction, perfecting a cannibalistic diet, and an unmistakable cowboy/line-dancing anthem. Do the wrong thing, and answer the call.

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Paris 1956 Volume 1

LP | 1985 | US | Original (Disques Swing)

7,19 €* 8,99 € -20%

Release: 1985 / US – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG

LP | 2021 | EU | Original (South Of North)

Lyckle De Jong

23,99 €*

Lydia Lunch with the Anubian Lights

Release: 2021 / EU – Original

Genre: Organic Grooves, Rock & Indie

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"Oscillation associations

This album is titled Os. When I look at the shape of these two letters, O and S, I realize that they are a rotation and an oscillation.

Os is Dutch for Ox. An ox is a castrated male bull. The primary benefit of castrating bull calves is to temper their tempers, making it easier and cheaper for people to handle them. Os is also an abbreviation of oscillation, -cillation being castrated off. Oscillation means a movement back and forth in a regular rhythm, like breathing, push-ups, tides, swinging or sound. For this album Lyckle was not dealing with oxes or bulls, but with oscillations, guiding them through synths, handling their tempers. If I look at the etymology of oscillation, I learn that it stems from the term Oscilla, which were ancient disks depicting a face or animal on each side. Oscilla is a diminutive of os and means ‘little face’. They were hung in trees during religious feasts honoring various deities, as well as being thought of as purifying the air as they swung in the wind.

The wind chime with its little sunny face, smiling on the cover of this record was hanging in the windowsill of Lyckle’s studio, behind his back, where the wind would make it jingle, averting the Evil Eye according to apotropaic magic. In ancient Rome, wind chimes named Tintinnabulum were decorated with a phallus, which was also seen as a good luck charm. Phallic charm also appeared as objects of jewelry such as pendants and finger rings. It has been suggested that some types of phallic pendants were designed to point outwards in the direction of travel in order to face any potential danger or bad luck, nullifying it before it could affect the wearer.

When I take the record itself out of the sleeve, I see that there are two phalluses carved into the surface of the vinyl, like little ornaments. When you start playing the record, they start chasing each other, going round and round. They point in all directions of the room, but are never able to point at each other. Finally, I am told that it is recommended to listen to this record with the window open, allowing sounds from outside to blend in with the music. "

- Bernice Nauta

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Champagne, Cocaine & Nicotine Stains

12" | 2002 | DE | Original (Crippled Dick Hot Wax!)

11,99 €*

Mal Waldron With Eric Dolphy And Booker Ervin

Release: 2002 / DE – Original

Genre: Organic Grooves, Electronic & Dance

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Used Vinyl

Medium: VG, Cover: Generic

Promo copy

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The Quest

LP | 1962 | EU | Reissue (Soundsgood)

Release: 1962 / EU – Reissue

Genre: Organic Grooves

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Like A Plane Colored Vinyl Edition

Markus Acher

10" | 2022 | US | Original (Moone)

32,99 €*

Marty Grosz With Destiny's Tots

Release: 2022 / US – Original

Genre: Organic Grooves, Rock & Indie

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Markus Acher (best known as singer of The Notwist) typically produces his own music under the name Rayon – this time, however, is a different story. Using his real name, he sends a signal re: the circumstances he recorded the music in - at home in his old apartment in Munich, in a private setting, in a time when there was hardly anything else available. Accordingly, and rather fittingly, the four songs represent a bridge to the outside world: Acher tore the doors to his balcony wide open, inviting the outside in , capturing its sound on tape: rain falling, engine noise of passing cars. And at the same time the songs pushed outward, into that sphere that remained off-limits to us for some time (“Like a plane they can go everywhere”).

The four tracks - arranged for harmonium, acoustic guitar, banjo, glockenspiel, percussion, a children's harp and vocals - were released digitally in 2021 via the Japanese independent platform Minna Kikeru, run by Saya (member of the duo Tenniscoats and Markus Acher's bandmate in Spirit Fest), among others. For two songs of «Like A Plane», Saya contributed vocal tracks as well.

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Sings Of Love And Other Matters

LP | 1987 | US | Original (Statiras)

6,99 €*

Release: 1987 / US – Original

Genre: Organic Grooves

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Medium: VG+, Cover: VG+

Massimo Farao' Trio With Strings Orchestra

Like An Elegant Wine

LP | 2024 | JP | Original (Venus)

47,99 €*

Release: 2024 / JP – Original

Genre: Organic Grooves, Classical Music

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LP | 2017 | EU | Reissue (Be With)

Maston

Tulips

27,99 €*

Turkish Delight Black Vinyl Edition

Release: 2017 / EU – Reissue

Genre: Organic Grooves

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Can be played at 33rpm or 45rpm. Frank Maston’s Tulips is a sample-ready film score to the best 70s movie never made. Originally a super-limited self-release on his Phonoscope label in late 2017, Tulips has already become incredibly sought-after. Be With were introduced to Maston by mutual friends Aquarium Drunkard and it didn’t take long before we decided this modern classic deserved a reissue. Inspired by the deep-grooving soundtracks of Italian cinema - think Morricone, Umiliani and Alessandroni - Maston conceived the entire Tulips project as a continuation of these revered works. Frank designed the artwork and made two 16mm films to accompany the music: “It wasn’t just the LP… it was kind of a whole vibe I was trying to create. Not really trying to emulate the things that influenced me but more trying to make something that could sit alongside those records on a shelf. I’m still very proud of the project.” There’s a distinct library music feel too, with wiry organ, spacey keyboards and loping 60s guitar hinting at KPM and DeWolfe.

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Matao With Atilla Engin

LP | 1979 | EU | Reissue (Arsivplak)

21,99 €*

Max Roach Quintet With Abbey Lincoln

Release: 1979 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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Some hard-hitting rhythm section blending into a prime example of the swingin' sound of the cool influences of Jazz, Funk and Folk music, with a Turkish flavor.
It's fantastic funk jazz groove built on a titanium synth bassline!
An instrumental library of traditional Turkish Jazz session reaching a great climax in drums and percussion sets + electro-bass break with moog and synthesizers from the beginning to the end.
Traditional Turkish songs are based on drums and synth bass over moody 5/8 fuzz guitars...
Album recorded & released in Denmark, 1979, and it has never been released in Turkey.

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Live In Paris

LP | 2023 | EU | Original (Whp)

21,99 €*

Friday Afternoon In The Universe

Release: 2023 / EU – Original

Genre: Organic Grooves

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Max Roach, the father of modern jazz drumming, caught in action in Paris - France in 1964. This is one of the few live documents in his 1960's dense activity. Here Roach is at the head of a strong quintet featuring the deep voice of Mrs Abbey Lincoln and tenor sax giant Clifford Jordan. Starting from an almost all standard repertoire (including gems like Duke Jordan's "Jordu" and Ellington's "Sophisticated Lady") Roach along with Eddie Khan drive the music with their solid hard swinging pulse.

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Medeski Martin & Wood

LP | 2023 | EU | Original (Real Gone Music)

41,99 €*

Release: 2023 / EU – Original

Genre: Organic Grooves

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LP | 1993 | EU | Reissue (Real Gone Music)

Medeski Martin & Wood

It's A Jungle In Here

41,99 €*

Release: 1993 / EU – Reissue

Genre: Organic Grooves

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LP | 2023 | EU | Original (Real Gone Music)

Medeski Martin & Wood

Shack-Man

41,99 €*

Release: 2023 / EU – Original

Genre: Organic Grooves

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7" | 2024 | WW | Original (Kr8iv)

Melange Ft. Linda Muriel

Simple Melody

15,99 €*

Release: 2024 / WW – Original

Genre: Organic Grooves

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LP | 1974 | DE | Reissue (WATT)

Michael Mantler

No Answer

19,99 €*

LP | 1974 | UK | Original (WATT)

Release: 1974 / DE – Reissue

Genre: Organic Grooves

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Used Vinyl

Medium: Near Mint, Cover: VG

Cover has lamination peeling. Records seems barely ever played.

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Michael Mantler

No Answer

8,99 €*

Release: 1974 / UK – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG

Michel Legrand Featuring Phil Woods With Ron Carter, Grady Tate And George Davis

Recorded Live At Jimmy's

LP | 1975 | US | Original (RCA)

7,99 €*

Michel Legrand With Ray Brown And Shelly Manne

Release: 1975 / US – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG

Vinyl with a couple of light scuffs. Cover closer to VG+

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At Shelly's Manne-Hole

LP | 1973 | JP | Reissue (Verve)

7" | 2021 | UK | Reissue (Jazz Room)

Release: 1973 / JP – Reissue

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG+

Japanese pressing with Obi.

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Michel Magne

Le Monocle Rit Jaune

13,99 €*

Mike Cooper With The Machine Gun Co. And Michael Gibbs / The Machine Gun Co. With Mike Cooper

Release: 2021 / UK – Reissue

Genre: Organic Grooves

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Used Vinyl

Medium: Near Mint, Cover: Generic

UK reissue from 2021. Includes inlay!

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Places I Know / The Machine Gun Co. With Mike Cooper

CD | 2014 | US | Reissue (Paradise Of Bachelors)

Release: 2014 / US – Reissue

Genre: Organic Grooves, Rock & Indie

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Medium: VG+, Cover: VG+

Mikkel Ploug Group Feat. Mark Turner

Nocturnes

LP | 2023 | Original (Stunt)

26,99 €*

Release: 2023 / Original

Genre: Organic Grooves

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Mildred Rosner w/ Mendelsohn's Orchestra) / Slim Gaillard And His Flat-Foot-Floogie Boys

Gefilte Fish / Matzoh Balls

7" | 2021 | UK | Original (JWM)

22,99 €*

Milestones Numbered Limited Edition 180G LP SuperVinyl

Release: 2021 / UK – Original

Genre: Organic Grooves

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Here’s a special melt in the mouth treat for lovers of old-time home cooking, and foot-tapping rhythms that we all know they just don’t make ‘em like this anymore!

The very first 7” single from JWM recordings, who brought you ‘Music is the Most Beautiful Language in the World’, the much-loved compilation of Yiddisher Jazz in London’s East End 1920s to 1950s. On the menu is Gefilte Fish and Matzoh Balls, a double ‘A’ side recipe of two classic dishes that have graced the Jewish luncheon or dinner table for generations.

Ours are the tastiest sounding Matzoh Balls - dumplings made of eggs and matzoh meal (ground unleavened bread) - that we’ve ever heard. A mesmerising musical soup concocted in New York in 1939 by the one and only Slim Gaillard and His Flat-Foot-Floogie Boys. Slim was a hugely popular and influential figure on the jazz circuit for over half a century. He’d riff and scat in his own made-up language ‘voute-o-rooney’ – a hip scatological word play that would be celebrated in Jack Kerouac’s ‘On the Road’. Gaillard’s own background has always been a mystery – an African-American who even claimed Jewish ancestry, hence his love for Jewish food (his repertoire also included the ditty ‘Dunkin’ Bagels’). In his Matzoh Balls, we discover that Slim likes his balls with a kick: “now you put a little horseradish on it, and it knocks you right out...” For the record, accompanying Slim and his guitar on Matzoh Balls were Al Killian (trumpet), Kenneth Hollon (tenor saxophone), Loumell Morgan (piano), William Smith (string bass) and Hubert Pettaway (drums).

Playwright and song writer Isadore Lillian’s Gefilte Fish passionately declares a love affair with this slightly sweet but savoury ancient dish – patties made up of a poached mixture of ground deboned white fish. Served boiled or fried. Yiddish singer Mildred Rosner is backed by Mendelsohn’s Orchestra to deliver the finest ever version of Gefilte Fish on the market. The band put down a roaring and infectious dance tune – they’ve clearly played a Jewish wedding or two. Mildred Rosner’s delivery on her only known record is an utter joy, and listen out for the punky call and response of the tune’s title. All together now Gefilte Fish!

It’s the first ever re-issue of the original 78rpm 10” that was issued for the speciality American Jewish market in 1947 by The Sun Recording Corp. of New York. The Bronx-based label’s motto was “the brightest thing on records” - and it pre-dated a rather more famous Sun label - Sam Phillips’ Sun of Memphis, Tennessee.

We’ve packaged our food-themed single in a glorious card cover with a tasteful tactile matt finish, designed by Will Bankhead. The image on the front shows just how many of us may remember what those portions of boiled Gefilte Fish topped with sliced carrots looked like, laid out for hours on the buffet tables of those functions of yesteryear...

As a special treat for this individually numbered special edition of just 200 copies, we’ve included an illustrated double-sided flyer complete with recipes to make your very own Gefilte Fish and Matzoh Balls to eat while you listen...

JWM Recording’s Gefilte Fish c/w Matzoh Balls Is compiled by Alan Dein and Howard Williams, the very same team behind ‘Music is the Most Beautiful Language in the World’:

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Miled Davis

LP | 1958 | US | Reissue (Mobile Fidelity Sound Lab)

74,99 €*

Miles Davis Quintet Feat. John Coltrane

Release: 1958 / US – Reissue

Genre: Organic Grooves

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Miles Davis created just one studio album with his original sextet: Milestones. And he made every moment count. Pairing with Cannonball Adderley, John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones, Davis not only laid the groundwork for the modalism that immediately followed but tailored a genuine modern-jazz masterwork laden with performances among the most explosive of his distinguished career. Sandwiched between the more famous 'Round About Midnight and the epochal Kind of Blue, Milestones remains a seminal work of art.

Sourced from the original master tapes and pressed on dead-quiet SuperVinyl, Mobile Fidelity's numbered-edition 180g LP grants each musician their own space amid broad soundstages. Afforded the benefits of a nearly non-existent noise floor and supreme groove definition, this vinyl reissue doubles as a time machine back to the February-March 1958 recording sessions.

Colors, shapes, and dimensions appear in the manner that resembles what you'd glean from behind a studio control room's window. Davis' burnished trumpet is rendered in three-dimensional perspective and seemingly coaxes the band to play with unburdened zest. Coltrane's trademark saxophone teems with lifelike tonality and images with specificity; his solos work in tandem with and against the driving rhythms. Garland's swaggering piano lines? Visualize the keys as he hits full stride, the chords and fills slithering around skeletal frameworks.

Inducted into the Grammy Hall of Fame and selected as a "Core Collection" record by the Penguin Guide to Jazz, Milestones is as famous for its title track – widely considered ground zero for modalism and bolstered by Jones' hallmark "Philly Lick" rim shot – as the players that produced it. The launching pad for many of Davis' improvisational flights, the album teases the explorations Coltrane would soon chase. Davis' own solo work broaches territories that far exceed what he had done in his bop-rooted past. Every song is a highlight.

Take the bravado "Dr. Jackle," featuring a hot-foot pace and bebop strains, or "Sid's Ahead," which continues the album's blues theme while juggling edgy harmonics and inside-out structures. On "Billy Boy," distinguished with an arco bass solo from Chambers, Garland gets a turn in the spotlight and channels the openness practised by one of his heroes, Ahmad Jamal. Even more instructive is the band's reading of Dizzy Gillespie's "Two Bass Hit." Three years removed from the version Davis and company recorded for the trumpeter's Columbia debut, this interpretation demonstrates the extent to which the group had jelled in a relatively short amount of time.

Then there's "Straight, No Chaser," the definitive rendition of Thelonious Monk's signature piece. Coltrane's marbled playing pulls at the tune's borders, Adderley takes liberty with solos, and Davis dances around his mates, at one point quoting "When the Saints Go Marching In" while demonstrating his knowledge of tradition and casting an eye towards the future.

About that future. Garland already had one foot out the door during the Milestones sessions to the extent Davis spells him on "Sid's Ahead." Jones would stick around for a bit longer but soon plot his exit. History proves Davis navigated the changes with visionary aplomb. Yet the chemistry, excitement, and beauty the sextet achieves on Milestones cannot be overstated. This reissue helps put the album in proper perspective – and presents the music the fidelity it deserves.

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The Netherlands

LP | 2022 | EU (Whp)

17,99 €*

Miles Davis With John Coltrane, Red Garland, Paul Chambers & Philly Joe Jones

Release: 2022 / EU

Genre: Organic Grooves

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Stunning european live performance from Miles with his early quintet featuring the magic of a young & talented Trane. Miles Davis (trumpet), John Coltrane (Tenor Saxophone), Wynton Kelly (Piano), Paul Chambers (Bass), Jimmy Cobb (Drums)

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The Complete Cookin' Sessions

4LP | 2019 | EU | Original (Jazz Images)

68,99 €*

Release: 2019 / EU – Original

Genre: Organic Grooves

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LP | 2019 | PT | Original (Clean Feed)

Miles Perkin Quartet

The Point In Question

20,99 €*

Release: 2019 / PT – Original

Genre: Organic Grooves

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Medium: VG+, Cover: Near Mint

Milt Hinton • Wendell Marshall • Wyatt Ruther

Basses Loaded!

LP | 1996 | JP | Reissue (RCA)

19,99 €*

Release: 1996 / JP – Reissue

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG+

Mino Cinelu & Nils Petter Molvaer

Sulamadiana

2LP | 2020 | EU | Original (BMG)

29,99 €*

Release: 2020 / EU – Original

Genre: Organic Grooves

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2LP | 2024 | EU | Original (We Release Jazz)

Mo Kolours

Original Flow

36,09 €* 37,99 € -5%

CD | 2024 | EU | Original (We Release Jazz)

Release: 2024 / EU – Original

Genre: Organic Grooves

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We Release JAZZ is very happy to announce an exciting new body of work by Joseph Deenmamode aka Mo Kolours. The singular musical spirit’s new 21-track album Original Flow is available as a double LP housed in a heavy 350gsm sleeve with original artwork by Mo Kolours himself and the classic WRJ obi strip, as well as in digipack CD and digital formats.

A catalog of critically acclaimed records, including his self-titled debut (2014), ‘Texture Like Like Sun’ (2015), 2018 album ‘Inner Symbols’ and three companion EPs, established Deenmamode as a prodigious musician and vocalist. Pitchfork extolled his “hypnotic, tribal-infused dance grooves”, DJ Mag appreciated the “colourful celebration of soundsystem culture”, and Resident Advisor advocated that “no one sounds quite like Mo Kolours”. Musical analogies were drawn by The Guardian as “The best album Curtis Mayfield never made with A Tribe Called Quest and Lee Perry” and Mojo as “like Marvin Gaye produced by J Dilla”.

Five years ago, Deenmamode moved to the Japanese countryside. Far away from familiarity, he contemplated his place and further questioned his identity. “I had none of my ‘own’ people around. I had time to really find what makes me tick musically. Japan has helped me go back to those subconscious leanings, really go deep, and reflect the aspects that make up my story”.

The tracks on ‘Original Flow’ have been constructed from sessions, improvisations and soundbites captured around the world during this time; collecting contributions from musicians including Deenamode’s brothers Reginald Omas Mamode and Jeen Bassa plus Andrew Ashong, Charles Bullen, Dwaye Kilvington, Eddie Hick, Stefan Asanovic, Myele Manzanza, Ross Hughes, and Tom Dreissler. Deenamode says “I’m proud of this album’s creative process. Coming from a tradition of scouring through hours of records, I wanted to create my own samples, to find that perfect loop that no other producer could put their hands on. I decided to invite a group of friends and acquaintances, who also happen to be incredible musicians, to a studio in Crystal Palace to improvise based on some loose ideas I had. We spent all day, and recorded everything”.

‘Original Flow’ is an album of UK street-soul nouveau, future indigenous jazz fusion, Rasta Segga, Nyahbinghi jazz, Malagasy Hebrew hip hop. While retaining a spirit of exploration and improvisation, it sees Deenmamode grow and flex beyond beat tape brevity, expanding composition and stretching his musical muscle to play live with other musicians. Themes of empowerment, overcoming adversity, and mental liberation coexist with notes from ancient history, futurism, and science, as well as musings on family and togetherness.

‘Magik Momentum’ springs from a discussion that features at the start of the song, an inspiring mentor answering a question from Deenmamode about improvisation and what role it plays in life when planning and manifesting the future. ‘Rockets to Mars’ questions the lack of care for the billions of people with nothing, while governments plan to explore space. “This sparked a comparison in my mind to a Sonny Okuson song that I would reference when performing. Okuson’s song talked of the lack of resources in many communities in the world, while governments go to the moon”.

He says the music behind ‘The News These Days’ is “possibly my favourite on the album”. Looped like he would a late sixty jazz-fusion sample, there was nothing added and the track was complete within a matter of minutes. “It was the first and best moment from the entire Crystal Palace session”, he adds. The album’s contrasting title track with minimal instrumentation played solo by Deenamode. While frustratingly searching for gems in past recordings, he thought in a burst of ego, “I don’t need no-one else to make a dope beat!” picked up his ravanne, (the traditional frame drum of his fathers home-land of Mauritius), pressed record, and started to play. He says, “In my thoughts were the rhythms of the Nubians in Upper-Egypt and Sudan, the swing of the huge drums played by Mauritanian women, of-course the Sega beat of Mauritius, and the ever inspiring beat of James Yancey”.

Driven by UK broken beat, Cuban congas, Nigerian and Mauritian inflections, ‘Love Vibration’ follows the concept that all emotions carry a vibratory frequency and pays homage to the frequency of creation and the power of love. The two part ‘Tatamaka’ tells of the history of Deenmamode’s ancestors, the maroons of Mauritius. “We are people who managed to run from our oppressors and find refuge in a corner of the island called ‘Le Morne’ where they could not reach us. One bloody day they came in numbers to re-capture, to revenge. Many of us chose to jump to our deaths, rather than be taken back into subjugation. The poem by Creole Richard Sedley Assonne says; “there were hundreds of them, but my people, the maroons chose the kiss of death over the chains of slavery”. Tatamaka was the name of a famed maroon leader who was murdered for claiming his, and our people’s freedom. The song is the imagined journey of escape and freedom by an ancestor of the maroons of Le Morne”.

Born in the west midlands and raised on the traditional sega music of his father’s Indian Ocean homeland of Mauritius alongside records by the likes of Jimi Hendrix, Santana and Michael Jackson; his influences expanded with late 90s jungle and drum and bass nights in Bristol, experiments at art college in Camberwell, and the rich culture of Peckham, “at the time we called it the Afro Quarters of London” says Deenmamode, adding hip hop, dub, soul and soundsystem styles to his individual sound.

He explains, “I love drum music, from hand-drums to 808s. I love music from the ancient past, heritage music, indigenous music, traditional music passed down from the beginning of time. Music from the body, hand claps, grunts and foot stomps. Music with audible depth, busy, bustling, highly charged. Music from the soul, the music from beyond. I love music from the islands and the mountains. The music of the streets, hustle music, alleyway beats. Club music”.

He describes the creative process as thinking in images. “The visual world and the world of sound seem to intermingle in my thought process. When I play the drum with my eyes closed, a world of imagery dances and moves with beat. Improvised drumming feels like I am listening to what I want to hear, rather than trying to play what I want to hear. Following the rhythm and finding new pathways to walk within the patterns is what I experience. In this way I often feel I am just a listener, instead of the player”.
Original Flow is pressed on biovinyl, a sustainable alternative to traditional vinyl. Biovinyl replaces petroleum in S-PVC by recycling used cooking oil or industrial waste gases, resulting in 100% CO2 savings in bio-based S-PVC production. Furthermore, it is 100% recyclable and reusable, embracing the circular economy ideology.

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Mo Kolours

Original Flow

18,04 €* 18,99 € -5%

Moon Haewon With Tsuyoshi Yamamoto

Release: 2024 / EU – Original

Genre: Organic Grooves

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Holiday Gift From Moon

10" | 2024 | JP | Original (Somethin'cool)

32,99 €*

Moon With Tsuyoshi Yamamoto

Release: 2024 / JP – Original

Genre: Organic Grooves

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Moon haewon and Tsuyoshi Yamamoto, who worked together on the previous album "Midnight Sun," present this 10-inch LP as a Christmas gift for jazz fans around the world!!

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Midnight Sun

LP | 2024 | JP | Original (Somethin'cool)

44,99 €*

Selections from the Mozaik Archive Green Vinyl Edition

Release: 2024 / JP – Original

Genre: Organic Grooves

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Moon haewon, a Korean jazz diva, will release a standard vocal album on LP with the Tsuyoshi Yamamoto Trio! Lacquer cutting is done by the master Toru Kotetsu, making it a must-listen for audiophiles. The latest work from Moon is a collaboration with Tsuyoshi Yamamoto, a leading Japanese pianist who has captivated audiophiles as well as jazz fans, and is also extremely popular in Asia. The album features a selection of classic songs including "Misty," the swinging "Twisted," and the melodious ballad "In the Middle of a Kiss. The album includes 12 tracks, including Moon's original "Look to the Moon". We cannot take our eyes off the birth of this powerful tag team.

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Mozaik

LP | 2022 | EU | Original (Rumi Sounds)

35,99 €*

Mr.Drum & His Friends With Strings

Release: 2022 / EU – Original

Genre: Organic Grooves, Rock & Indie

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Mozaik began its journey under the oppresive aura of the 1980 coup in Turkey, singing songs of freedom from all around the world, eventually stepping into the more controversial areas of jazz, progressive rock, fusion and ‘authentic music‘ with their own compositions.

Whilist the post-coup music scene was dominated by apolitical pop music, Mozaik produced sophisticated lyrics and composed songs in unusual structures. With a dynamic crew and a rotating list of songwriters in the band, Mozaik maintained its unique sound and poetic narrative throughout the years.

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Drums Big Hits 16

LP | 1971 | JP | Original (Columbia)

16,99 €*

7" | 2023 | EU | Original (Jazz Room)

Release: 1971 / JP – Original

Genre: Organic Grooves, Rock & Indie

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Used Vinyl

Medium: VG, Cover: VG

Japanese pressing. OBI is missing. Close to VG+.

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Nautilus

Lady Day & John Coltrane

12,99 €*

Nenad Vasilic Feat. Wolfgang Puschnig & Bojan Z

Release: 2023 / EU – Original

Genre: Organic Grooves

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Japanese trio Nautilus, whose name and style was inspired by the great Bob James turn their attention to Gil Scott-Heron's Jazz tribute and turn it into a broken beat masterclass. Coming soon on London Jazz DJ Paul Murphy's must-check Jazz Room records on vinyl seven-inch. On the B side you will find UK underground Jazz Keyboard Surf Queen Jessica Lauren's much admired funkster "Serengeti".

Already receiving plays on Gilles Peterson's Bbc6 Music and Colin Curtis Latin Jazz Fusion show.

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Live In Theater Akzent

LP | 2018 | Original (Galileo Vertrieb)

Release: 2018 / Original

Genre: Organic Grooves

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Distinctive Themes / Race To Achievement

Nick Ingman

LP | 1976 | UK | Reissue (Be With)

Nicole Henry With Eddie Higgins Trio

Release: 1976 / UK – Reissue

Genre: Organic Grooves

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Released in 1976, Distinctive Themes / Race To Achievement is legendary arranger Nick Ingman exploring the two distinct ideas of “impressive themes varying in style from ‘Basie to Elgar’” and “a study in the pressure and rewards of achievement”.

Distinctive Themes is a veritable indulgence of variously-tempoed, full orchestra, big band workouts, from relaxed swing to more propulsive themes. The progressively building “Expanding Markets” is a true highlight, with its rolling pianos, contemplative electric guitar solos and moody horns over skipping beats. The dramatic “Against The Odds” is another stand-out.

Race To Achievement is all rugged funk with stabbing chords and strutting horns and it’s probably our favourite side. Of course we have to acknowledge the fantastic “Tense Preparation”, sampled by Prince Paul and Dan The Automator for Handsome Boy Modeling School’s seminal “Magnetizing” with Del Tha Funky Homosapien. But the whole side’s range from tense underscores to fast and punchy chase themes makes this is a gem of the KPM catalogue.

As with all ten re-issues, the audio for Distinctive Themes / Race To Achievement comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.

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Teach Me Tonight

2LP | 2005 | JP | Reissue (Venus)

82,99 €*

Release: 2005 / JP – Reissue

Genre: Organic Grooves

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Little Broken Hearts Deluxe Edition

Norah Jones

3LP | 2012 | EU | Reissue (Blue Note)

49,99 €*

Norio Maeda Trio & Terumasa Hino Quintet

Release: 2012 / EU – Reissue

Genre: Organic Grooves

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In 2001, Norah Jones debuted with the now classic album "Come Away With Me", which fused jazz, pop, blues and a touch of country in a very unique way, and made it to multi-platinum status and several Grammy awards.

Norah Jones, who had achieved worldwide fame almost overnight, did not slavishly stick to the successful concept in the years to come, but tried out different sounds and styles again and again, to the delight of her fans. In 2011 she appeared as a guest singer of Danger Mouse and Daniele Luppi for their album "Rome". Inspired by this collaboration, Norah Jone' album "Little Broken Hearts" was created the following year in collaboration with Danger Mouse.

In June, for its 10th anniversary, in addition to the remastered version of the original album, a deluxe edition on 3 LPs or 2 CDs will be released. Additionally to the 12 original songs eight alternative versions and remixes are included and also a complete live recording of the album repertoire, which Norah Jones recorded in 2012 in Austin City Limits, Texas.

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Alpha Ray

7" | 2024 | UK | Original (Jazz Room)

Release: 2024 / UK – Original

Genre: Organic Grooves

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Alpha RAY by The Norio Maeda Trio was originally released in the Swinging Sixties and this hot latin number was rediscovered by the Tokyo Hipsters at the height of the Acid Jazz Boom and became part of Shibuya Jazz Dance Folklore.
Hakuchu NO Shugeki - Theme by Terumasa Hino Quintet is from a Japansploitation thriler made in 1970 with plenty of guns, gals, guys, sharpsuited action and gallons of studio blood! Mostly freeform blowing by the Legend that is Terumasa Hino for the soundtrack, one of the exceptions being this Blue Note Styled Soul Jazz number that sounds as if it came off the Van Gelder production line circa '66 to '71. Easily could be mistaken for Blue Mitchell, Donald Byrd or Freddie Hubbard's outputs post soul, pre-electric happenings. Another Jazz Room thing of beauty!
Now on 45 RPM release by Jazz Room Records, a 2 cut slab of wax that will have Jazzfloorista's waiting at the gate!

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LP | 1970 | EU | Reissue (Be With)

Elastic Rock

Release: 1970 / EU – Reissue

Genre: Organic Grooves

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Nucleus's Elastic Rock is undisputedly a milestone in Jazz-Rock. A beautiful and vital debut album, it was first released on Vertigo in 1970. Original copies are now very tricky to score and, like all the Nucleus records, it’s aged ridiculously well. This Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.

The very title Elastic Rock could be regarded as the group's MO, describing a melting point between their rock and jazz impulses. Indeed, housed in a memorable gatefold jacket designed by Roger Dean, the die cut molten teardrop shape on the front sleeve opens to reveal a fiery volcanic crater. On the back, Dean's drawing has Carr with saxophonist Brian Smith, guitarist Chris Spedding, drummer John Marshall, bassist Jeff Clyne and sax, oboe and pianist Karl Jenkins in a circle, the central core of a movement and the basis for its activity.

Recorded over four days in January 1970, Elastic Rock didn't sound like any other British jazz album. Exploding out the gate, "1916" opens with Marshall's frantic pounding before melancholic horns enter. The smooth title track, "Elastic Rock" is just a gorgeous electric blues track. Light drums, gentle melodic horns, piano and a solid bassline serve as the perfect bed for Spedding's graceful bluesy guitar melodies. The serene "Striation", a Clyne and Spedding collaboration, is led by bowed bass and is the epitome of calm before the late night laid back vibe of "Taranaki" breezes along sweetly and smoothly with great trumpet and tenor.

The truly emotional "Twisted Track" is elegant with horns, while guitar is gently played with drums and bass. Initially deeply soothing, it gradually builds with various solos and duets. "Crude Blues (Part 1)" features an excellent oboe part by Jenkins with laconic guitar helping out. "Part 2" is livelier, with a heavy backbeat and great wind parts. "1916 (Battle Of Boogaloo)" features a steady bassline and great call and response parts from the horn section.

The highly-charged centrepiece of the record, the mesmeric epic "Torrid Zone" features an hypnotic bassline and hi-hat with some of the ensemble's best soloing. Brilliantly encapsulating the jazz fusion aesthetic so desired by the group, the rhythm section is rock-influenced but magically retains a laid-back jazz vibe. Just perfection. Spacey jazz in the style of In a Silent Way, the semi-ambient "Stonescape" features smooth, muted brass, warm, smokey keys and a barely-there rhythm section. Heavenly.

The bubbling, fragile restraint of "Earth Mother" partially utilises the "Torrid Zone" bassline but takes the energy in a different direction with Marshall's frenetic drumming and Spedding's unpredictable riffing. Next comes the very idiosyncratic drum solo track by Marshall in the appropriately-titled "Speaking for Myself, Personally, in My Own Opinion, I Think." The album closes with the raucous "Persephones Jive", a track that ends the album frantically, riotously, just as it began.

This Be With edition of Elastic Rock has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The stunning die-cut gatefold sleeve has been restored in all its molten glory.

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LP | 1975 | EU | Reissue (Be With)

Snakehips Etcetera

27,99 €*

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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The distinctive rolling grooves, growling basslines and blasting horns of Snakehips Etcetera combined to present Nucleus's most energetic record. First released on Vertigo in 1975, original copies of Snakehips Etcetera are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”

With all restraint out the window, 1975's pimped-up Snakehips Etcetera is the outrageous - in both cover art and sound - follow-up to the brooding Under The Sun. It's perhaps not one for the jazz purists! It finds Nucleus pared down to a core group of six, with Carr, Bob Bertles (sax), Ken Shaw (guitar), Geoff Castle (keys), Roger Sutton (bass) and Roger Sellers (drums) comprising the collective. Snakehips Etcetera reflects a period where the compositions start to become a little more direct and less-cerebral in comparison to some of Nucleus' previous releases. And why would we begrudge them some fun? This one rocks, swings and funks with no little soul. And more than a little jazzy sleaze. Clearly, they were having a good time.

The album has a real live, jamming feel to it, no surprise given the extent to which they were touring at the time. The band is tight and grooving throughout, none more so than on Bob Bertles's effervescent opener, "Rat’s Bag". So darn funky it stings, it's an infectious gem full of punchy clean lines over a killer bassline from Sutton. The thick, driving jazz-rock of "Alive And Kicking" is exactly that. It has a very improvisational feel, but an inspired one at that and features a wailing guitar solo from Ken Shaw that simply slays. The funky "Rachel’s Tune" is amazing, bringing you back to Canterbury days with its fuzzed-out organ solos to close out Side A.

Opening up Side B, the cool psychedelic title track unfolds slowly and sensually over its ten-plus minutes. A stoned soul stew of sorts, each member of the crew gets their chance to shine over Sellers's steady drums. The melodic funk fusion of "Pussyfoot" pairs Carr with Bertles on ace solo flute for a bright, springy melody. This one really gleams over shuffling drums. Changing the pace to close out this memorable set, the particularly cool "Heyday" is a reflective, sober tune which reinforces the sumptuous Nucleus palette, the acoustic guitar and bass high in the mix to make the neck snap, the horns elegantly blasting to help you swoon.

This Be With edition of Snakehips Etcetera has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The striking, lascivious sleeve has been restored in all its seductive/ridiculous beauty.

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LP | 1971 | EU | Reissue (Be With)

Solar Plexus

Release: 1971 / EU – Reissue

Genre: Organic Grooves

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What a record! The outstanding Solar Plexus, the much-loved third album from Ian Carr and Nucleus, was first released on Vertigo in 1971. Inevitably, original copies are now very tricky to score and, like all the Nucleus records, it’s aged ridiculously well. This Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.

We'll let Ian describe this one: "I wrote Solar Plexus' last year with the help of an Arts Council grant. It is based on two short themes which are stated at the beginning (Elements I & I1). The first theme is angular and has a slow, crab-like movement: the second theme is direct, simple and diatonic. CHANGING TIME and SPIRIT LEVEL explore the first theme and BEDROCK DEADLOCK and TORSO explore the second one. SNAKEHIPS DREAM tries to fuse both themes. (The title is a reference to the famous dancer 'Snakehips' Johnson)."

Solar Plexus features the same lineup as Elastic Rock and We'll Talk About It Later, but they're augmented by six guests, three of which play brass. Carr himself had almost full control of the writing and it does feel very different to the previous albums. It's more of a jazz record loosely based on a rock foundation rather than jazz fusion jamming.

The haunting synth-and-bass soundscape "Elements I and II" opens the album in dramatic, experimental fashion. It gives way to the bright, funky feel-good jazz of "Changing Times". An elegant onslaught of horns, courtesy of guests Kenny Wheeler and Harry Beckett, ride a solid groove for the duration. How the brass refrains have eluded samplers is beyond us. The melancholic "Bedrock Deadlock" features the brooding majesty of Jenkins' oboe and Clyne's mournful, skittering double bass. Wah wah guitar, drums and funky percussion then take over before the horns ride us out over frenetic beats. The dark, angular "Spirit Level" is a real highlight, by turns harmonic and beautiful then dissonant and wayward. Wonky jazz with no apparent structure or melodic bones. Regardless, it represents a great showcase for each virtuoso performer.

The breezy soul of "Torso" feels like a breath of fresh air, skipping along in the uptempo style with guitar, horns, drums and bass. A track which truly sounds scintillating, featuring sax solos, fantastic propulsive interplay from all the group around the halfway stage before Marshall gets his chance to really shine in closing out with a polyrhythmic drum solo. Final track "Snakehips' Dream" stretches cooly out over 15 minutes to round out a spellbinding album. An epic, suave groove, it's a relaxing piece with warm electric keys, laconic guitar and languorous horns. Truly sophisticated soulful jazz. An absolute masterclass. We could easily listen to this all day long.

This Be With edition of Solar Plexus has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The stunning gatefold sleeve has been restored to complete this sensational package.

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We'll Talk About It Later

LP | 1971 | EU | Reissue (Be With)

Oliver Nelson With Eric Dolphy

Release: 1971 / EU – Reissue

Genre: Organic Grooves

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Their masterpiece? With breaks for dayyyyyys and an almost ambient, heavy jazz atmosphere throughout, *this* is the apex of British jazz-rock fusion. We'll Talk About It Later was first released on Vertigo in 1971 and original copies are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.

We'll Talk About It Later is arguably Nucleus's best album. Not only that, it's in the top 5 of all fusion albums. By the time Nucleus entered Trident Studios in September 1970 to record Elastic Rock's successor, they had already won a best group award at the Montreux Jazz Festival. Once again presented in a Roger Dean designed die-cut gatefold sleeve it continued to demonstrate the chemistry and interplay that worked so brilliantly on Elastic Rock; Carr's sumptuous trumpet and flügelhorn lines, Karl Jenkins's funk-filled electric keyboards, Chris Spedding's wah-wah guitar, Brian Smith's sax and the rhythmic foundation of drummer John Marshall and bassist Jeff Clyne.

The group work and insane musicianship Nucleus were famed for is in evidence from the off. The intensely funky "Song for the Bearded Lady" is absolute FIRE, blasting out the speakers to leave listeners floored. Counterpoint riffing segues into a spacious groove and a Carr trumpet solo demonstrating the influence of electric Miles from the period. The stop-start funk of "Sun Child" would appeal to Soft Machine devotees whilst the genuinely touching "Lullaby for a Lonely Child" is a lovely downtempo ballad. Featuring an understated, reflective horn line from Carr and Smith and atmospheric, shimmering bouzouki from Spedding, there's an exotic flavour which contributes to the bliss. The ominous, sleazy title track retains a swaggering menace and is not the only track to lend a sort of heavy stoner rock atmosphere. The guitars and bass are deep and low throughout, conjuring heavy psych moments to go with the actual jazz and even funk. To say this album was in conversation with Bitches Brew would not be overstating the sheer brain-frying brilliance.

The Weather Report-adjacent "Oasis" opens Side B, a colossal track featuring nearly 10 minutes of steadily building melodic horns, keys and choppy guitar riffs. So ace, it could easily go on for another 10. Mesmeric. Spedding adds unique vocals to the undeniable groove of "Ballad of Joe Pimp" whilst saxophonist Smith's duet with drummer Marshall at the conclusion of "Easter 1916" - inspired by the Yeats poem about the Irish nationalist uprising in Dublin - adopts the wildness of the most incendiary free jazz.

This Be With edition of We'll Talk About It Later has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The stunning die-cut sleeve has been restored with the original gatefold window pane depicting the Irish uprising in 1916. Incredible, timeless, guaranteed spine-chills.

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Straight Ahead Clear Vinyl Edition

LP | 1961 | EU | Reissue (Sowing)

Oliver Nelson With Eric Dolphy

Release: 1961 / EU – Reissue

Genre: Organic Grooves

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Limited Clear Vinyl edition, 500 copies! Originally released in 1961 by Prestige/New Jazz label, "Straight Ahead" marks the last Dolphy's appearance within a series of fortunate collaborations with saxophonist Oliver Nelson. This is a great modern jazz album taking shape from a quintet studio session (all first takes) engineered and supervised by master Rudy Van Gelder and featuring: Oliver Nelson - alto and tenor saxes, clarinet - Eric Dolphy - alto sax, bass clarinet, flute - Richard Wyands - piano - George Duvivier - double bass and Roy Haynes on drums. A serious bunch of jazz stylists all caught in fine form and concentration. Needless to add that the Nelson-Dolphy sax tandem shines throughout the whole album while Duvivier and Haynes inject their angular yet hard swinging groove. The track list consists of five Nelson's originals plus Milt Jackson's "Ralph's new blues".

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Straight Ahead Vinyl Me, Please Edition

LP | 1961 | US | Reissue (Vinyl Me, Please)

35,99 €*

Oscar Peterson Trio with Milt Jackson

Release: 1961 / US – Reissue

Genre: Organic Grooves

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Why you'll love it...
Straight Ahead, featuring saxophonists Oliver Nelson and Eric Dolphy, is the VMP Classics Record of the Month for April 2024. It's pressed on 180g black vinyl, with lacquers cut from master tapes (AAA) by Ryan Smith at Sterling Sound.

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Very Tall Acoustic Sounds

LP | 1961 | EU | Reissue (Verve)

43,99 €*

Release: 1961 / EU – Reissue

Genre: Organic Grooves

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Oscar Peterson Trio With Ray Brown & Ed Thigpen

1961 Cologne

2LP | 2011 | EU | Original (Jazzline)

15,99 €*

Release: 2011 / EU – Original

Genre: Organic Grooves

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Geist White Vinyl Edition

Others

LP | 2019 | EU | Original (Cinedelic)

25,99 €*

Paul Bley With Charlie Mingus & Art Blakey

Release: 2019 / EU – Original

Genre: Organic Grooves, Electronic & Dance

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Formed in 2016, Others is the project of two artists longing for something more experimental in their musical work. Lesli Wood (Cobra Family Picnic) and Daniel Martin Diaz (Trees Speak, Amelia Poe) began these recordings in Wood’s warehouse studio, inviting one guest musician to sit in for each live session. Abstract violinist Vicki Brown, known for her "psychosonic visualizations," is featured throughout the record, along with guest artists Ben Nisbett, Gabriel Sullivan, Julius Schlosburg, Damian Diaz, and Michael Glidewell. This avant-garde project has one foot in the 21 st Century and the other shifting among various eras of the past, sometimes in a dance, sometimes a dirge, of synths and dulcimers. Freed of genre limitations and preconceived patterns, the musicians were encouraged to explore wildly, using the foundation of a ‘broken’ consort of 18th Century chamber music wherein one musician introduces a melody, motif, or sound and the other musicians respond as they see fit. Recording sessions were lit by candlelight and shrouded in incense smoke, establishing the mood for composition, calling to mind, as Diaz describes, a gothic cathedral “filled with early analog synthesizers with vines growing out of them, a living breathing entity of music that transcends time and space.”

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Introducing Paul Bley

LP | 1953 | EU | Reissue (Sowing)