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Wendell Harrison & Phil Ranelin

Release: 2023 / JP – Original

Genre: Organic Grooves

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Includes : 6 Vinyls (Three albums, one 7" and onde 10") + 17 Magazines + Poster

About "A Message From The Tribe"

Tribe’s inaugural release in 1972 would see three editions released in as many years. 1972’s first edition featured a photo of the ocean on the front, the following year’s second edition had a drawing of the Earth, while 1974’s third edition had a colorful illustration of Tribe founders Wendell Harrison and Phil Ranelin’s faces. Each version is unique.

A MESSAGE FROM THE TRIBE 1st version (LP + 7")

The inaugural release from Tribe is getting its first ever analog reissue. The Tribe collective was focused primarily on live performances, and as an extension often included theatre and poetry. This first edition features a recording of one of their first performances, a musical entitled An Evening With The Devil, performed at the Detroit Institute of Arts. Highlights include original takes of “Where Am I”, a tune that morphs from fiery free jazz to breezy jazz fusion, and “What We Need”, a politically conscious jazz-funk number. The bonus 7-inch includes “Where Am I” and “How Do We End All Of This”, available only on this release.

A MESSAGE FROM THE TRIBE 2nd version (LP + 10")

Perhaps the best known version of this album, the second edition is adorned with an illustration of the Earth. Despite a track list overlapping with the first edition, each take is different from the prior edition, with a level of sophistication that was lacking from the previous disc. The A-side features music by Phil Ranelin, with precise grooves and a tight band making these renditions particularly funky. B-side features music by Wendell Harrison, offering forward more groove-forward tracks that are simultaneously thought and dance provoking. The second edition is smoother, groovier, and more modern than its predecessor but no less political. The attached 10-inch includes never before heard
instrumental versions, available only on the attached 10-inch disc. Highlighting the immense talent of the musicians that played on these recordings, the expansive horn section playing on these instrumental tracks makes for an almost big band-esque jazz funk sound. This is an important part of jazz history that you must listen to for yourself.

A MESSAGE FROM THE TRIBE 3rd version (45rpm Double LP)

The final edition is remixed and remastered, with special care taken during the mastering and cutting processes to ensure that the audio would be of the highest quality. Featuring a colorful illustration of Harrison, Ranelin, and vocalist Jeamel Lee on the front cover, the third edition sounds like a whole new record. Take “What We Need”, where the louder bass and kick drum has turned the funkiness up to 11, a mix that would be right at home at any club. Some of the grooves are almost hip-hop-esque, like the repetitive bassline and fender Rhodes on “How Do We End All Of This Madness” or the hi-hats and snares of the Harrison-penned jazz-funk “Beneficent”. We took special care to ensure that the audio quality would remain as originally intended, cutting the record as a double LP on 45rpm, heavyweight vinyl.

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A Message From The Tribe Box Set Cover Design B

Box | 2023 | JP | Original (P-Vine)

476,99 €* 529,99 € -10%

Ballads UHQR (Ultra High Quality Record) 2LP 200g 45rpm Vinyl Deluxe Limited Edition Box Set

Release: 2023 / JP – Original

Genre: Organic Grooves

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Includes : 6 Vinyls (Three albums, one 7" and onde 10") + 18 Magazines + Poster

About "A Message From The Tribe"

Tribe’s inaugural release in 1972 would see three editions released in as many years. 1972’s first edition featured a photo of the ocean on the front, the following year’s second edition had a drawing of the Earth, while 1974’s third edition had a colorful illustration of Tribe founders Wendell Harrison and Phil Ranelin’s faces. Each version is unique.

A MESSAGE FROM THE TRIBE 1st version (LP + 7")

The inaugural release from Tribe is getting its first ever analog reissue. The Tribe collective was focused primarily on live performances, and as an extension often included theatre and poetry. This first edition features a recording of one of their first performances, a musical entitled An Evening With The Devil, performed at the Detroit Institute of Arts. Highlights include original takes of “Where Am I”, a tune that morphs from fiery free jazz to breezy jazz fusion, and “What We Need”, a politically conscious jazz-funk number. The bonus 7-inch includes “Where Am I” and “How Do We End All Of This”, available only on this release.

A MESSAGE FROM THE TRIBE 2nd version (LP + 10")

Perhaps the best known version of this album, the second edition is adorned with an illustration of the Earth. Despite a track list overlapping with the first edition, each take is different from the prior edition, with a level of sophistication that was lacking from the previous disc. The A-side features music by Phil Ranelin, with precise grooves and a tight band making these renditions particularly funky. B-side features music by Wendell Harrison, offering forward more groove-forward tracks that are simultaneously thought and dance provoking. The second edition is smoother, groovier, and more modern than its predecessor but no less political. The attached 10-inch includes never before heard
instrumental versions, available only on the attached 10-inch disc. Highlighting the immense talent of the musicians that played on these recordings, the expansive horn section playing on these instrumental tracks makes for an almost big band-esque jazz funk sound. This is an important part of jazz history that you must listen to for yourself.

A MESSAGE FROM THE TRIBE 3rd version (45rpm Double LP)

The final edition is remixed and remastered, with special care taken during the mastering and cutting processes to ensure that the audio would be of the highest quality. Featuring a colorful illustration of Harrison, Ranelin, and vocalist Jeamel Lee on the front cover, the third edition sounds like a whole new record. Take “What We Need”, where the louder bass and kick drum has turned the funkiness up to 11, a mix that would be right at home at any club. Some of the grooves are almost hip-hop-esque, like the repetitive bassline and fender Rhodes on “How Do We End All Of This Madness” or the hi-hats and snares of the Harrison-penned jazz-funk “Beneficent”. We took special care to ensure that the audio quality would remain as originally intended, cutting the record as a double LP on 45rpm, heavyweight vinyl.

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John Coltrane

2LP | 1963 | US | Reissue (Analogue Productions)

201,99 €*

A Love Supreme Uhqr Limited Edition Box Set

Release: 1963 / US – Reissue

Genre: Organic Grooves

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John Coltrane Quartet — Ballads
Analogue Productions' UHQR, the pinnacle of high-quality vinyl!
45 RPM Ultra High Quality Record release limited to 5,000 copies
Mastered from the original tape by Ryan K. Smith at Sterling Sound
Pressed at Quality Record Pressings using Clarity Vinyl®
Includes a 12" x 12" 12-page booklet featuring liner notes by Ashley Kahn and recording session images by Jim Marshall

Audiophile reviews rave about saxophone master John Coltrane's immortal Impulse! records, A Love Supreme (1964) and Ballads (1963). Ballads is an album that will never go out of style and never be unwelcome on any jazz lover's turntable.

You're about to experience Ballads at its peak of vinyl perfection — in UHQR format on Clarity Vinyl, with the added bonus of a double 45 RPM cut by Ryan K. Smith at Sterling Sound. Ryan's cut has his characteristic clarity and transparency all set against Quality Record Pressing's usual noiseless backgrounds on 200-gram flawless records. Each UHQR will be packaged in a deluxe box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product.

For this 45 RPM 2LP edition you'll also receive a !2" x 12" 12-page booklet featuring liner notes by Ashley Kahn and recording session images by Jim Marshall.

The intense passionate Coltrane interpretation of standards such as "All Or Nothing At All," "What's New," "It's Easy To Remember" and the Sinatra classic "Nancy (With The Laughing Face)" are the essence of Ballads. When asked why attempt such an undertaking, Coltrane replied "Variety."

While it may have been a short detour by Trane before he exploded off into the nether regions of jazz music a few years later, it is still a fantastic document of one of the premier jazz groups of the 1960s.

Recorded December 21, 1961 and September 18 & November 13, 1962 at Rudy Van Gelder Studios.

"It's impossible to sleepwalk through tracks like "You Don't Know What Love Is" and "I Wish I Knew" and impart them with even a fraction of the emotional heft that the Quartet achieves. This is the type of jazz album in which the music just washes over the listener with it's restrained grace and beauty, and while it may not have the adventurousness that some listeners think Trane should have had each and every time he recorded, I'd say it shows off a side of him that only makes us appreciate his more bold and daring albums even more." — The Jazz Record

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John Coltrane

LP Box | 1964 | US | Reissue (Analogue Productions)

201,99 €*

The Complete Palm Recordings 1973-1974

Release: 1964 / US – Reissue

Genre: Organic Grooves

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John Coltrane Quartet — A Love Supreme Analogue Productions' Uhqr, the pinnacle of high-quality vinyl! 45 RPM Ultra High Quality Record release. Limited to 10,000 copies. Mastered from the original tape by Ryan K. Smith at Sterling Sound Pressed at Quality Record Pressings using Clarity Vinyl® Includes a 12" x 12" 12-page booklet featuring liner notes by Ashley Kahn and images from the Coltrane home

Audiophile reviews rave about saxophone master John Coltrane's immortal Impulse! records, A Love Supreme (1964) and Ballads (1963). In fact, jazz critics have lauded A Love Supreme as Coltrane's most important recording. The rave reviews which appeared in the magazines Downbeat, Jazz Hot, Jazz Podium and Swing-journal reflected this: critics all over the world, in America, Europe and Japan recognized that Coltrane's deep religious belief had influenced both his approach to life and his music-making.

You're about to experience A Love Supreme at its peak of vinyl perfection — in Uhqr format on Clarity Vinyl, with the added bonus of a double 45 RPM cut by Ryan K. Smith at Sterling Sound. Ryan's cut has his characteristic clarity and transparency all set against Quality Record Pressing's usual noiseless backgrounds on 200-gram flawless records. Each Uhqr will be packaged in a deluxe box and will include a booklet detailing the entire process of making a Uhqr along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product.

For this 45 RPM 2LP edition you'll also receive a 12" x 12" 12-page booklet featuring liner notes by Ashley Kahn and images from the Coltrane home.

The original master tape is available but it's not in the best shape. This LP was cut from a flat tape copy made by Rudy Van Gelder and used for cutting in the UK in April of 1965. Of course, the original recording was in December '64, so only a handful of months later. This tape was discovered at Abbey Road and had been untouched between 1965 and 2002. So while the original tape is available and while we would always opt for the original whenever we can, in this case this copy was the better choice as the tape has incurred less overall wear and sounds much better than the original.

A Love Supreme was Coltrane's pinnacle studio outing that at once compiled all of his innovations from his past, spoke of his current deep spirituality, and also gave a glimpse into the next two and a half years (sadly, those would be his last). Recorded at the end of 1964, Trane's classic quartet of Elvin Jones, McCoy Tyner, and Jimmy Garrison stepped in and created one of the most thought-provoking albums of their relationship.

The album not only enabled Coltrane to express himself with great intensity but also lent him the necessary inner peace to conceive a work of almost 40 minutes in length and to lead his quartet along the same path as himself.

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Byard Lancaster

Box Set | 2024 | EU | Original (Souffle Continu)

169,99 €*

2LP | 2023 | CA | Original (2hd)

Release: 2024 / EU – Original

Genre: Organic Grooves

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5lp+12"+7".

Souffle Continu records presents Byard Lancaster – The Complete Palm Recordings 1973-1974, the definitive package of Philadelphia-born jazz wizard Byard Lancaster including his 4 legendary albums released on Jef Gilson’s Palm Records in the 1970s, Us, Mother Africa, Exactement and Funny Funky Rib Crib, along with the first ever standalone edition of Love Always, a fifteen minute modal jazz beauty plus a 20 page booklet with rare photos and in-depth article about Byard Lancaster’s Parisian years by Pierre Crépon.

At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler.

In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of... Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib.

“Us”, the first of the four records was recorded on November 24th, 1973 with Sylvin Marc on electric bass (a Fender... Lancaster?) and the evergreen Steve McCall on drums.

On the album, the trio works from the John Coltrane model; free jazz shook up by the timely contributions of the bassist, followed by a mesmerizing atmospheric music. Then, Lancaster delivers a sinuous solo path, which is a reminder of his unique tone. On the album’s companion single, the trio launches into great black music of a different genre which would lead the clairvoyant François Tusques to claim that Byard Lancaster is an “authentic representative of soul/free jazz”, to sum up this is Great Black Music! A few months after recording “Us”, Lancaster recorded “Mother Africa” along with Clint Jackson III, a trumpeter, partner of Khan Jamal or Noah Howard on other recordings.

On march 8th, 1974, Lancaster and Jackson headed up a group composed of Jean-François Catoire (electric and double bass), Keno Speller (percussion) and Jonathan Dickinson (drums). Together, they create an immediate impression. From the first seconds of “We The Blessed”, they develop a free jazz which rapidly abandons any virulence under the effect of blues and soul based interventions. When Gilson’s composition “Mother Africa” begins, listeners are transported into the studio, listening to the musicians setting up: chatting and joking... Then comes the melody: a dozen or so notes of a repeated theme which is accelerated and deformed according to their whims... The jazz played by the association Byard Lancaster / Clint Jackson III is rare: creative AND recreational. “We the blessed”, is apt listening to this again today!

The recording of “Exactement” required two sessions in the studio: February 1st and May 18th 1974 – in between the two dates, Lancaster recorded, alongside Clint Jackson, the excellent Mother Africa.

Two names appear on the cover of “Exactement”: Lancaster (Byard) and Speller (Keno). Byard Lancaster wanted to be precise, moving regularly from one instrument to another: first on piano, which was the first instrument he learned. On “Sweet Evil Miss Kisianga”, his inspiration is first and foremost Coltrane (even if leaning more towards Alice than John), this announces the storm to follow.

It is Lancaster’s horn-playing which really stands out: on alto (the sound of which is transformed by an octavoice on one track, "Dr. Oliver W. Lancaster") or soprano saxophones, as well as on flute or bass clarinet, the musician walks a tightrope making the most of all the risks he takes. Using the full register of his instruments, he has fun with the possibilities.

Then, Lancaster invokes or evokes Ornette Coleman, Eric Dolphy and even Prokofiev, before going into a danse alongside Keno Speller on percussion. Above all, he has a unique sound. Byard Lancaster, on whatever instrument he plays and by continually seeking, always ends up hitting the right note... ends up by playing exactement the note he had to play.

“Funny Funky Rib Crib” is an unforgettable recording (made up of several sessions dating from the middle of 1974) of creative jazz overwhelmed by funk and soul. If Lancaster had already made successful albums in the same genre – notably New Horizons, under the name Sounds Of Liberation which he co-led with Khan Jamal –, this one is an homage to James Brown and Sammy Davis enjoying the company of a host of guests including François Tusques (electric piano), Clint Jackson III (trumpet), François Nyombo (guitar), Joseph Traindl (trombone)...

Funny Funky Rib Crib’s cover is a three-quarter profile portrait of the saxophonist (who can also be heard on flute, piano and even vocals), however, on the record, it is the whole group, inspired and frenetic, that tests the melodies of “Just Test”, “Dogtown” or “Rib Crib” – the two versions of which display leader Lancaster’s art of nuance. On both sides of the album, the group also moves into a calmer groove, infused by blues and soul, “Work And Pray” and “Loving Kindness” are meditative tracks where listeners can lay back and relax before asking for more: Funny Funky Rib Crib!

The magnificent “Love Always” was originally released on the fourth (and last) volume of the Jef Gilson Anthology series released in 1975. Recorded on 8th March 1974, it is a beautiful 15-minute-long modal jazz piece. Four notes from the bass (the relentless Jean-François Catoire, who makes up the rhythm section alongside drummer Jonathan Dickinson and percussionist Keno Speller), and the group is up and running! On piano, Gilson shows the subtle tact of a sideman, leaving the lions’ share of the place to the horns. This allows us to hear the trumpet of Clint Jackson III and the alto (which sometimes sounds almost flute-like) of Byard Lancaster each staking their claim in a long hallucinatory march which moves from moments of direct exaltation to profoundly sensitive collective playing. And if further proof was required of the confidence that Byard Lancaster and Jef Gilson inspire, “Love Always” provides it on this one sided release exclusive to the box set.

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Bill Evans

Some Other Time Volume 2

91,99 €*

Release: 2023 / CA – Original

Genre: Organic Grooves

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New Masada Quartet Benefit

John Zorn

LP | 2024 | US | Original (Tzadik)

76,99 €*

LP | 1972 | US | Reissue (Mobile Fidelity Sound Lab)

Release: 2024 / US – Original

Genre: Organic Grooves

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New Masada Quartet is one of the best groups Zorn has ever had. Bristling hot guitar master Julian Lage, bass wizard Jorge Roeder and 30-year Zorn veteran Kenny Wollesen perform with a crackling live energy that brings the Masada music to life like never before! Led by Zorn’s versatile sax and stop-and-start conducting, the music is filled with burning solos, telepathic group interaction, heartfelt lyricism and hypnotic grooves. Please purchase this limited edition LP and help Tzadik continue its mission to support and document new music in the 21st century.

Special Thanks to Sarah Robertson, Marisa Rolish, Scott Hull, Heung-Heung Chin, Bruce Gallanter, Stephen Svacina, Glenn Dicker, and Redeye for donating their time and services to help Tzadik with this special benefit vinyl release.

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Miles Davis

On The Corner

73,99 €*

Julie Is Her Name 200g, 45 Rmp Vinyl Edition

Release: 1972 / US – Reissue

Genre: Organic Grooves

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SOURCED FROM THE ORIGINAL MASTER TAPES: MOBILE FIDELITY 180G 33RPM SUPERVINYL LP
REVEALS MULTIPLE LAYERS OF RHYTHM, VISCERAL BASS, AND PIONEERING PRODUCTION TECHNIQUES
1/4" / 15 IPS analogue master to DSD 256 to analogue console to lathe

Miles Davis' boundlessly influential On the Corner was so far ahead of its time upon release in 1972, the jazz cognoscenti rejected its groundbreaking concoction as middling in nature. Yet time has a way of righting wrongs and shifting views by adding needed context and perspective to visionary ideas, music, and approaches — the likes of which fill Davis' boldest and most controversial — undertaking. Designed to bring the focus back on the groove and bottom-end frequencies, the funk-loaded On the Corner revolutionized jazz. It also set new standards for record production, presaging remixing and electronica by more than a decade. And the work has never sounded more thrilling thanks to this very special pressing.

Sourced from the original master tapes and pressed on MoFi SuperVinyl, Mobile Fidelity's numbered-edition 180g 33RPM SuperVinyl LP of On the Corner exposes the internal mechanisms, free-associated playing, and then-unmatched studio techniques in vivid fashion. The low end, crucial to every composition here, is both heard and felt, with locked-in bass lines and low-range percussion conveyed as taut, solid, and visceral passages. You can discern the multiple layers of rhythm Davis employed on complex tracks such as "Black Satin," as On the Corner stands as his first effort to use overdubbing and multiple tape machines. As a pioneer, Davis likely would’ve loved MoFi’s groundbreaking SuperVinyl profile that features the lowest-possible analogue noise floor as well as pristine transparency, dead-quiet surfaces, and superb groove definition.

New degrees of spaciousness and airiness — equally important to the musique concrete arrangements — give the impression Davis and Co.'s creations float in space. Instruments are portrayed in three-dimensional manners, rhythmic loops retain tonal purity, and horn solos skitter across an extra-wide soundstage that takes listeners into Columbia's Studio E. Mobile Fidelity's SuperVinyl LP captures Teo Macero's innovative production — and the trumpeter's cutting-edge aural collages — in definitive fashion.

Heavily inspired by Sly and the Family Stone, On the Corner portrays street vibes and remains Davis' Blackest-sounding record. The conscious attempt to connect with youthful audiences tapped into rock and funk is evident not only on the colorful cartoon cover art depicting hot-pants and zoot-suit revelers, but in the music's emphasis of recurring drum and bass grooves. Distinct from Davis' earlier fusion experiments, the record's long-misunderstood set dials back improvisation in favor of beats, loops, and atmospherics that generate trance-like effects. While Davis utilizes his band for core duties — Chick Corea and Herbie Hancock prominently figure — he also relies on an all-star cast of side-men for concentrated soloing and additional support.

With rhythm providing the basic foundation, other notes fall into place, with their positioning steered by Macero and Davis' editing-room techniques. Looking to the manipulation-based work of Karlheinze Stockhausen and teaming with Stockhausen disciple Paul Buckmaster, Davis re-imagines what grooves constituted and could accomplish throughout On the Corner. The shapes of the songs become completely transformed as they progress. Faint melodies, spacey chords, chunky riffs, wah-wah fills, and repeated motifs bounce in and out of a sonic funhouse that wouldn't be out of place at a Harlem block party.

Exotic, intrepid, and filled with Davis' "jungle sound," On the Corner remains daringly hip more than four decades later.

MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are virtually indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

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Julie London

2LP | 2019 | US | Original (Analogue Productions)

69,99 €*

2x12" | 2000 | Original (EMI)

Release: 2019 / US – Original

Genre: Organic Grooves

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It's back. Our 45rpm, 2LP version of the great Julie London debut on Liberty Records. Mastered by Bernie Grundman on his all-tube cutting system and now plated and pressed at Quality Record Pressings. This 45rpm spreads the 12 tracks over two LPs for even better cartridge tracking and superior sound quality!
Much like Dean Martin's 1954 debut LP ("Dean Martin Sings"), Julie London's recording career started on the silver screen in the 1940s. In 1955 she made her debut LP on the newly formed Liberty Records. Recorded in August of that same year, in state-of-the-art mono sound, "Julie Is Her Name" is regarded by jazz buffs and '50s pop enthusiasts as a genuine classic! This LP features the hit single "Cry Me A River" and her stellar performances of "I Should Care" and "No Moon At All".
Supported by the legendary Barney Kessel on guitar and Ray Leatherwood on bass, this LP release brings back memories of the cool '50s. Whether you were a cool swinger in the '50s or you're a cool hi-fi lovin' swinger today, you will be transported to a time when a 15" coaxial speaker, a 20 watt amplifier and a girl who looks like Julie were all that mattered.

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St Germain

Tourist

69,99 €*

Release: 2000 / Original

Genre: Organic Grooves, Electronic & Dance

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Used Vinyl

Medium: VG+, Cover: VG+

2LP | 2024 | US | Original (Roph)

Uyama Hiroto

Breath Of Love

61,99 €*

Venus Penguin Clear Vinyl Edition

Release: 2024 / US – Original

Genre: Hip Hop, Organic Grooves

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“Everything is mellow and gentle. Whether you’re with someone special or enjoying some time alone, or even just relaxing in a beautiful outdoor setting or in your bedroom—take a moment and listen." Uyama Hiroto

Seven years after ‘Freeform Jazz’ and ten years since the release of ‘Freedom of the Son,’ Uyama Hiroto has created the next chapter of his story. Just as all things in the universe rely on balance—light and shadow, yin and yang, movement and stillness—'Freeform Jazz’ was an expression of his outward emotions and energy, while ‘Breath of Love’ represents the flip side: his inner calm and gentle emotions. This album expresses a unified mood, with all the sound elements carefully chosen to maintain a consistent atmosphere. Uyama Hiroto plays nearly every instrument on the album, including the S.SAX and T.SAX, as well as guitar, bass, and beats. Collaborating for the first time on one of his own albums, Uyama Hiroto features artists like Substantial from Virginia, Marter (known for his vocal contributions on ‘magicnumber’), and Coma-chi, who participates under the name Reinaria. Each track is melodious and romantic, yet the album’s overarching narrative creates an emotional, gentle, and nostalgic journey—one that reflects the era and influences behind the music. This is a deeply internal work, showcasing Uyama Hiroto’s new artistic direction. Don’t miss out on experiencing this serene and profound album.

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Shin Sasakubo

LP | 2022 | JP | Original (Carnet)

61,99 €*

Polygamy Purple Vinyl Edition + Booklet

Release: 2022 / JP – Original

Genre: Organic Grooves

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The 2022 work "Venus Penguin", the 33rd work in total, is a new music culture with legendary French guitarist Noël Akchoté, Brazilian Antonio Loureiro, Frederico Heliodoro,

who is said to be a new generation of Minas, Luis Cole and Sam Gendel. Featuring American guitarist Adam Ratner making.

It is a cismograph-like work by Shin Sasakubo, who has already been cited as the best album of the year by many listeners, and is quietly woven by involving jazz, classical, acoustic, and modern folklore.

The self-produced analogue version released in March this year, which was completed immediately, has been re-released with a new look and a clear Color Vinyl specification. "

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Mustafa

LP | 1984 | EU | Reissue (Fatima International)

59,99 €*

Art Blakey And The Jazz Messengers

Release: 1984 / EU – Reissue

Genre: Organic Grooves

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In the course of our deep research, we sometimes discover a hidden thread that unites musicians, songwriters, artists, and poets linked by music. Mustafa's 'Polygamy' is no exception. Apart from the music - the main reason we decided to work on this first ever re-press, a jewel at the crossroads between jazz funk, spiritual jazz and proto rap - are the many other things that make Mustafa an intriguing and fascinating character. For starters, he was a childhood friend of the Ayler brothers with whom he played in different formations. He also played with other beloved figures such as Noah Howard and Charles Tyler, on a still unreleased album recorded for Amiri Baraka's Jihad label, and worked with The Legendary Master Brotherhood and Steve Reid. This and much more will be revealed in a detailed interview between Tony Higgins and Mustafa's family (his sisters and children are all musicians), as well as an insight into the recording of the album with Gregory Bufford, the drummer for the session.

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Au Club St. Germain Colored Vinyl Edition

LP | 2024 | UK | Reissue (Ermitage)

57,99 €*

Release: 2024 / UK – Reissue

Genre: Organic Grooves

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2LP | 1976 | EU | Reissue (Speakers Corner)

Charles Mingus

Mingus At Antibes

55,99 €*

2LP | 1975 | EU | Reissue (Speakers Corner)

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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You can be sure that jazz fans in the year 1960 were unfamiliar with Charles Mingus’s LPs "Blues And Roots" or "Mingus Ah-Um" when they poured into the Pinède Gould Arena at the Antibes Jazz Festival held in Juan-les-Pins, France on 13 July. At any rate, as can be seen in a short video clip, all the seats were occupied. In addition, a really good trumpeter was there, whose name would later resound throughout Europe: Ted Curson. What is more, the legendary Bud Powell, who lived in France, was invited as a special guest for one number that required a pianist.
The Jazz Workshop – which was how Mingus called his working ensemble – presented repertoire that was familiar to all the musicians: "Better Git It In Your Soul", "Wednesday Night Prayer Meeting" and Dolphy’s wonderful solo on the bass clarinet in "What Love?". Besides this there was "Cry For Freedom" as "Prayer For Passive Resistance" was also named, and "Folk Forms", also known as "Ummh". As a mark of respect towards the guest musician, it was decided to perform the evergreen "I’ll Remember April", with Powell’s improvisation being applauded enthusiastically by the audience.
Charles Mingus was to play in numerous concerts in the 60s and 70s; he recorded more than two-dozen official LPs, accused several concert organizers and tour managers of extortionate robbery, and trampled on illegal recording tapes. But the present live recording was made by the ORTF and released officially later by Atlantic Records. It is now re-released after many years and is a rare document in the annals of music history.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com.
All royalties and mechanical rights have been paid.

Recording: July 1960 live at the Antibes Jazz Festival, Juan-les-Pins, France, by Dannie Richmond
Production: Neshui Ertegun

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Herbie Hancock

Flood

55,99 €*

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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In the summer of 1975, the Herbie Hancock Sextet made a hugely successful tour of Japan, which made people aware of a 'new' Hancock. The last LP that the keyboard virtuoso had recorded, "Thrust", was already one year old, and the film music for the Charles Bronson classic "Death Wish" was received negatively by his fans. At his concerts in Tokyo, Herbie Hancock reached back to his hits: "Maiden Voyage", "Chameleon", and the famous, soulful "Watermelon Man" made the fans at his concert hall and open-air appearances go wild with enthusiasm. Forty years later I have the courage to confess that I couldn’t have cared less about this music at the time; in Europe there was enough that was new and exciting to see and listen to. However, this re-release in its original format has given me the opportunity to check out whether this music has withstood the test of time. And I must say: it has passed the test! Just listen to Herbie at his best!
Dr. Michael Frohne

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LP | 2021 | EU | Original (Modern Obscure Music)

PRSNT

55,99 €*

Inner Feelings Deluxe Edition

Release: 2021 / EU – Original

Genre: Organic Grooves, Electronic & Dance

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Ltd Black Vinyl Gatefold edition + 32 Page Booklet + Download Code The LP contains original compositions by Ryuichi Sakamoto, Pascal Comelade, Laurie Spiegel, Lyra Pramuk, Chassol, Nicolas Godin and Pierre Rousseau, Pedro Vian and Pierre Bastien, Visible Cloaks, Kelman Duran, Raul Refree, Lucrecia Dalt, Lafawndah. + a booklet with writings by contemporary thinkers like Shumon Basar, François J. Bonnet, and pictures by, Araki, Juergen Teller, Elizaveta Porodina, Dani Pujalte, P Jack Davison, Zhong Lin, Alessandra Sanguinetti, Adrià Cañameras, Javier Tles among others. Lacquer cut by Josh Bonati & Mastered by Rashad Becker ‘prsnt’ is a unique global artistic project combining the input of artists across the worlds of music, video and written word which acts as a statement on how we, as consumers, engage with music in the 21st century. Vital electronic musicians including Ryuichi Sakamoto, Lafawndah, Lyra Pramuk, Lucrecia Dalt and Visible Cloaks have each contributed tracks, which are approximately 32 seconds long. The concept was devised by Created By Us and the Barcelona-based label Modern Obscure Music. They read a study which identified that the overwhelming volume of instantly accessible information online is shortening attention spans and altering how audiences engage with music digitally. Their curiosity about the state of online consumption developed further on discovering that around a third of all listeners using digital platforms skip to the next track, within the first 30 seconds of playing. Each musician was given a fascinating challenge to create engaging compositions with real artistic merit, inside the confines of this shortened span. Akin to Brian Eno’s famous Windows 95 start-up music, the time constraints are crucial, and the compositions are deceptively complex and more substantial than expectations of their nano nature would suggest.

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Roy Porter Sound Machine

LP+7" | 1975 | JP | Reissue (P-Vine)

51,99 €*

2LP | 1980 | UK | Reissue (Pure Pleasure)

Release: 1975 / JP – Reissue

Genre: Organic Grooves

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He wasn’t satisfied simply being a bebop legend!

After spending the 40s and 50s playing with jazz pioneers such as Charlie ‘Yardbird’ Parker, Dizzy Gillespie, and a young Eric Dolphy. After spending much of the 1960s silent, Roy Porter returned triumphantly with the release of ‘Jessica’ in 1971. Four years later, he followed that up with “Inner Feelings”. Listeners back then had to wait four years for the sequel, but you don’t have to wait at all!

The seven-man band, with its powerful horns and phat grooves, is no doubt worthy of the name ‘Sound Machine’ Praise has been sung of this record in and among rare groove circles for over three decades, with mere rumors of original copies being enough to cause collectors to begin salivating. Album opener, “Party Time”, begins with an almost mechanical drum break - a groove so tight, you just might think Roy Porter is a metronome. Jpegmafia certainly thought so, sampling the drum beat on “Free the Frail”. Fans of classic hip-hop may also recognize “Panama”, not just for its beautiful melody and iconic groove, but from DJ SPINNA’s hit-song “rock”. The re-recorded version of “Jessica” adds vocals and a touch of melancholy to the jazz-funk classic. It’s still danceable, but it might also make you stop and think for a second. Album closer, “Out on the Town Tonight”, takes the funk one step further, with an even larger horn section, and fiery solos. Yet throughout the whole album, the drumming remains steadily funky, a reminder that Roy Porter sits at the heart of the Sound Machine.

With the LP reissued on clear blue vinyl for the first time ever, this record has never looked this good! Combined with a 7” record containing a re-edit by the legendary DJ Muro, and the nearly impossible to find vocal version of “Panama”, this reissue is no doubt going to be legendary! Don’t miss this iconic album, reissued for the first time on clear blue vinyl with a 7” record, available only from P-vine Records!

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Pharoah Sanders

Journey To The One

51,99 €*

2LP | 2024 | US | Original (Lawson)

Release: 1980 / UK – Reissue

Genre: Organic Grooves

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* 180 gram double LP with gatefold sleeve

* Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

* What separates this LP from others is that it is a group playing under his leadership where he gives all others close to equal billing.

* A jazz essential with plenty of incorporated nontraditional instrumentation

* One of his best recording from his post Impulse career.

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Kyoto Jazz Massive

Message From A New Dawn

49,99 €*

2LP | 1973 | US | Reissue (Pure Pleasure)

Release: 2024 / US – Original

Genre: Organic Grooves, Electronic & Dance

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Featuring an extraordinary band and incorporating elements of techno, jazz, boogie, soul, fusion, and Afro, this ultimate electric jazz fusion album has evolved into a complete band sound. With legendary guest Roy Ayers on board, the record showcases the band’s crossover brilliance.

Following their second album ‘Message From A New Dawn,’ Kyoto Jazz Massive (under the name Jeroboam) toured Europe with ‘Echoes of A New Dawn Orchestra’ and performed across venues like Jazz Cafe and Ronnie Scott’s in London, selling out shows and gaining even more popularity than during their prime. They also performed on the main stage of the 2023 We Out Here festival, curated by Gilles Peterson, where they wowed the audience. The re-release of their LP ‘Message From A New Dawn’—which previously topped the iTunes Dance Chart—is highly anticipated, as it includes the standout track "Impulsive Procession," which hit #1 on Traxsource's Nu-Jazz/Broken Beat chart.

Looking ahead to Kyoto Jazz Massive’s 30th-anniversary live performance in Japan in 2025, the timing of this repress is perfect for fans both in Japan and abroad. The record offers an all-original, fully band-recorded set of tracks, with contributors such as Vanessa Freeman, Kenichi Ikeda (root Soul), Takumi Kaneko (cro-magnon), Kaztake Takeuchi (A Hundred Birds), Takashi Nakazato, Yasushi Fukumori, Dubzombie (soil&”pimp”sessions), and even the Vienna Philharmonic’s Kirill Kobantschenko. Legendary jazz vibraphonist Roy Ayers also adds his distinctive touch to this remarkable album. Vocals were recorded and mixed by Toni Economides, who is also known for his work with Reel People, The Realm, and Moodymann’s “Taken Away.” The album's mastering was handled by Neil Pickles, a four-time Grammy nominee who has worked on various Latin projects. Art direction by the Okino brothers, with photos of Hiroyuki Wakabayashi’s architecture shot by Shuya Okino, and design by Naohiro Nomura of List, ties everything together visually.

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Clifford Jordan Quartet

Glass Bead Games

49,99 €*

LP | 1961 | US | Reissue (Impex)

Release: 1973 / US – Reissue

Genre: Organic Grooves

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* Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London / Fifth part of the Strata-East Dolphy Series, Glass Bead Games is arguably the crown jewel of the Strata East movement, an amorphous genre that treads an unusual path between post-bop, 70’s avant-garde and spiritual jazz, with a groove.

Glass Bead Games is full of revelations at many levels. First, the decade of the 1970s did produce genuinely creative, "human" new music flowing from the jazz mainstream; second, Bill Lee was more than Spike's dad: he was a superlative bassist, a team player of the first order, a powerful catalyst who, if anything, deserves to be better known than his son; third, Billy Higgins was, as so many musicians insist, a once-in-a-lifetime drummer—the bellows inspiriting the collective flame.

Most importantly, Clifford Jordan was an artist of the first order, his playing so effortless and unforced, unselfconscious and focused, mature and wise that, at a time when altissimo fury was all the rage, it's small wonder his authentic voice frequently went unheard. His musical rhetoric is so personally expressive, its substance so compelling, the listener couldn't care less about the extraordinary technique required to convey its captivating message. Compared to some of his more acclaimed peers he's a less aggressive yet paradoxically more directive and shaping influence. The climaxes, rather than spelled out, are merely suggested, registering with deep and lasting impact on the listener. It all comes down to learning the language, those precious little beads. Not every player, including Jordan or the listener, can use it like Shakespeare, but all can learn to read Shakespeare and understand its principles of arbitrariness and serendipity, of invariance and transformation.

Jordan, no less than Shakespeare, requires a like-minded cast of players—in this case four musicians of such redoubtable proficiency that each remains committed to keeping the beads in play. He's not a man content with a mere musical "dialogue" with his fellow musicians nor is he about to take the initiative in pulling his troops up to his level. Instead he begins to tell a musical story that's so compelling his three comrades are inspired equally to contribute to a collaborative narrative. This is brilliant music-making by a Coltrane- influenced successor who feels no obligation to mime the predecessor. It may be the most significant saxophone performance on record since Coltrane and, providing the listener stays with it for any length of time, the most deeply satisfying. Jordan's game—so effortless, unforced, and "level"—erases distinctions between composed and improvised, soloist and ensemble, narrator and narrative, the dancer and the dance. It seems incapable of wearing out its welcome.

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Bud Shank

Barefoot Adbenture

49,99 €*

Release: 1961 / US – Reissue

Genre: Organic Grooves

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Live At Club Mozambique Black Vinyl Edition

Grant Green

2LP | 2006 | US | Reissue (Blue Note / Third Man)

Release: 2006 / US – Reissue

Genre: Organic Grooves

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Medium Ambient Collection 2022 Black Edition

2LP | 2024 | JP | Original (Astrollage / Medium)

Release: 2024 / JP – Original

Genre: Organic Grooves, Electronic & Dance

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"Medium Ambient Collection 2022", an exceptionally successful compilation CD of new ambient music mainly by Japanese artists, will be released on vinyl in two patterns, White and Black (2lp each). Black version includes Chihei Hatakeyama, miffrino, Minguss and more! "Medium Ambient Collection 2022" is the first highly acclaimed ambient compilation on the Medium label, run by electronic musician/producer Masanori Nozawa. The Black version starts with Japan's leading sound artist Chihei Hatakeyama, followed by Endurance from Muzan Editions, Takuya Yamashita, Minguss, AcidGelge (909state), Molelule Plane, miffrino, and many other musicians! Newly re-mastered for vinyl, this is a masterpiece of a gem of a disc that deserves to be called the 2020s version of "Kankyo Ongaku".

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Medium Ambient Collection 2022 White Edition

2LP | 2024 | JP | Original (Astrollage / Medium)

Detroit-New York Junction Opaque White Vinyl Edition

Release: 2024 / JP – Original

Genre: Organic Grooves, Electronic & Dance

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"Medium Ambient Collection 2022", an exceptionally successful compilation CD of new ambient music mainly by Japanese artists, will be released on vinyl in two patterns, White and Black (2lp each). The White version includes H.Takahashi (unknown ME, Kankyo Records), Hakobune and more! "Medium Ambient Collection 2022" is the first highly acclaimed ambient compilation on the Medium label, run by electronic musician/producer Masanori Nozawa. The White version includes tracks from well-known artists such as H.Takahashi (unknown ME, Kankyo Records), Hakobune, and Enitokwa, as well as Daisuke Matsuzaka, who runs the ambient festival Off-Tone (also in charge of mastering), Pollypraha, who has released music on 12k, and lyricist Yumi Iwaki. Newly re-mastered for vinyl, this is a masterpiece of a gem of a disc that deserves to be called the 2020s version of "Kankyo Ongaku".

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Thad Jones

LP | 1956 | US | Reissue (Blue Note / Third Man)

Release: 1956 / US – Reissue

Genre: Organic Grooves

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Genesis Opaque Pink Vinyl Edition

Elvin Jones

LP | 1971 | US | Reissue (Blue Note / Third Man)

Release: 1971 / US – Reissue

Genre: Organic Grooves

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Multidirection Coke Bottle Clear Vinyl Edition

Kenny Cox

LP | 1970 | US | Reissue (Blue Note / Third Man)

Release: 1970 / US – Reissue

Genre: Organic Grooves

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LP | 2024 | EU | Original (Black Stamp Music)

Jean Vernheres

Heritages Melodies

47,99 €*

2LP | 1988 | US | Reissue (Palto Flats)

Release: 2024 / EU – Original

Genre: Organic Grooves

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The story of a passion distilled between saxophonist/composer Jean Vernheres and the label of instrumentalists with Hip Hop accents "Black Stamp Music", "Héritage Mélodies" is the 1st Ethno-Jazz opus from the label and its saxophonist, a signature of openness and "So Cool" blends at the crossroads of Groove and timeless Jazz.Rodney Lager

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Woo

In The Heart Of Love

47,99 €*

The Mermaid Blue Vinyl Edition

Release: 1988 / US – Reissue

Genre: Organic Grooves, Rock & Indie

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Absolutely essential. Deluxe 2LP edition of this impeccable album from 1988. The spot glossed Gatefold jacket features artwork including archival photos & drawings from Woo’s archives as well as liner notes by Clive Ives.

Issued for the first time in its entirety on vinyl, spread over two LPs, and remastered from newly discovered hi-quality DAT sources, we’re thrilled to present the definitive version of Woo’s most fully-formed album. A cosmic testament to the healing power of love, utilizing vocoded clarinets, pastoral guitars, homespun folk lullabies, and lilting electronics, coalescing into a an hour plus long journey through their otherworldly soundscapes. A prime entry point to Woo’s sound, containing some of their most beloved songs, such as ‘Make Me Tea,’ ‘It’s Love,’ ‘Hopi’ and many others, and also including a never-before heard bonus track – the vocal version of ‘It’s Love.’

Into The Heart Of Love was originally self-released on cassette in 1988, with a wider cassette release in 1990. Compiled from home recordings from the preceding years, and released during a transitional point for the band, the Ives brothers see this album as their most complete work, offering space to the listener to stretch out and immerse themselves into the warmth of their sound.

Woo is the uncategorizable project of Clive and Mark Ives from Brighton, UK. Since the 1970s, the duo have been recording a plethora of eclectic sounds, most falling under the blanket genre of new age, but spiraling out toward notions of ambient sounds, jazz, and other spiritual takes on modern music. They received some acclaim for their early releases, including 1982's Whichever Way You Are Going, You Are Going Wrong and 1989's It's Cosy Inside, but their work began to receive renewed appreciation during the 2010s, when labels such as Drag City and Palto Flats reissued the band's albums. The brothers remained active all the while, digitally self-issuing material.

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Yon Seok-Won

LP | 1991 | US | Reissue (Pleasantville)

45,99 €*

2LP | 2024 | US | Original (Astral Spirits)

Release: 1991 / US – Reissue

Genre: Organic Grooves

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* 180gram HQ pressing * Remastered from the 1st generation Oasis Records master tape * Lacquer cut by Kevin Gray at Cohearent Audio * First time on vinyl reissue * Pressed on Blue Bubble Vinyl / This is the 3rd solo album by Yon Seok-won, whose career as composer/arranger spans 5 decades, released in 1991. The Mermaid is a monumental work representing Yon’s first output as a pioneer of a unique jazz-based Korean new age/fusion sound. The album has recently become much sought-after among listeners and collectors drawn to the ambient elements and Balearic vibes that permeate the album. At long last, after nearly 30 years, this hidden masterpiece from a visionary composer who was way ahead of his time has been reissued! Yon Seok-won was born in 1949 in Hwanghae Province, in what is now part of North Korea. After his family fled to the South during the Korean War, he grew up in Incheon. In 1969, he met Incheon-born musician Kim Myoung-kil, with whom he formed the soul band ‘Devils’. Playing mainly on the U.S. 8th Army entertainment circuit, the group also dominated music competitions and the club scene. Yon left the band when he was drafted into military service soon after the release of the Devils debut album. As soon as his service was complete, Yon formed and led the Outsiders, a rock band that mixed soul and Latin influences. The outfit’s only album was released in 1975. Yon then went on to join Shin Byoung-ha’s jazz-rock / disco unit, the Four Seasons, while also working on solo material and furthering his career as an arranger. Having built a working relationship with SRB Records at the time, he handled production duties as composer / arranger for various acts such as the folk singer Jung Tae-choon as well as soul-funk singers like Yoon Si-nae and Moon Ji-young. Ever passionate about exploring new music, in 1982 he left behind a promising career as composer / arranger in the domestic gayo scene and went to America to discover a greater world of music. He spent the next 5 years studying jazz and playing local gigs in Hawaii. Upon his return to Korea in 1986, Yon’s broadened musical scope organically found expression on numerous remarkable gayo productions, signaling the start of a new heyday for him. This is plain to see in his work on the albums by various top acts of the time, including In Soon-ee, Lee Eun-ha, Kim Wan-sun, and Kim Beom-ryong. In particular, he demonstrated an unparalleled knack for arranging New Wave-influenced disco tunes as well as ballads that incorporated elements of chamber music. Additionally, since the early 1990s to the early 2000s, Yon has been prolific as a score composer for numerous films and drama series. In 1990, Yon established a musicianship crew of his own, ‘Creation’, which became a steadfast vehicle for him to give form to his musical visions. His jazz-based fusion / new age albums, which threw a fresh new light on Yon and his work, were released during this era. Building on his close working relationship with Oasis Records at the time, in 1991 Yon released his first solo material in 10 years – ‘Mermaid’, while also working as head producer of Shin Hyo-bum’s idiosyncratic jazz-oriented gayo album ‘Jazz: The Outing (1991). Also prolific as an arranger, his career peaked when he participated in hit songs by Lee Moon-sae and Kim Gwang-seok. Ever since the 2000s, Yon has focused mainly on composing scores for drama series. Yon’s extraordinary yet woefully under-documented career saw him pursue a unique musical journey after his beginnings in a soul / rock band in the 70s, after which he infused jazz elements into gayo and realized his greater musical vision. His touch can be found everywhere from 70’s gems to the various gayo hits and score albums of the late 91’s. As such, Yon Seok-won is a mysterious musician whose works are familiar to any gayo lover / collector even while little is known about the man himself. It’s high time for a proper appreciation of Yon and his work.

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[Ahmed]

Wood Blues

44,99 €*

Babs Robert & The Love Planet

Release: 2024 / US – Original

Genre: Organic Grooves

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an excerpt from Edward George's 10,000+word liner-note 8 page booklet that comes with the double LP: Delay, 1961 (the Story SO Far) "They are, Seymour said, in movement, and in keeping with their claim, their music is, like a Brownian bridge, an A&J Tranean train, a Byrdian plane, or a Blountian space-time myth-machine, a way of playing themselves into the historio-graphical hands, or better yet, the loving arms, or perhaps, to be precise, the metaphysical embrace, of ‘a new creative space’, and playing is a way, the only way, when you think about it, of getting and staying in movement, the only way of staying ahead of themselves. Staying ahead of themselves was always important, and tricky too: they were on the (musical) trail of someone who preceded them, was ahead of himself, or at least ahead of his own epoch, the late 1950s, and theirs, the late 20th and early 21st century, in which he was, before they found him (or he found them, the way music finds you — and finds you out) present as no more than a discographical evanescence. And to complicate things further, the way they talked about what they were doing as they proceeded along that trail, you’d think they were archaeologists (and not anthropologists), or geologists (and not ethnographers), as well as exemplars of whatever discipline it is through which the capacity for inhabiting and transforming the body, the corpus, of another takes place: ‘We excavate and reinhabit documents and fragments of plans and compositions that he left behind to make music that though it originated in the 20th century will speak to the 21st’. They said that, on the back, or the strength, of their first album, and it was enough to make you wonder where in the world it was that they started from, what their point(s) of departure might have been."

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LP | 1970 | EU | Reissue (Alpha)

44,99 €*

Charles Tolliver's Music Inc

Release: 1970 / EU – Reissue

Genre: Organic Grooves

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Folks, this is a must have for any Spiritual Jazz fan! Despite its modest role on the world stage, Belgium has produced a number of internationally renowned musicians and composers. There is the iconic gypsy jazz guitar maestro Django Reindhart, whose position remains unassailable, and guitarist/harmonica player Toots Thielemans, who became an internationally renowned artist performing and recording with Bill Evans, Oscar Peterson, Ella Fitzgerald, Peggy Lee, Shirley Horn and Quincy Jones. The other key Belgian figure is composer/arranger Francy Boland, co-leader with US bebop drumming legend Kenny Clarke of Europe's leading big band of the 60s, the Clarke-Boland Big Band.

Whereas the post-war modern jazz scene produced a few notable successes, trad and New Orleans style jazz remained popular and bebop and swing were still played during the peak post-bop and free jazz years of the late-60s and early-70s. Despite the overwhelming popularity of ‘historic’ forms, there were a few worthy exceptions who pointed the way to the future: composer and pianist Marc Moulin formed his first trio in 1961 as a backing band for expatriate American musicians such as Johnny Griffin and Don Byas. He later collaborated with Philip Catherine to form Placebo, a group that mixed jazz, funk, rock and electronic sounds. Their influences ranged from Jimi Hendrix to James Brown, via Herbie Hancock and Soft Machine, and they experimented with the Moog and early synthesizers. Between 1971 and 1975 Placebo released three albums that have become much sought after by DJs and producers for beats and grooves to sample.

Moulin also contributed sleeve notes to one of the most sought after European deep jazz recordings of the late 1960s and early 1970s, and it’s a Belgian recording no less: ‘Babs Robert and the Love Planet’ (Alpha 7003, 1970) is one of the few examples of Belgium avant-garde jazz and was originally released on the Alpha label, a tiny enterprise based in Jette, Belgium. Alpha released renaissance / baroque music and the Babs Robert album is a wonderful aberration that is such an outlier as to be seemingly from another planet – the very Love Planet name-checked in the title perhaps?

The initial original quartet line-up was Babs Robert (sax), Paul Dubois (bass), Johnny Brouwers (piano), and Johnny Peret / Robert Pernet (drums). On the album session, the quartet was augmented with the addition of John Van Rjimenant (saxes) and Michel Gobbe (bass). As well as their main instruments, the band members also played an array of unusual instruments, principally percussion.

This is the first official re-release of the ‘Babs Robert and the Love Planet’. Original copies of the album fetch many hundreds of Euros on the collecting circuit and it remains a curious and fascinating window into a moment in time that still resonates some forty years later.

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Live At The Loosdrecht Jazz Festival

LP | 1972 | UK | Reissue (Strata-East)

44,19 €* 51,99 € -15%

Release: 1972 / UK – Reissue

Genre: Organic Grooves

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Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

Charles Tolliver began his professional career and simultaneously his recording debut with the saxophone giant Jackie McLean on Blue Note Records in 1964. Since then he has become one of the all-time preeminent trumpeters in Jazz as well as one of its most gifted composer/arranger bandleaders. He is also a Grammy nominated recipient for his Blue Note Records recording "With Love".

With a career that has spanned five decades he has recorded and/or performed with such renowned artists as Roy Haynes, Hank Mobley, Willie Bobo, Horace Silver, McCoy Tyner, Sonny Rollins, Booker Ervin, Gary Bartz, Gerald Wilson Orchestra, Oliver Nelson, Stanley Cowell, Herbie Hancock, Andrew Hill, Louis Hayes, Roy Ayers, Art Blakey & the Jazz Messengers, and owned the trumpet chair with the great Max Roach for some years. https://charlestolliver.com/

This LP is jazz of high energy and high sincerity. Jazz at it's best. One of Tolliver's (and jazz's) masterpieces. It is a live recording from 1972. On another occasion, Tolliver recorded with another quartet with Stanley Cowell on piano, and some critics prefer that quartet. However, this quartet is the equal of that one. I think John Hicks did a masterful job of piano playing here. Hicks equalled Charles in energy. The bass playing of Reggie Workman (who was John Coltrane's bassist) is equally smouldering. Drummer Alvin Queen is a perfect match for the other three.
Passionate Jazz Fan.

Tolliver's music (which holds on to one's attention throughout the live set) has its connections to the bebop tradition but also forges ahead and can be quite passionate. Recommended. By Scott Yanow/AMG Personnel: Roberto Miranda - Bass
Everett Brown Jr. - Drums
Aubrey Hart - Flute
Adele Sebastian - Flute, Vocals
Fundi Legohn (tracks: B1) – French horn
Virjilio Figueroa - Percussion
Linda Hill - Piano, Vocals
Sabir Matteen* - Tenor Saxophone, Clarinet
Jugegr Juan Grey - Vocals

Produced by Tom Albach

Recorded & mixed by Dennis Moody in 1981

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WaJazz Volume II The King RCDS Masters HHV Exclusive Sun Yellow Vinyl Edition

2LP | 2023 | EU | Original (180g)

43,99 €*

2LP | 2018 | US | Original (Impulse)

Release: 2023 / EU – Original

Genre: Organic Grooves

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This edition is limited to 500 copies worldwide and is only available at HHV. Following the highly acclaimed first volume in the series, Japanese jazz expert Yusuke Ogawa continues the WaJazz exploration with another essential collection of music that contains something uniquely Japanese — focusing this time on the King Records catalog. Featuring timeless music by Isao Suzuki, Toshiaki Yokota, Akira Miyazawa, Takeru Muraoka, Yasuaki Shimizu, Masahiko Togashi, George Otsuka, and more!

Gatefold 180g heavy double vinyl LP, reverse board print. Comes with extensive track-by-track liner notes by Yusuke Ogawa.
All tracks licensed by King Record Co., Ltd., Tokyo, Japan.
Mastering and lacquer cut by Jukka Sarapää at Timmion Cutting Lab, Helsinki, Finland.
Artwork by Nker.

TEXT:

“It is my great pleasure to introduce you to the second volume of the “Japanese Jazz Spectacle” series. Following the first compilation which focused on recordings from the Nippon Columbia catalog, this time we are digging into the King Records archives. It is almost impossible to capture the whole picture of Wa-Jazz in a couple of compilation albums since it is such a broad and deep genre, however, by extracting tracks from the Nippon Columbia and King Records collections - both labels having an extensive archive of jazz music - we may be able to glimpse a part of its allure and essence. This time again, I have made the music selection with this idea in mind. The music in this compilation was recorded between 1962 and 1985 and is a brief history of Japanese jazz on King Records. Listening is believing, so I hope these tracks will capture your heart and that you will enjoy the charms of Japanese jazz.” - Yusuke Ogawa

Yusuke Ogawa has been running the Universounds store in Tokyo since 2001, specializing in jazz and second-hand, rare, and collector records. He is also a reissue supervisor, label manager, DJ, and music writer. Known for his vast musical knowledge, eye for detail, and archival skills, Ogawa has worked on more than 250 reissues and compilations – including the highly praised Deep Jazz Reality and Project Re:Vinyl series. He is the co-author of the Wa-Jazz Disc Guide and the Independent Black Jazz of America books.

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Sons Of Kemet

Your Queen Is A Reptile

43,99 €*

Electric Byrd Black Vinyl Edition

Release: 2018 / US – Original

Genre: Organic Grooves

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Sons Of Kemet are born of many vital elements – including a name that nods to ancient Egyptian culture, and a line-up that comprises some of the most progressive 21st-century talents in British jazz and beyond. Band-leader/composer/sax/clarinet don Shabaka Hutchings (himself named after a Nubian pharaoh-philosopher) brings together his fiery vision alongside London-based bandmates Tom Skinner and Max Hallet (forming a dynamo duo on drums) and Theon Cross on tuba. On their third studio album, Your Queen Is a Reptile, they bring a genre defying approach which celebrates the restless exploration of identity within the Caribbean diaspora within the U.K. The collection was recorded in London with a host of guests spanning the breadth of the UK scene including jungle legend Congo Natty and poet Joshua Idehen.

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Donald Byrd

LP | 1970 | US | Reissue (Blue Note / Third Man)

Release: 1970 / US – Reissue

Genre: Organic Grooves

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LP | 2023 | EU | Original (Wagram)

Jazz Legends

Genesis Black Vinyl Edition

Release: 2023 / EU – Original

Genre: Organic Grooves

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Re-releaseAll the greatest Jazz Legends in a 3LP boxset. From Nina Simone to Louis Armstrong, from Miles Davis to Billie Holidai, they are all there!

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Elvin Jones

LP | 1971 | US | Reissue (Blue Note / Third Man)

Release: 1971 / US – Reissue

Genre: Organic Grooves

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Manhattan Stories Record Store Day 2021 Edition

Charles Lloyd

2LP | 2014 | EU | Reissue (Resonance)

Abbey Lincoln, Hank Jones

Release: 2014 / EU – Reissue

Genre: Organic Grooves

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Record Store Day 2021 Release. Extensive booklet with rare fotos / first re-pressing after the 2014 release / Limited 180g Gatefold Vinyl, new remastered

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When There Is Love

LP | 1992 | EU | Reissue (Verve)

2LP | 2024 | US | Original (Rucksack)

Release: 1992 / EU – Reissue

Genre: Organic Grooves

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In her intimate 1992 recording with jazz piano legend Hank Jones, Abbey Lincoln contemplates the subject of love, sounding more optimistic than usual. About "When There is Love" Lincoln noted in 1992: “I have a sombre outlook and assessment of the world in which we live, but I also have love, love for the beautiful man that makes life bearable in an otherwise unbearable world. So this is my offering on the altar of conjugal love.” She offers highly personalized interpretations of four of her originals and ten standards, among which Duke Ellington's "Black Butterfly," "The Nearness of You," "You Came a Long Way from St. Louis," Fats Waller's "Jitterbug Waltz" and "You Won't Forget Me" are most memorable. A truly moving testament from two of jazz's finest artists.

This 140-gram vinyl is the first international vinyl reissue, pressed at Pallas, and is presented in a wide-spine, single-sleeve jacket.

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Thysenterprise

Essential

Detroit-New York Junction Black Vinyl Edition

Release: 2024 / US – Original

Genre: Organic Grooves

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This is essential. We don't just refer to the album title: this new record by multi-instrumentalist and producer Thysenterprise is essential material for lovers of spiritual jazz with a hip-hop edge. As described in the liner notes: "The spirit of Pharoah Sanders, Archie Shepp, and Coltrane permeate the music here. At times, Thysenterprise and his guests meld the influence of the great jazz cannon with the rhythms of hip-hop." Essential moves with ease from spiritual sounds to hip-hop-infused head nods. The liner notes by writer John Morrison perfectly encapsulate the type of sonic trip you're in for: "While the improvisational heights that Thysenterprise and crew reach throughout the album owe a debt to hardbop and the avant-garde, there are beats and textures here akin to the work of Karriem Riggins or A Tribe Called Quest. The result is a truly contemporary sound that plays freely within the depths of human feeling." Essential is by far Thysenterprise's most personal album to date. From beginning to end, he pays a heartfelt tribute to his late father. The artist revisits and rearranges melodies from iconic jazz records that formed a profound connection between the two of them. Throughout the album, there are nods to songs that were essential for Reinier's musical upbringing. It shows that the saxophonist plays with heart and doesn't shy away from expressing grief and loss. Or as stated in the liner notes: "We play for pleasure, we play to understand ourselves and the world around us, we play to celebrate and remember our loved ones." Renowned Dutch alto saxophonist Benjamin Herman joins Thysenterprise for intimate call-and-response on "Feedback of Silence." Next to that, Michael Moore graces "Happiness Is a Memory" with a heartfelt bass clarinet solo. Moore is part of the Han Bennink-founded ICP Orchestra. It's safe to say that Thysenterprise builds on that rich lineage of improvisation, playfulness, and distinct originality. On Essential he takes that to new heights. The album comes beautifully packaged as a gatefold 2LP with vinyl-exclusive alternate takes on the D-side.

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Thad Jones

LP | 1956 | US | Reissue (Blue Note / Third Man)

Release: 1956 / US – Reissue

Genre: Organic Grooves

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Multidirection Black Vinyl Edition

Kenny Cox

LP | 1970 | US | Reissue (Blue Note / Third Man)

Release: 1970 / US – Reissue

Genre: Organic Grooves

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Mike Jones & Penn Jillette & Jeff Hamilton

Are You Sure You Three Guys Know What You're Doing?

LP | 2024 | US | Original (Capri)

41,99 €*

Release: 2024 / US – Original

Genre: Organic Grooves

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Preorder shipping from 2024-11-08

A Massy Record Store Day 2023 Clear Pink & White Vinyl Edition

Archie Shepp

2LP | 1976 | US | Reissue (Culture Factory)

41,99 €*

LP | 1970 | EU | Reissue (Amercia)

Release: 1976 / US – Reissue

Genre: Organic Grooves

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1975 Iconic, Very Rare Live Recording from The Massy in France. Archie "Vernon" Shepp American is a tenor saxophonist, composer, dramatist, teacher, and pioneer of the free jazz movement, known not only for his creative improvisation and colorful sound but also for his Afrocentric approach to music. The National Endowment for the Arts named Shepp a Jazz Master in 2016. This double LP set, has deluxe packaging that will include an OBI strip, gatefold album jacket with two pockets, printed inner sleeves, original record labels and specialty color vinyl. 1st Opaque Pink & 2nd Opaque White Color Vinyl

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Noah Howard

Space Dimension

41,99 €*

Akira Ishikawa & Count Buffaloes

Release: 1970 / EU – Reissue

Genre: Organic Grooves

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Noah Howard was born in 1943 in New Orleans and, like many of his contemporaries, first played music in church as a child. In his 2010 book, 'Music in My Soul', Howard reflected upon his childhood in New Orleans and the influence the city had on him: “Growing up in New Orleans was like receiving a steady diet of music, and my taste in music became increasingly more sophisticated. In the neighborhood where I grew up kids around me were listening to Rhythm and Blues and Jazz; Rock came only much later. One of the great moments of my life was when I was around 13 years old and heard Duke Ellington with Paul Gonsalves playing a twenty-some minutes chorus solo on tenor sax at Newport. We had never heard anything like this before; a saxophone player doing so many choruses, this was years before Coltrane opened up. That experience meant there was no turning back; my ears were open and my desire was burning for music.”
He first learned to play the trumpet before moving on to alto, tenor and soprano saxophone. And his musical journey initially took him to Los Angeles where he worked with Dewey Johnson and then later moved to New York to join the Sun Ra Arkestra. Like most forward thinking saxophonists of the time, Howard was influenced by the evolving expressionism of John Coltrane and Albert Ayler and it wasn't long before he became a key member of the mid-60s free jazz movement, a stepping stone to his elevation into one of the world’s most notable saxophonists.
Howard's debut LP as leader, 'Noah Howard Quartet' was recorded in 1965, and the follow up, 'Noah Howard at Judson Hall', in 1966 but not issued until 1968, both for the groundbreaking ESP Records label (incidentally, both albums featured British trumpeter Ric Colbeck). However, Howard's view of ESP was not positive, calling it “ a monster of deception... I am aware of ESP's adventures...they continue to make money off the artists and they refuse to pay any royalties.”

Like many of the black jazz musicians of the 60s, Howard left the USA and settled in Europe (making the permanent move to Paris in 1972). In an interview in 2005, Howard explained his move: “When I first came to Europe it was 1969 and I came to play in a big festival and after that we had a lot of concerts, recalls Howard. "Then we left and we came back to the States, I was based in New York at that time. About six months later, we had some more concerts, we came back and this went on for years, going back and forth and back and forth and back and forth... I decided that instead of going back and forth all the time, it was more advantageous for me to stay over here and live and work.”
It was in Paris that Howard took part in sessions for the Frank Wright albums 'One For John', cut for the leading French free jazz label BYG Actuel and another Wight session, 'Uhuru Na Umoja', for the America label. Another album on America that featured Howard was Archie Shepp's 'Black Gipsy'. This session also featured , among others, Sunny Murray on drums and Clifford Thornton on trumpet.
America Records was to be home to Howard's third album, 'Space Dimension'. On this album, Frank Wright was reunited with Howard once more, and Wright also composed one track, 'Church Number Nine' (Wright would also do his own version as the title track on his 1970 album, initially only released in Japan. That album would also feature Howard.) 'Space Dimension' also features bop drummer Art Taylor on three tracks, with Muhammed Ali (brother of Rashid), on one. They're joined by alongside pianist Bobby Few, longtime member of Frank Wright's group and an alumnus of Archie Shepp's band.
'Space Dimension' has never seen an official reissue since its original release in 1970 and remains, among a few aficionados, one of the most in demand - and little known - albums in Howard's discography. The blend of free improvisation with a tough rhythmic foundation make for an edifying listening experience. The spectral disjointed afro-blues of the title track, with Howard's soaring, searing horn, introduces an exceptional album of weight and significance, a real statement piece. 'Viva Black' starts as a lush groove, rich with texture and tone. Bobby Few's piano is sparse and disciplined, allowing space for the interweaving angles of the horns and drums to cross and jostle and build in intensity, with Muhammad Ali's drum solo acting as a cathartic release.
'Song for Poets' is blistering in its attack, an intense assault from the whole group – urgent and imperative, a call to action that seemed to resonate with the tumult of the late 60s and early 70s and, perhaps, still resonates now. The album closes with the extended piece 'Blues for Thelma'. It starts like a sort of angular, shattered New Orleans first line march band; Howard visceral horn and Few's piano joust and punch like fighters in a ring; Ali's drums hammer a solid undertow of power and energy, relentless in its fire.
All in all, 'Space Dimension' announced Howard's arrival into a new decade, a decade that was to see not just jazz but music and wider society undergo profound change.
Howard's third record was the widely acclaimed 'Black Ark', which featured Arthur Doyle on his first recording. 'Black Ark' soon became a landmark free jazz recording and elevated Howard into the first division of globally renowned free jazz players.

He spent much of the next decade or so exploring new ideas and places to work, including Europe and Africa, moving to Nairobi in 1982 and finally Brussels, where he had a studio and ran a jazz club.
In his autobiography, Howard described going to Africa: “It was a Sunday morning with bright blue skies and I reached down and grabbed a handful of earth, holding it in my hands. It was red earth. As the first of my family to make this voyage back to my community, I was filled with emotion and started to cry – thinking about all those before me who didn’t survive the middle passage and slave trade. I thanked the few strong survivors of which I’m a descendant and was grateful to be a live and to make it back to Africa in my lifetime. The feeling of coming back home, after generations had gone through abuse and suffering, was upon me. I would put some of this into music later on when recording with James Emmanuel, the poet on 'Middle Passage'”
He recorded steadily through the 1970s and 1980s, mostly with his own label AltSax and continued to expand his repertoire, exploring a range of sounds from ethno-funk to world music in his latter decade. He returned to his free jazz roots in the 90s, mixing the myriad of influences and styles he had encountered throughout his journey.
Noah Howard recorded 35 albums, and their styles reflect the ceaseless musical searcher he was: blues, free jazz, world music. He covered it all.
Noah Howard died on September 3rd, 2010 while on holiday in the South of France. He died a day before finishing the first draft of his autobiography.

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Uganda (Dawn Of Rock)

Box Set | 1972 | UK | Reissue (Mr Bongo)

40,99 €*

Jorma Kaukonen & John Hurlbut

Release: 1972 / UK – Reissue

Genre: Organic Grooves, Rock & Indie

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The respected Japanese jazz drummer Akira Ishikawa was not messing around when he recorded the 'Uganda (Dawn of Rock)' album with his band the Count Buffaloes. For this offering, originally released in 1972 on Toshiba Records, Akira Ishikawa takes us on a deep tripped-out journey. 'Uganda (Dawn of Rock)' is a fusion of progressive and psych rock with African percussion workouts, dergy-wah wah blues-funk, and jazzy sensibilities; with different genres morphing and uniting as they progress. A long way from his funk and afrobeat album 'Back To Rhythm’, re-issued on Mr Bongo in 2019, this record has a darker, deeper, abstract and experimental stoned tone with the listener being pulled into its vortex for the ride. This record doesn’t pull any punches. For this album, Akira is joined by Hideaki Chihara on bass, guitarist Kimio Mizutani, sounding at times like an early 70s Peter Green, percussionist Larry Sunaga and composer Takeru Muraoka. The album has become highly sought-after amongst psych, prog and acid rock collectors and due to the rare nature of original copies they come at a hefty price tag. We are delighted to present an officially licensed re-issue of this underground Japanese rock rarity.

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One More Lifetime Record Store Day 2024 Vinyl Edition

LP | 2024 | US | Original (Culture Factory)

40,99 €*

Takeshi Inomata / Sound Limited

Release: 2024 / US – Original

Genre: Organic Grooves

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Grammy award-winning Rock n' Roll Hall of Fame inductee (Jefferson Airplane & Hot Tuna) Jorma Kaukonen and bandmate John Hurlbut's new album is a followup to the highly successful River Flows releases. This deluxe package includes 180g Audiophile Black Vinyl, Doubled sided color cardboard photo board insert and an OBI side spin. This Record Store Day release is on a Vinyl Look-A-Like Compact Disc. These polycarbonate CDs are black on both sides. The front includes groove vinyl design with a record label. The sound includes High-Res remastering that will play in any CD player. The deluxe packaging includes a CD cardboard Gatefold jacket with 2 pockets, printed inner sleeves and an OBI side spine.

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Sounds Of Sound L.T.D. Clear Vinyl Edition

LP | 1970 | JP | Reissue (Columbia Japan)

39,99 €*

Green Clear Green Vinyl Edition 2023 Repress

Release: 1970 / JP – Reissue

Genre: Organic Grooves

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"Japanese jazz and Jazz Rock masterpieces are re-released on clear vinyl!

The raging drums scorch the times. Accompanied by a whirlwind of young talents, Takeshi Inomata proudly heralds the arrival of the golden age of jazz-rock.
Takeshi Inomata, a drummer who led the jazz scene in Japan with his precise stick work and musicality that looked ahead to the times. At the end of the 1960s, he was influenced by brass rock, which was flourishing at the time, and formed Sound Limited.
""I want to fuse jazz and rock and bring together young musicians to do music with vitality, and I want this group to be a large-scale group that does not fit into the small framework of modern jazz,"" he says.
His first album and masterpiece was ""Sounds of Sound L.T.D.""(1970). Led by ""Theme ~ Moustache"", which is loved as a symbolic song, it is a masterpiece full of dynamism and enthusiasm throughout the film.
text by Yusuke Ogawa (UNIVERSOUNDS/DEEP JAZZ REALITY)"

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Robohands

LP | 2018 | JP | Reissue (P-Vine)

39,99 €*

AFTAPATI (40th Anniversary Edition) White Vinyl Edition

Release: 2018 / JP – Reissue

Genre: Organic Grooves

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In the four years since Green’s initial release, Robohands, AKA. London-based composer/multi-instrumentalist Andy Baxter has released two more albums, quickly becoming a leading force in London’s growing Jazz scene. Compared to his post-bop, avant inspired contemporaries, Baxter’s music is laid back, a modern reincarnation of cool jazz that perhaps might feel more at home being called “chill” than “cool”. With repeating riffs, spacy delay, and warm synth pads, this album blurs the lines between jazz, funk, post-rock, and ambient music to create an album more concerned about mood than genre. Its original pressing sold out almost instantly, and with the prices they’re fetching on the second hand market, we knew we had to repress it! Don’t miss this limited edition repressing of Robohands’ ‘Green’ on limited edition clear green vinyl, available only from P-vine Records!

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IDYLI TSALIKI

LP | 1983 | UK | Reissue (Veego)

39,99 €*

Shades Of Blue 20th Anniversary HHV Retail Exclusive Blue Vinyl Edition

Release: 1983 / UK – Reissue

Genre: Organic Grooves, Pop

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Remastered from the original analog tapes especially for this first ever re - issue, Aftapati” (Illusion) is the only studio album by Idyli Tsaliki.
Tsaliki’s poetic style and distinct voice along with moody jazz - funk rock arrangements are beyond comparison to any other 80s Greek album.
Immerse yourself in this musical journey and discover one of the rarest albums of the Greek jazz scene.
Released by Philips Greece in 1983 and never been released before not even on CD.
Reissue by Veego Records for the 40th anniversary of this holy grail of Greek Jazz Masterpiece.

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Madlib

2LP | 2003 | WW | Reissue (Blue Note)

Release: 2003 / WW – Reissue

Genre: Hip Hop, Organic Grooves

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Blue vinyl, limited to 500 copies for the German market.

The sound of Blue Note has been embedded in hip-hop through sampling and remixes since its early days but Madlib raised the bar when the DJ, producer, rapper and multi-instrumentalist invaded the Blue Note vaults for his 2003 masterpiece Shades of Blue, a visionary album featuring remixes and reimaginations of classics by Donald Byrd, Bobbi Humphrey, Ronnie Foster, Bobby Hutcherson, Wayne Shorter and more.

“Madlib’s amazing remixes and re-imaginings of classic Blue Note tunes is aural cinema, … and in common with so many remixers and hip-hop artists he clearly loves the catalogue. The inventiveness of this record aside it is also as groovy as heck.” — Uncompromising Expression, Richard Havers

This new edition of the album “Shades of Blue”, a Madlib homage to the Blue Note label, is being released to mark the 20th anniversary.

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Blue Note Re:Imagined Volume 1 Record Store Day 2024 Splatter Vinyl Edition

2LP | 2020 | Original (Decca)

Release: 2020 / Original

Genre: Organic Grooves

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Blue Note Re:imagined was first released in 2020 featuring fresh takes on music from the illustrious Blue Note Records vaults recorded by a heavyweight line-up of the UK jazz, soul, and R&B scene’s most hotly-tipped rising stars. This incredible compilation includes artists such as Jorja Smith, Jordan Rakai, Ezra Collective, Poppy Ajudha and more. This new version of Blue Note Re:imagined, pressed exclusively for Record Store Day on Smokey Clear & Blue vinyl with new blue cover, includes an exclusive bonus track - Jorja Smith – Rose Rouge (Joy Orbison Remix)

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WaJazz: Japanese Jazz Spectacle Vol. I - Deep, Heavy And Beautiful Jazz From Japan 1968-1984 Black Vinyl Edition

2LP | 2022 | EU | Original (180g)

Release: 2022 / EU – Original

Genre: Organic Grooves

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Universounds, HMV Record Shop and 180g team up for an exceptional release: from blazing hard bop to free jazz, to introspective saxophone solos and massive big band sounds, renowned Japanese jazz expert Yusuke Ogawa presents an essential 14 track collection of “WaJazz” music taken from the Nippon Columbia vaults. Featuring Jiro Inagaki, Minoru Muraoka, Hiroshi Suzuki, Hozan Yamamoto, Count Buffalo, Takeshi Inomata, and much more!

“Japanese jazz has been recognized and celebrated by music lovers worldwide for decades. The origins of this trend may be traced back to the rare groove movement that flourished in the 1990s, but its current deep and wide popularity seems to be connected to the fact that Japanese people have been reevaluating their own jazz since the mid-2000s, locally referred to as WaJazz ("Wa" meaning Japan but also the Shōwa emperor period, from 1926 to 1989). Since the beginning of the 2000s, there has been a growing trend to move away from the DJ-focused perspective and to appreciate jazz with a deeper understanding. Nowadays, there is more and more interest in the background and roots in which jazz has developed in Japan, with Japanese jazz as a whole now considered as its own distinctive genre.

Of course, even if we speak about "WaJazz" as one genre, there is a truly wide variety of styles within it. However, when Japanese musicians play, there is something uniquely Japanese flowing through that creates a kind of synergy. It may be the melody, the rhythm, or even something deeper, like an inexpressible flicker. I would be happy if some of its charms and secrets emerge from the fourteen tracks included in this collection.” (Yusuke Ogawa)

Yusuke Ogawa has been running the Universounds store in Tokyo since 2001, specializing in jazz and second-hand, rare, and collector records. He is also a reissue supervisor, label manager, DJ, and music writer. Known for his vast musical knowledge, eye for detail, and archival skills, Ogawa has worked on more than 250 reissues and compilations – including the highly praised Deep Jazz Reality and Project Re:Vinyl series. He is the co-author of the Wa-Jazz Disc Guide and the Independent Black Jazz of America books.

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2LP | 2020 | EU | Original (Decca / Blue Note)

Blue Note Re:Imagined

Release: 2020 / EU – Original

Genre: Organic Grooves

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This autumn will see the release of Blue Note Re:imagined; a brand-new collection of classic Blue Note tracks, reworked and newly recorded by a selection of the UK scene’s most exciting young talents. Representing a bridge between the ground-breaking label’s past and future, the project features contributions from a roll call of 16 revered UK acts including Ezra Collective, Nubya Garcia, Poppy Ajudha, Jordan Rakei and Brit Award-winning Jorja Smith. Blue Note, which celebrated its milestone 80th anniversary in 2019, boasts an illustrious catalogue that traces the entire history of jazz and the Re:imagined project features music originally created by some of its most legendary artists.

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WaJazz Volume II The King RCDS Masters Black Vinyl Edition

2LP | 2023 | EU | Original (180g)

AFTAPATI (40th Anniversary Edition) Black Vinyl Edition

Release: 2023 / EU – Original

Genre: Organic Grooves

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Following the highly acclaimed first volume in the series, Japanese jazz expert Yusuke Ogawa continues the WaJazz exploration with another essential collection of music that contains something uniquely Japanese — focusing this time on the King Records catalog. Featuring timeless music by Isao Suzuki, Toshiaki Yokota, Akira Miyazawa, Takeru Muraoka, Yasuaki Shimizu, Masahiko Togashi, George Otsuka, and more!

Gatefold 180g heavy double vinyl LP, reverse board print. Comes with extensive track-by-track liner notes by Yusuke Ogawa.
All tracks licensed by King Record Co., Ltd., Tokyo, Japan.
Mastering and lacquer cut by Jukka Sarapää at Timmion Cutting Lab, Helsinki, Finland.
Artwork by Nker.

TEXT:

“It is my great pleasure to introduce you to the second volume of the “Japanese Jazz Spectacle” series. Following the first compilation which focused on recordings from the Nippon Columbia catalog, this time we are digging into the King Records archives. It is almost impossible to capture the whole picture of Wa-Jazz in a couple of compilation albums since it is such a broad and deep genre, however, by extracting tracks from the Nippon Columbia and King Records collections - both labels having an extensive archive of jazz music - we may be able to glimpse a part of its allure and essence. This time again, I have made the music selection with this idea in mind. The music in this compilation was recorded between 1962 and 1985 and is a brief history of Japanese jazz on King Records. Listening is believing, so I hope these tracks will capture your heart and that you will enjoy the charms of Japanese jazz.” - Yusuke Ogawa

Yusuke Ogawa has been running the Universounds store in Tokyo since 2001, specializing in jazz and second-hand, rare, and collector records. He is also a reissue supervisor, label manager, DJ, and music writer. Known for his vast musical knowledge, eye for detail, and archival skills, Ogawa has worked on more than 250 reissues and compilations – including the highly praised Deep Jazz Reality and Project Re:Vinyl series. He is the co-author of the Wa-Jazz Disc Guide and the Independent Black Jazz of America books.

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IDYLI TSALIKI

LP | 1983 | UK | Reissue (Utter)

LP | 2024 | EU | Original (Sam)

Release: 1983 / UK – Reissue

Genre: Organic Grooves, Pop

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Barney Wilen Quintet

Guilde du Jazz

Sahib Shihab & The Danish Radio Jazz Group

Release: 2024 / EU – Original

Genre: Organic Grooves

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Recorded in 1957, Paris.
Original LP issue: Guilde du Jazz J-1239.
When Miles Davis heard Barney Wilen for the first time during a jam session at the Club Saint-Germain in Paris, he exclaimed: “This is the best tenor saxophone I’ve heard in Europe, he plays tenor in an authentic way, much better than many current stars in the States.”

Barney Wilen’s mother was French, his father a successful American dentist-turned-inventor. He grew up mostly on the French Riviera; the family left during World War II but returned upon its conclusion. According to Wilen himself, he was convinced to become a musician by his mother’s friend, the poet Blaise Cendrars. As a teenager he started a youth jazz club in Nice, where he played often.

He moved to Paris in the mid-’50s and worked with such American musicians as Bud Powell, Benny Golson, Miles Davis, and J.J. Johnson at the Club St. Germain. His emerging reputation received a boost in 1957 when he played with Davis on the soundtrack to the Louis Malle film Lift to the Scaffold. Two years later, he performed with Art Blakey and Thelonious Monk on the soundtrack to Roger Vadim’s Les Liaisons Dangereuses (1960). He’s probably the first non-US musician to play at the Newport Jazz Festival – it was in 1959.

In 1957 he made his very first album as leader, The Barney Wilen Quintet for the US label Guilde du Jazz / Jazztone at the age of 20. Unfortunately, this record was not widely distributed in France because Barney was under contract with the French label Vogue. This album reflects joy and sadness on an emotional level by the subtletly of Wilen’s musical imagination and physical releasing the essential siprit of jazz swing. On this so rare record, Barney plays with : on alto Hubert Fol, who recorded couple of times with Django Reinhardt. On Piano Nico Buninck, born in Amsterdam, is considered one of the best Young pianist in his country. Lloyd Thompson is a Young talented bassist who played with Lester Young, Dizzy Gillespie and Kenny Clarke. On drums Al Levitt, 25, has already toured in the USA with Charles Mingus, Lennie Tristano, Stan Getz and Lee Konitz.

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Oktav

LP | 2023 | EU | Original (Sam)

Arthur Verocai 50 Years Gold/Black Marbled Vinyl Edition

Release: 2023 / EU – Original

Genre: Organic Grooves

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Stickly Limited Edition 3000 copies. Re-mastered from the original stereo master tapes. 180 gr vinyl pressed in Marciac, France by Garcia & Co. Deluxe flipback album jacket. Facsimile reissue using the original artwork. Double insert using an original photo by Jan Persson. Each record has been visually checked to prevent defects. Recorded August, 1965, Copenhagen, Denmark.

Original LP issue: Oktav – Oklp 111

Sahib Shihab (Edmund Gregory) played with many of jazz’s finest musicians. Shortly after he became one of the first jazz players to change their names due to an Islamic conversion, he joined Thelonious Monk for his Blue Note sessions. He also played with Art Blakey, Dizzy Gillespie, Oscar Pettiforn and Quincy Jones. A unique musician, he was at home in every musical style, from the experimentalism of Thelonious Monk to the more direct hard bop of Art Blakey. Sahib Shihab’s distinctive sound was rooted in his modernist compositions and arrangements, complemented by an intense, soulful playing style.

In 1959 he toured Europe with Quincy Jones after getting fed up with racial politics in USA and ultimately settled in Scandinavia. He worked for Copenhagen Polytechnic and wrote scores for television, cinema and theatre. He remained there until 1973. During this period, he recorded several albums as leader for European labels such as Vogue, Storyville and Futura.

In 1961 he joined The Kenny Clarke-Francy Boland Big Band and remained a key figure in the band for the 12 years it ran. He married a Danish lady and raised a family in Europe, although he remained a conscious African-American still sensitive to racial issues.

This record, on the Danish Oktav label, his second as a leader and also his rarest is a true masterpiece !!!

Personnel : Sahib Shihab (Baritone saxophone, Flute, Cowbell) Poul Hindberg (Alto saxophone, Clarinet) Ib Renard (Baritone saxophone) Bent Nielsen (Baritone saxophone, Flute, Clarinet) Niels-Henning Ørsted Pedersen (nhop) (Bass) Alex Riel (Drums) Allan Botschinsky (Trumpet) Fritz von Bülow (Guitar) Bent Axen (Piano) Bent Jædig (Tenor saxophone, Flute) Niels Husum (Tenor saxophone) Svend Åge Nielsen (Trombone, Bass trombone) Torolf Mølgaard (Trombone, Euphonium) Palle Bolvig (Trumpet) Palle Mikkelborg (Trumpet) Poul Kjældgård (Tuba) Louis Hjulmand (Vibraphone)

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Arthur Verocai

LP | 1972 | UK | Reissue (Mr Bongo)

LP | 1959 | UK | Reissue (Pure Pleasure)

Release: 1972 / UK – Reissue

Genre: Organic Grooves

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A complete album masterpiece in every sense of the word, considered by many people to be one of the greatest ever made, regardless of genre. Recorded at Studio Somil, Rio De Janeiro in 1972, the album was produced, arranged, directed by the self-taught, Arthur Verocai.

Previously he had worked on many records in various capacities, with artists including Jorge Ben, Ivan Lins and Celia, but this album gave him the chance to do his thing in it’s most pure form.

The 29 minute masterpiece, perfect in it’s arrangement and fusion of sonics, epitomises the sound of Brazil at the time; strings, guitars, pianos, break beats, bass lines, synthesizers, vocals from the wonderful Célia, Carlos Dafe and Oberdan (Banda Black Rio), plus percussion from Pedro Santos and Paulo Moura on sax. Bossa nova, samba, jazz, MPB, psychedelics and funk sit side by side effortlessly.

The album transcends the genre of Brazilian music, and infact all genres. Highlighted in part by the number of artists that have sampled from it; MF Doom, Ludacris & Common, Little Brother, Jneiro Jarel aka Dr Who Dat?, Dibiase and Action Bronson amongst others.

The original Continental version of the album now fetch around $2000. Our definitive re-issue is an exact replica of the gatefold original LP and the source master is taken from the Continental tapes, re-mastered in 2012 under Arthur’s supervision

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Annie Ross & Zoot Sims

A Gasser

LP | 1958 | UK | Reissue (Sam)

Release: 1959 / UK – Reissue

Genre: Organic Grooves

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Although best known as a member of the vocalese supergroup Lambert, Hendricks & Ross, the great jazz singer Annie Ross's solo albums are gems unto themselves and "A Gasser!" from 1959 is the finest of them all. Miss Ross is in peak vocal form here and is joined by the great Zoot Sims on saxophone and much of the same band featured on the Lambert, Hendricks & Ross classic "The Swingers". Don't expect any of the vocal acrobatics of the Lambert, Hendricks & Ross recordings however. This is straight-ahead jazz singing by one of the great singers in her prime. From the wry wit of "Everything I've Got" through the sheer perfection and beauty of "You're Nearer", this set is a must-have for jazz vocal fans. Highly recommended.

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Donald Byrd

Byrd In Paris

Chick Corea Elektric Band

Release: 1958 / UK – Reissue

Genre: Organic Grooves

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»They’d been living in Europe for months. They’d appeared in Cannes and at Knokke (…) yet the only thing missing was the consecration that a great concert in Paris would bring. They won that last battle with astounding brio, in front of an audience of connoisseurs. There were many there who thought modern jazz had never been so well-served in Paris.« (Jazz Magazine). Hard bop had arrived! Hallelujah! On its first French appearance, in July ‘58 at the Cannes Festival – the first and only Cannes jazz festival – the Donald Byrd Quintet had brought the house down. Yet four of its five members were relatively unknown in France … The French knew that the leader had replaced Kenny Dorham in the Jazz Messengers, that Doug Watkins was the Messengers’ bassist, and that pianist Walter Davis Jr. was still only 18 when he’d played with Charlie Parker. As for Art Taylor, even if his name meant something to fans, it was still difficult for people to have a more precise idea of his musical qualities. Only Bobby Jaspar was well-known to Paris audiences, and the tour marked the return of the prodigal son, the musician who’d decided, after setting the Club St. Germain on fire, to try his luck in the States early in 1956 – J.J. Johnson had hired him, and then Miles Davis (for a short spell) before Donald Byrd brought him into the group he was taking to Europe. This new tour would climax at the Olympia theatre during one of the “Jazz Wednesdays” that were organised there, ever since the "Jazz At Carnegie Hall” tour – Zoot Sims, JJ. Johnson, Lee Konitz, Phineas Newborn – had inaugurated the series a little earlier. Byrd and his band took pains not to disappoint a Paris audience they knew to be particularly fickle, and they astutely varied the public’s pleasures throughout the evening. The complicity that united the rhythm section – Walter Davis Jr., Doug Watkins and Art Taylor – was much in evidence on Ray’s Idea; mistrusting the traps of the spectacular at all costs, Donald Byrd, producing brilliant inventions on the trumpet, took the lion’s share of the honours on a theme that was then much in fashion, "Dear Old Stockholm", adapted from a Swedish traditional song; on "Flute Blues", Bobby Jaspar proved he was still a specialist on that instrument, and Paul’s Pal showed that, on tenor, the playing of Sonny Rollins hadn’t gone unnoticed. It must be said that it didn’t have much effect on the discreet lyricism underlying the choruses he played during his “St. Germain” period. The Olympia spectators weren’t sparing in their applause for the five musicians. How else could they have reacted, faced with the fire the band showed during a tune like "The Blues Walk"? It wouldn’t take much for us to applaud, too, even if it is fifty-five years later…

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Light Years

2LP | 2024 | Original (Candid)

LP | 2014 | UK | Reissue (First Word)

Release: 2024 / Original

Genre: Organic Grooves

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For The Elektric Band’s sophomore outing, Chick Corea - the venerated 27-time Grammy winner and National Endowment for the Arts Jazz Master - entered the studio with Dave Wekl on drums, John Patitucci on bass, and two new players who would solidify the band’s classic line up, guitarist Frank Gambale and saxophonist Eric Marienthal.

More heavily produced than it’s predecessor, Light Years contains several sequence-driven tracks, Corea’s attempt at reaching out to a wider audience with a brand of music that was tighter, funkier and eminently more communicative than he had recorded on 1986’s The Chick Corea Elektric Band.

The crisp, irrepressibly catchy title track is a prime example of Corea’s more commercial aspirations for the album, with Patitucci laying down a fat, funky groove with some hearty slap bass lines (a distinct flavor of the time), and Marienthal’s pungent alto sax strutting over the top. Not only did this groove-oriented track catch on with listeners, it also won a Grammy for Best R&B Instrumental Performance at the 31st Annual Grammy Awards.

Originally released on GRP Records in 1987, the album also contains the dreamy contemporary jazz offerings of “Second Sight” and “The Dragon,” the sequence-driven “Time Track”, “Flamingo,” featuring Carlos Rios on guitar and, the electrifying, techno tour de force, highly complex closer, “Kaleidoscope.”

Produced by Corea, with longtime engineering partner Bernie Kirsch, the album features detailed liner notes by jazz writer Bill Milkowski, giving context and explicit technical notes to the listening experience.

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Takuya Kuroda

Rising Son

Wajazz Legends: Jiro Inagaki - Selected By Yusuke Ogawa (Universounds)

Release: 2014 / UK – Reissue

Genre: Organic Grooves

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First Word Records is incredibly proud to bring you an exclusive vinyl-only re-issue of Takuya Kuroda's highly-sought after album 'Rising Son'.

'Rising Son' was first released on the seminal Blue Note Records imprint 10 years ago in 2014, with Takuya being the first Japanese artist to sign to the label. The record received widespread critical acclaim, hitting No.1 on Japan's jazz charts at the time, with original copies now fetching hundreds of pounds on Discogs and the like. There has long been high demand for a re-press of this album, and we're very pleased to say it's finally here, a decade on.

The re-issue is to be released via London-based Worldwide Award-winning label First Word Records, who coincidentally celebrate their 20th year running in 2024. First Word released Takuya's highly-revered previous two albums, 'Fly Moon Die Soon' (2020) and 'Midnight Crisp' (2022).

For those that don't know, Takuya Kuroda is a Kobe-born, Brooklyn-based trumpeter and musician, who was also a longtime player for Akoya Afrobeat as well as DJ Premier's Badder band. Initially playing on the Japanese circuit with his trombonist brother, Takuya went on to relocate to New York City, where he has largely remained to this day, becoming a prominent player in the jazz scene there.

The original album featured several Roy Ayers covers, including the all-time classic 'Everybody Loves The Sunshine', and this 2024 pressing also includes a brand new remix of the track from keys player & producer, Joe Armon-Jones. Joe is hugely-acclaimed in his own right as a solo artist, as well as his recent collaborations with Mala (who has a track named after him on this very project, as Takuya was influenced heavily by his 2012 Brownswood album 'Mala in Cuba'), and as an integral member of the legendary Ezra Collective, winners of the 2023 Mercury Music Prize in the UK.

Flitting between the genres of jazz fusion, soul, r&b, hip hop and afrobeat, the album was predominantly produced by a previous Takuya collaborator, vocalist José James, while also featuring phenomenal accompaniment from Nate Smith (drums), Solomon Dorsey (bass), Corey King (trombone) and Kris Bowers (keys).

In the words of José James, "no one sounds like Takuya. His tone, warmth and most of all his storytelling have inspired me for years. His writing is soulful, modern, and effortlessly bridges the gap between jazz and soul, and between history and tomorrow."

Previous reviews and accolades for Takuya's third album 'Rising Son' include AllMusic's Best of 2014, NPR Music, Jazz Weekly, Leo Weekly, All About Jazz, Icon, Relix, Pop Matters, Jay Z's Life + Times, Wbgo, Upscale, The Revivalist, East Bay Express and The Jazz Line, to name just a few.

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Jiro Inagaki

2LP | 2023 | EU | Original (180g)

Back To Rhythm Clear Lime Yellow Vinyl Edition

Release: 2023 / EU – Original

Genre: Organic Grooves

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Universounds, HMV Record Shop and 180g team up for an exceptional release in their highly acclaimed WaJazz series, to be out on Jiro Inagaki’s 90th birthday, October 3rd, 2023, celebrating the life and music of one of the most iconic Japanese jazz musicians of the last 60+ years. This is the ultimate collection of music from legendary saxophone player Jiro Inagaki and his Soul Media band, covering their 1968-1980 golden age, releasing as a spectacular gold vinyl double LP with extensive and detailed liner notes by Universounds’ Yusuke Ogawa, comments by Jiro Inagaki, and exclusive pics. 16 tracks of pure gold music spanning jazz, jazz-funk and jazz-rock, including an unreleased version of the track “Express” — first time on vinyl!

Yusuke Ogawa has been running the Universounds store in Tokyo since 2001, specializing in jazz and second-hand, rare, and collector records. He is also a reissue supervisor, label manager, DJ, and music writer. Known for his vast musical knowledge, eye for detail, and archival skills, Ogawa has worked on more than 250 reissues and compilations – including the highly praised Deep Jazz Reality and Project Re:Vinyl series. He is the co-author of the Wa-Jazz Disc Guide and the Independent Black Jazz of America books.

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Akira Ishikawa

LP | JP | Original (Nippon Columbia)

Release: JP – Original

Genre: Organic Grooves

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Japanese jazz, rare groove masterpiece re-released on clear lime yellow color vinyl!

The pleasure of feeling numb all over your body with a single drum beat. Akira Ishikawa, the super funky drummer born in Japan, runs through a wonderland of grooves!

Akira Ishikawa is a super funky drummer born in Japan. His ability to freely explore and fuse jazz, rock, and African music to create a unique musicality has been highly praised in many fields. His career includes masterpieces from jazz rock to rare groove, but this work is especially beloved for its outstanding song selection and exciting musicality. "Let's Start" is a tight cover of Fela Kuti's Afro-funk, "Bongo Rock" is a dynamic song with drum breaks, and "Pick Up The Pieces" is a jazz-funk version of the Average White Band's classic song. It is full of amazing monster tunes that are hard to believe were recorded in 1975. Support from masters such as Kiyoshi Sugimoto, Hiromasa Suzuki, and Takeru Muraoka also shines. text by Yusuke Ogawa (universounds/Deep Jazz Reality)

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Blue Note Re:Imagined II Limited Blue Vinyl Edition

2LP | 2022 | EU | Original (Decca)

Release: 2022 / EU – Original

Genre: Organic Grooves

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Sonny Rollins With Heikki Sarmanto Trio

Live At Finlandia Hall Helsinki 1972 Black Vinyl Edition

2LP | 2023 | EU | Original (Svart)

LP | 1985 | UK | Reissue (Theresa / Pure Pleasure)

Release: 2023 / EU – Original

Genre: Organic Grooves

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2lpcd 2LP, gatefold, black vinyl.

Svart Records proudly presents Sonny Rollins with the Heikki Sarmanto trio, in an extremely rare live performance at Finland Festival in the summer of 1972. Available for the first time, fifty years after it was initially recorded, this incredible show features Sarmanto on the Fender Rhodes electric piano, his brother Pekka Sarmanto on bass and Esko Rosnell on drums. Legend of American Jazz, “Saxophone Colossus” Sonny Rollins hand-picked Heikki Sarmanto and his Finnish trio for this night of improvisation and mutual respect that culminated in years of collaboration after.

The music conjured throughout this live extravaganza is everything a jazz aficionado could have hoped for, with extensive improvisations and incredible soloing by the musicians. Two standards and one original by Rollins, which last between sixteen and twenty-four minutes, illustrate both the quartet’s vibe and supreme virtuosity. Taking place at the magnificent Finlandia Hall, an architectural marvel, which was completed only a few months earlier, and recorded by the YLE (The Finnish Broadcasting Company), this legendary concert has been expertly mastered by Pauli Saastamoinen at the infamous Finnvox Studios in 2022 to perfectly highlight the magic that was in the air all those years ago.

Rollins seems to be especially in high spirits throughout the show and his powerful and expressive playing, full of humor, is simply marvelous. He even manages to quote some hints of Jean Sibelius’ “Finlandia” tone poem as a tribute to the venue.

Through our tireless efforts at Svart Records to preserve our musical culture, you can now be re-introduced to an important piece in the jigsaw of Finnish Jazz history, immortalised on double vinyl gatefold and CD and both limited to only 1000 copies.

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Pharaoh Sanders

Shukuru

LP | 2022 | JP | Original (P-Vine)

Release: 1985 / UK – Reissue

Genre: Organic Grooves

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180g, standard sleeve, re-mastering by: Cicely Baston at Air Mastering, London

Pharoah Sanders' "Shukuru" is noteworthy as being the album that reunited Sanders with vocalist Leon Thomas, who sang on some of Sanders' most endearing and powerful compositions-- among them the legendary "The Creator Has a Masterplan".

Thomas only joins the band on two tracks-- "Mas in Brooklyn (Highlife)" and "Sun Song". The former gets a full calypso reading complete with steel drum sounds and chanted vocals traded between Sanders and Thomas. It's a lot of fun, but by and large, throwaway. The latter is one of the true gems on the album-- a pretty ballad that serves as both a launching point for Sanders' best balladry and Thomas' vocal, with the latter soaring in his upper register wordlessly between verses intoned in his trademark baritone. It's by and large simply stunning.

The rest of the record has got its issues however, and by and large this comes in the part of Henderson's synthesizer-- while his piano tone is virtually indistinguishable from an acoustic piano, several tracks receive irritating synth vocals or strings (it's really hard to tell which, it's fairly indistinct and obnoxious), mangling otherwise fine performances of traditional tenor feature "Body and Soul", Sanders-penned "Jitu" (although admittedly the leader manages such a powerful solo it gets past it) and an absolutely breathtaking reading of "Too Young to Go Steady". At least opener "Shukuru" and closing funereal piece "For Big George" are spared this as the use of synths of them are far more tasteful (although one questions Sanders' choice to intone his wife's name over the former's smokey lines, but that's another story). by Vine Voice

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Penny Goodwin

Live

LP | 1972 | EU | Reissue (Sonor Music Editions)

Release: 2022 / JP – Original

Genre: Organic Grooves

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We’re not called Groove Diggers for nothing! This previously undiscovered live recording was first uncovered by the Groove Diggers team in 2004, and issued on a CD - it’s taken 18 years, but this essential live recording is finally getting an analog release!

Much like her studio album, “Portrait of a Gemini”, “Live” contains a collection of covers; from the Aretha Franklin penned “Day Dreaming”, to Marvin Gaye’s legendary “What’s Goin’ On”. A lesser singer may be intimated by the immensely popular songs, but Goodwin sounds as light as a feather, her iconic vocals soaring freely above the sparse sounds of the jazz trio backing her. What this record may lack in studio finesse, it more than makes up for in intimacy. The clinking of glasses, the chattering of the audience, the unplanned mmhmm’s of approval. Close your eyes and you’ll be able to picture the dark, smoky club in which this album was recorded.

This essential live album from Penny Goodwin is finally available on limited edition vinyl. With modern remastering and one of our iconic Obi-strips, this album has never looked or sounded better!

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Sandro Brugnolini

Utopia

Sueddeutschland & Der Untergang Des Hauses H. Red Vinyl Edition

Release: 1972 / EU – Reissue

Genre: Organic Grooves

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Sonor Music Editions is proudly continuing the dive into the glorious Sermi catalogue, a renomated Italian Library label that released, between late 60s and early 70s, some among the most sought-after and insane records of the whole Library/Soundtrack genre. We're now excited to announce the first ever reissue of another Italian Library grail from the catalogue - originally issued in 1972 on Gemelli label. Sandro Brugnolini's masterpiece "utopia", originally pressed on a ridiculous run, and released on a beatiful tip-on sleeve reproducing painter Michel Seuphor's abstract art. The first official release after the recent maestro's passing, conceived with the great arrangements of Giorgio Carnini at the Hammond and piano, and the direction of maestro Franco Tamponi. A brilliant and inspired Jazz-Funk and Lounge Jazz session with just amazing sounds, driven by both dreamy and underground moods, Avant-garde Jazz refined orchestrations and gorgeous grooves.

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Familie Hesselbach

LP | 2024 | EU | Original (Play Loud)

LP | 2024 | EU | Original (Play Loud)

Release: 2024 / EU – Original

Genre: Organic Grooves

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merch community
Süddeutschland & Der Untergang des Hauses H.
by Familie Hesselbach

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Süddeutschland (Lautt Sampler, 1983) 00:00 / 04:09
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1.
Süddeutschland 05:12
2.
Das Bild 04:46
3.
Rimini 03:34
4.
Zur Kur 04:10
5.
Süddeutschland (Lautt Sampler, 1983) 04:09
6.
Siechtum (Der Untergang des Hauses H. Tape, 1985) 02:41
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Fred (Der Untergang des Hauses H. Tape, 1985) 03:57
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Paul (Der Untergang des Hauses H. Tape, 1985) 03:14
9.
Susi (Der Untergang des Hauses H. Tape, 1985) 03:26
10.
Barbara (Der Untergang des Hauses H. Tape, 1985) 03:55
11.
Baden (Der Untergang des Hauses H. Tape, 1985) 02:31
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"40 years after six students from the prestigious university of Tübingen were latecomers to the German new wave (...), it is once again the turn for Familie Hesselbach, who have always been called "The German Talking Heads", something we could agree with, if we add to their sound the rhythm schemes of A Certain Ratio, the groovy bass of Bush Tetras, the skronky disco-esque of James White, and turns Byrne's voice to a more spastic and cons ice one. Berlin´s play loud! label reissued in vinyl this early 80s German new wave gem, and if you think of all the bands we've named, you know this is going to blow your mind!" (Tremendo Garage about the first LP "1982").

After re-releasing "1982" (first LP) and the double LP "Froh zu sein & 8-EP-Sampler", play loud! now completes the Familie Hesselbach catalog (1980-1985) with the third vinyl LP "Sueddeutschland & Der Untergang des Hauses H." Enjoy!

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Limpe Fuchs

Amor

LP | 1978 | EU | Reissue (Tokuma)

Release: 2024 / EU – Original

Genre: Organic Grooves

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Limpe Fuchs – Amor
When asked about the title of her new record, “Amor”, Limpe bluntly responded, “because it’s everything”. Being a Beatles fan from the very beginning, she’s well aware that “all you need is love”, but there’s more to her sentiment than a corny pun. On the one hand, she’s more than half a century into her musical career, and describes the relationship towards her instruments in terms of an ongoing and deepening love affair. “Be it my piano, my viola or my percussion instruments, they’re all far more than just wooden caskets, they’re living entities, they need to be tended and cared for, they’re resonating with me and when engaging with them while playing I respond to their momentary being – and they alter my body and soul all the same.” So, it’s about time for a love letter to her percussion instruments and the act of drumming and listening to her drums, which can be heard as “Trommeln” on the second to last track on “Amor”. We also get to learn about “Verliebte Autos im Wald” – a poem by Augusta Laar, Limpe recites during the closing track to “Amor”. What may come across as a goofy nursery rhyme at first is indeed testament to Limpe’s longstanding animistic beliefs, her imagination towards everything around her. “It may sound wonky, but it’s as simple as it’s true and it’s important to love yourself and everything around you – at least I try to do so the best I can, and sometimes I fail, sure.” And, again, if you think about it, it’s not much of a surprise, she’s singing about cars, the vehicles that since decades get her and her instruments from gig to gig, all across Europe. But it’s not all just about the material world around her, of course. So, on the other hand and for the most part, “Amor” reflects on love as an interpersonal and spiritual experience. Drawing inspiration from such different authors as Giordano Bruno, Hilde Domin and Serge Kahili King, “Amor” is a record of compositions one could almost call “songs” although they’re far from being performed in a conventional way. It is also Limpe Fuchs’ most openly insightful and vulnerable record to date. As curious as ever, in her light-hearted yet thoughtful manner she explores the upsides and downsides of what it means to be loved or not loved: “At times it’s also sad, that love is the only way, but it is – at least it’s what I experienced and experience to this day.” (Holger Adam)

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Akio Niitsu

I/O(I･O)

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

Release: 1978 / EU – Reissue

Genre: Organic Grooves, Electronic & Dance

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(Japanese pressing, Official reissue) Brilliant synth prog weirdness from the late 1970s Tokyo. Recorded by the guitarist Akio Niitsu who was compared, not without reason, to Manuel Göttsching. Niitsu has a fairly small discography of only three full-length albums, but his second one - “Pet Step” - was on Tomita’s label and supposedly with the involvement of Haruomi Hosono (this is according to Chee Shimizu who lists it in his “Obscure Music”).

Akio Niitsu's first album, "i/o(i･o)" released in 1978, was produced in a homemade studio that had been converted from a storeroom in his home, and he spent three years doing everything from composition to engineering by himself, using overdubbed guitar recordings. 's first analog re-release has been decided.As a guitar multi-recording album, the idea was realized six years earlier than the album "e2-e4" released in 1984 by Manuel Göttsching, the central figure of "Ash La Tempel", but it was too early. A hidden experimental/ambient gem!The paradoxical sound that makes you feel as if you are lost deep in a labyrinthine forest, combined with Tadanori Yokoo's artwork, is a piece that allows you to enjoy Akio Niitsu's worldview with your ears and eyes.

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Mo Kolours

Original Flow

36,09 €* 37,99 € -5%

Baltimore Vinyl Me, Please Edition

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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Nina Simone

LP | 2012 | US | Reissue (Vinyl Me, Please)

LP | 2024 | EU | Original (Noopop)

Release: 2012 / US – Reissue

Genre: Organic Grooves

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Why you'll love it...
Baltimore, an album originally made for the jazz label CTI, is a deep cut in Nina Simone's catalog. It's truly a lost sound found and we're proud to feature it here in celebration of her 90th birthday.

Limited to 2000 copies, the VMP exclusive version of Nina Simone's Baltimore is pressed on (AAA) 180g Red Marble vinyl at GZ Vinyl. The 1LP will arrive in a gatefold, tip-on, foil-stamped and numbered jacket. The (AAA) lacquers were cut from tapes by Ryan Smith at Sterling Sound.

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Naissoo Freeform Quintet

Teo Macero With The Prestige Jazz Quartet

Release: 2024 / EU – Original

Genre: Organic Grooves

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NooPop Records proudly presents 'Naissoo Freeform Quintet,' led by keyboard maestro Tõnu Naissoo. Recorded in Tallinn during two electrifying, improvisational sessions in July 2024, this LP captures the infectious energy of funk, the adventurous spirit of free jazz, and infused with a nostalgic nod to the psychedelic era. This album is a celebration of dynamic percussive rhythms and exploratory sound of Bass Clarinet, Rhodes, Moog Source and ARP Odyssey, offering a unique blend of past and future musical influences. Whether you're a jazz aficionado, a groove enthusiast, or simply a lover of innovative music, "Naissoo Freeform Quintet" is an essential addition to your collection. Join us on this cosmic expedition and discover the infinite possibilities of sound that await in the astral realms of plate reverb and tape delay. Limited to just 500 vinyl copies, "Naissoo Freeform Quintet" is a rare gem for collectors and music lovers alike. Grab yours before it’s gone and embark on this stellar journey!

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Teo Vinyl Me, Please Edition

LP | 2024 | US | Reissue (Vinyl Me, Please)

Release: 2024 / US – Reissue

Genre: Organic Grooves

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Why you'll love it...
Jazz is an art form that routinely asks performers to be the guy behind the guy. Louie, Basie, Dizzy all played for others before they became names themselves. Another famous guy behind the guy, Teo Macero, has a little less complicated, but he had more to do with shaping and re-shaping modern music than just his work with Charles Mingus. Part of the reason “Take Five” is considered one of the most famous songs of the 20th century is how Dave Brubeck and his Quartet played it, but it’s also because Macero was behind the glass, slowly turning knobs moving things up at some points, and down at others. It would be enough to produce Time Out, but he also helped mold Thelonious Monk’s sound during his time on Columbia in the 1960s into one of the master’s most fruitful periods. The man also produced Bitches Brew — yes, Bitches Brew, too! Macero isn’t one of the marquee names in the Bible of American Music, but he was an apostle for several of its greatest prophets. Then, in 1957, came Teo. Macero’s warm tenor sax playing is a big part of that, but so is Mal Waldron’s piano, Teddy Charles on the vibraphone, Jerry Segal on drums, and, trusted Mose Allison sideman. Everybody on this album knew exactly what they were meant to do, and they came together to create something lovely that deserves more appreciation than it has been given since its release in ’57.

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Easy Tempo Volume 11: The Round Trip

LP | 2023 | EU | Original (Easy Tempo)

Release: 2023 / EU – Original

Genre: Organic Grooves, Soundtracks

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Easy Tempo has achieved, through time, the status of legendary label. The seminal first volume of the fortunate series was released in early 1996 and it was responsible for the now huge worldwide Italian Cinematic legacy. The names of Piero Umiliani, Piero Piccioni or Gianni Ferrio, where totally unknown by the most. All the way through the 90’s Easy Tempo has released 10 Volumes (no fillers only killers) and complete soundtracks, some never previously released and most edited directly from the film master tapes. Today, Easy Tempo strikes back with a stunning long awaited 11th Volume (the round trip) compiled by Nicola Conte and with the re issue of an obscure disco funk album called Genius which is a dance floor earthquake. Easy Tempo is back with his irresistible cinematic groove which comes across stronger than ever.

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LP | 1977 | US | Reissue (Etats-Unis)

Blorp Esette Volume One

2LP | 2022 | EU | Original (INFRACom!)

Release: 1977 / US – Reissue

Genre: Organic Grooves

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Los Angeles Free Music Society (lafms) formed in the mid-1970s as a loose-knit experimental music collective and multimedia publishing vehicle. Founded by teenage Le Forte Four members Chip Chapman, Joe Potts and Rick Potts and soon joined by Tom Recchion of Doo-Dooettes, Lafms incorporated free improvisation, modular synthesizers, tape music, sampling, musique concrète, homemade instruments, noise, mail art and avant-rock in permissive and anarchic sessions at the Raymond Building and Poo-Bah Record Shop in old Pasadena. Inspired by The Residents, Lafms self-released records and periodicals, organized performances and connected with fellow outsiders via post in the years before punk. Their uninhibited, egalitarian ideal of music-making and DIY distribution would influence generations of underground musicians. In 1977, Lafms released Blorp Esette, one of several compilations tracking the collective's growth and wild-eyed experimentation. Ace Farren Ford, an early Lafms recruit from the Poo-Bah circle, produced the album and solicited cover artwork by Don Van Vliet (Captain Beefheart). Ford appears in various configurations alongside members of Smegma, Le Forte Four and "unknown artist" (as the credit for more than one piece reads). The Residents, showing their affinity with Lafms, contributed "Whoopy Snorp" for their first non-Ralph Records release. Blorp Esette shows the artists grasping for new, non-idiomatic voicings and collaborative modes, anticipating Lafms affiliates and offshoots such as Airway, Human Hands and Monitor. A second volume would come out in 1980, featuring Ford's punk band The Child Molesters. If you're looking for the missing link between mid-'70s art practice and outsider music, then look no further. This first-time vinyl reissue is limited to 500 numbered copies. Comes with inserts.

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Matthias Vogt

Pianissimo

2LP | 2021 | UK | Original (Empty Quarter Tribe)

Release: 2022 / EU – Original

Genre: Organic Grooves, Classical Music

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For his twelfth studio album, Pianissimo, Matthias Vogt ([re:jazz], Motorcitysoul) makes a clear political statement in symbiosis with his well-placed notes and the stylishly experimental and pronouncedly eclectic electro-jazz sound. Pianissimo does not only mean playing very softly but also playing very intensively. It is definitely not an album to skip through. Matthias Vogt combines great music with current socio-political attitudes and issues for this new album. He conducted interviews on topics like “climate change” with people from his circle of friends and acquaintances - creatives, artists, activists and musicians who tick similarly to himself and with whose voices he could give expression and form to his own thoughts. With this material, he created this hybrid piece of music and socio-political reflexion. His companions are Demian Kappenstein (ätna & Massa) on drums & guitarist Daniel Stelter (Sing mein Song, TV-Total Heavytones). Vinyl incl. the outer packaging will be produced on a completely recycled basis by INFRACom! which starts its 30 years celebration with this release.

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Vertaal

Paradigm Shifting

LP | 1958 | UK | Reissue (Sam)

Release: 2021 / UK – Original

Genre: Organic Grooves

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Ajit Gill & Theo Howarth sharing a love of groove & improvisation, forming musical ideas traversing spiritual nu-jazz, Dilla-esque hip-hop, broken beat & neo-soul. Vertaal first mixtape, Paradigm Shifting had a soft digital released on the 23rd April 2020, on Vertaal’s Empty Quarter Tribe imprint. Self-produced, recorded and mixed in their own studio, the EP was nominated by Jazz Revelations for EP of 2020 and produced four singles, ‘Polar’, ‘Duels, ‘Drop Off’ and ‘Dilla5’. 2020’s lock down led to a completely remixed and partial re-recording of the mixtape into a full, seamlessly mixed double LP with 6 additional tracks and a further 6 musical ‘skits’ recorded separately by all the contributor musicians on the album during lock-down. The limited edition vinyl 2LP will be released on June 25th 2021

Vertaal have been an increasingly notable presence in the nu-jazz scene over the past 3 years. Tipped as “ones to watch for 2019” by Jazz Re:freshed, Vertaal played an exclusive pick of sold out shows at prestigious venues such as Ronnie Scott’s, Pizza Express Soho and the Jazz Café.

They have also supported the likes of Mark Guiliana (David Bowie), & Pete Ray Biggin (Level 42) and finished off 2019 guesting for Richard Spaven at The Cambridge Jazz Festival. Of the six tracks on the current mixtape, first single ‘Polar’ was played on the uber-cool Deeper Cuts show by DJ Karl Bos who described the track as an “incredibly produced record.”

Tony Minvielle (Jazz FM) urged his listeners to “…hunt this down. They’re making incredible music!” after playing two tracks from Paradigm Shifting on his show, and the mixtape has garnered similar excited responses from many DJs and reviewers (press list below).

The shrink-wrap will be stickered with full information and press quotes.

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Donald Byrd Quintet

Parisian Thoroughfare

Ngo Ma HHV Summer Of Jazz Exclusive Green Vinyl Edition

Release: 1958 / UK – Reissue

Genre: Organic Grooves

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In its October ‘58 issue, the title carried by Jazz Hot magazine was: »Revelation at the Chat Qui Pêche. The spirit of jazz (which some thought was dying) is sparkling with life in the Donald Byrd Quintet.« And indeed, on its first appearance at the Cannes Festival in July (the Jazz Festival, not the other one), the Donald Byrd Quintet brought the house down. Its members were hardly the Who’s Who of jazz, however. People vaguely knew that the leader had replaced Kenny Dorham in the Jazz Messengers, that Doug Watkins had played bass with them, and that pianist Walter Davis Jr. had been with Charlie Parker before he was 19. As for Art Taylor, if he’d already enjoyed a career longer than that of his colleagues, it hadn’t yet brought him recognition beyond a small circle of cognoscenti. Only Bobby Jaspar – who’d shone at the Club St. Germain – was famous with the Parisian audience.

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IzangoMa

2LP | 2023 | UK | Original (Brownswood)

35,99 €* 39,99 € -10%

Release: 2023 / UK – Original

Genre: Organic Grooves

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Limited edition of 300 copies for the 2023 Summer of Jazz campaign, focused on South-African jazz. Only available at HHV.

The fifteen-piece kaleidoscopic ensemble IzangoMa might only be releasing its debut offering on the esteemed UK-based label Brownswood Recording this coming Northern Hemisphere Spring, but the collective’s roots stretch back to the meeting of Sibusile Xaba (vox/keys) and Ashley Kgabo (synths/snare drum/drum machine) in 2016. The album is the logical next step in a journey. Sibusile Xaba reveals a side to his virtuosic talent at cardinal opposites with the familiar folk sound the largesse knew him for. Kings rejoice in laughter on album opener “Agenda Re-member”, while the music cascades carefree over frequencies expressing joy and positive living. In this world, IzangoMa’s world, the moon sings sweet melodies and the children rejoice in laughter. Worries are but a distraction, and joy is the ultimate quest. It’s a declaration of love in its highest, lucid, uninhibited form.

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Shades Of Oshu HHV Summer Of Jazz Exclusive Vinyl Edition

2LP | 2024 | EU | Original (Oshu)

2LP | 2024 | Original (American Dreams)

Release: 2024 / EU – Original

Genre: Organic Grooves

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Collaborations From the New Berlin Jazz Underground, recorded live at Badehaus Berlin, The 2xLP gatefold vinyl will be exclusively available in a limited edition of 200 copies through HHV as part or their “Summer Of Jazz” campaign.

The Shades Of Oshu event series grew out of a need to create a platform for the re-emerging post-Covid Berlin music scene, to showcase new talent from both the international and local multi cultural creative community, fostering dialogue and collaboration. A joint venture between Oshu Records and Badehaus Berlin, under the curation of Szabolcs Bognár and Katerina “Temkina” Stanislevikj the series combined improvised music performances with special guests, producer showcases and DJ sets with the aim of providing a platform for emerging musical expressions. Every performance you hear on this record was captured between September 2021 and July 2022 during the series. With post production and editing handled by Szabolcs Bognár, the project features artists such as the Moses Yoofee Trio, Àbáse, Wayne Snow, Zeitgeist Freedom Energy Exchange, Magro, K’boko, Dumama, Ori Jacobson, Kechou, King Owusu and Aduni from the Berlin scene as well as international projects Jazzbois, SunMa (Budapest), Alexander Flood (Australia) or Thamsanqa Vuthela (South Africa).

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Wendy Eisenberg

Viewfinder

LP | 1980 | UK | Reissue (Pure Pleasure)

Release: 2024 / Original

Genre: Organic Grooves

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In a career full of bold, genre-blending statements, Wendy Eisenberg’s double album Viewfinder is their boldest yet. Viewfinder is about what happens when you reach clarity and it throws you off-balance, and what it means to love something without understanding why you love it. Eisenberg leads a large band of NYC jazz musicians, including Booker Stardrum (drums) and Chris Williams (trumpet). Together, they push the boundaries of jazz into songcraft, songcraft into art song, and art song into jazz, cementing Eisenberg’s work as a guitarist, improviser, composer - and establishing Eisenberg as a singular talent in 21st-century jazz.

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Idris Muhammad

Kabsha

LP | 2024 | JP | Original (P-Vine)

Release: 1980 / UK – Reissue

Genre: Organic Grooves

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Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

This little-known album by New Orleans-born drummer Idris Muhammad (1939-2014) was originally recorded for Theresa at Rudy Van Gelder's studio in New Jersey on September 12, 1980 with George Coleman & Pharoah Sanders on tenor saxophones & Ray Drummond on bass.

The six powerful tracks include originals from Muhammad & Drummond and an impressive version of Billy Eckstine's 'I Want To Talk About You' featuring Sanders.

'Kabsha', which is dedicated to Muhammad's youngest daughter, is recommended to anyone who appreciates inventive and passionate modern jazz.

Drummer Idris Muhammad's strongest jazz date as a leader. Muhammad, who had often been heard in funky or more commercial settings, really excels in this sparse setting, showing off what he learned from hearing bands in his native New Orleans. In addition, both the underrated Coleman and Sanders are heard in top form, stretching out on originals, basic pieces, and "I Want to Talk About You" (during which Sanders lets out a few trademark screams so everyone knows that he is not John Coltrane). Highly recommended. Scott Yanow/AMG

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Yanaco

Leaving / Arriving

LP | 1974 | EU | Reissue (Speakers Corner)

Release: 2024 / JP – Original

Genre: Organic Grooves, Electronic & Dance

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Following his debut EP tttwoface from the Belgian label Urban Waves in 2022 and 1st full album from P-vine in 2023, Tokyo based electronic musician Yanaco has released his 2nd full album! He has defined their sound, focusing their wide range of influences into what is no doubt one of the finest ambient albums to come out of Japan in recent years.

Samples, programmed electronics, and synth pads are layered with care and precision to create an ineffable serenity that calls to mind the works of both Hiroshi Yoshimura and Aphex Twin, while still being distinctly Yanaco. The album vividly expresses the theme of life from 'Leaving' to 'Arriving' through expressive songs, and is a complete album in itself, not to mention the quality of each song.

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Andy Bey

Experience And Judgement

LP | 1965 | UK | Reissue (Pure Pleasure)

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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Andy Bey was one of the most sought-after vocalists in the era of jazz fusion. Between 1968 and 1973 he was first choice as a studio singer for Max Roach, Duke Pearson, Horace Silver, Gary Bartz and Stanley Clarke, to mention but a few. His warm and engaging baritone voice easily crossed the bridge from conventional blues and gospel to a pugnacious, politicising style of soul – Andy Bey was 'spiritual' in every sense of the word. "Experience And Judgment", his debut album under his own name, was recorded in New York in 1973 and quickly became a cult album. Bey delivers twelve songs in single length, which are full of relaxed, funky grooves, soulful and electrifying, and quite lacking in gimmickry – in many of them a blues number is lurking in the background as a basic idea. His most important colleagues are Wilbur Bascomb, who lets his electric slap bass really thump out, and Bill Fischer who joins in on an electric piano, synthesizer and various other keyboards and really sets off a little fusion firework display. The most powerful numbers come from Andy Bey himself, such as "Experience", "Judgment", "Celestial Blues", "Tune Up" and "Being Uptight" – often powering forwards with a vengeance. Bill Fischer – at that time Artistic Director at Atlantic Records – added a few soul ballads to balance out the LP. This album inspired numerous jazz singers, including Gregory Porter. Jamie Cullum says: »What I love about Andy Bey is that he creates an atmosphere. As soon as he opens his mouth, you’re transported to another place.«

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com. All royalties and mechanical rights have been paid.

Recording: July and September 1973 at Regent Sound Studios, New York, by Bob Liftin Production: William S. Fischer

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Eddie Harris

The In Sound

LP | 2019 | US | Original (Pure Pleasure)

Release: 1965 / UK – Reissue

Genre: Organic Grooves

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Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

This is one of Eddie Harris' great records. The playing is inspired! What a band! Cedar Walton (piano) and Billy Higgins (drums), Lee Morgan's favourite rhythm section. The underrated but popular tenor saxophonist introduces his "Freedom Jazz Dance," which would become a jazz standard after featuring on Miles Davis' album Miles Smiles. Plays one of the earlier versions of "The Shadow of Your Smile," romps on "Love for Sale" and "'S Wonderful," and also performs "Born to Be Blue" and his own "Cryin' Blues." Harris is heard in prime form in a quartet/quintet with pianist Cedar Walton, bassist Ron Carter, drummer Billy Higgins, and part-time trumpeter Ray Codrington. A gem. - Scott Yanow/AMG

Recorded 1965
Engineer – Tom Dowd

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Dadisi Komolahe

Hassan's Walk

LP | 1981 | US | Reissue (Pure Pleasure)

Release: 2019 / US – Original

Genre: Organic Grooves

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Don’t let the date fool you, released back in 1983 this modal to slightly free jazz outfit from California takes you on a journey back to the late 60s and very early 70s, into the spiritual realms of greats like John Coltrane, Pharoah Sanders, John McLaughlin and Miles Davis among others. A soul jazz treasure from the LA scene of the early 80s – a fantastic record that I rank with the best Strata East sides of the time! The group's led by alto saxophonist Dadisi Komolafe, and features vibes by Ricky Kelly, piano by Eric Tillman, bass by Roberto Miranda, and drums by Sunship Theus – all working together in a style that's infused with soulful, post-Coltrane exploratory energy, never going too far outside, and always staying true to the rhythmic pulse at its core. Kelly's vibes are really great – sparkling underneath solos by Komolafe that remind me a lot of Gary Bartz's earliest work.

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Adele Sebastian

Desert Fairy Princess

LP | 1967 | EU | Reissue (Speakers Corner)

Release: 1981 / US – Reissue

Genre: Organic Grooves

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Adele Sebastian was an Afro American jazz flutist and singer, active from the early 70s (when she was still a teenager) until her untimely death at the age of 27 (!) in 1983 from a kidney failure. In fact she had been depending on monthly dialysis to stay alive for years. She lived through and for the music and you can hear it on her only solo album “Desert Fairy Princess” which was first issued in 1981. The mostly acoustic instrumentation brings a very natural and therefore rather retrospective sound considering the year the album was recorded. Adele and her band pull it off right from the start as if it had been 1966 and it was time for a revolution to shake the dust from the old time jazz. In a perfect way she mixes classic American vocal jazz elements with playful and more free passages, Latin music and tribal African sounds in the lengthy and quite rhythm oriented “Man From Tanganyika” and makes the title track start with a mystical “Allahu akbar“ chant while it turns more and more into a dark and gloomy song with something like a psychedelic edge reminiscent of Pharoah Sanders on his early works. Wild rhythms from drums, percussions with tons of bells and chimes weave a thick groove carpet and conjure a magical atmosphere. Those jazz aficionados who love the mid 60s John Coltrane, his sidekick Pharoah Sanders and Alice Coltrane will go crazy for this album.

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Freddie Hubbard

Backlash

LP | 1957 | UK | Reissue (Pure Pleasure)

Release: 1967 / EU – Reissue

Genre: Organic Grooves

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After his great success as a new discovery through playing on tour and in the studio with Art Blakey’s creative and inspirational group, the Jazz Messengers, Freddie Hubbard made a dozen LPs over 16 years for Blue Note and Impulse under his own direction.
It was no wonder then that a big record company made him a lucrative offer in autumn 1966. All in all, Atlantic Records released six LPs and the very first, entitled "Backlash", is still until today the best of the bunch.
Three numbers by Freddie Hubbard, one by Bob Cunningham, and two by friends, provide the basis for a successful transition between hard bop and soul beat. Hubbard made high demands on his fellow musicians James Spaulding, Albert Dailey and especially the bass player Bob Cunningham and the drummer Ray Appleton because they had to cope with the ever-changing beat. Right from the very first note, it is obvious that Freddie Hubbard had Fats Navarro and Clifford Brown in his heart and fingers. All the titles are excellent. Of special note, however, is "Little Sunflower". The sound colouring of the flute harmonizes particularly well with Hubbard’s brass, and Ray Barretto’s contribution is more than mere decoration. You’re certainly on the right track with this LP, no matter whether it’s the beginning of a Freddie Hubbard collection or a further contribution to a large jazz collection.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.

Recording: 1967 by Tom Dowd, Phil Jehle and Adrian Barber
Production: Arif Mardin

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Nina Simone

Little Girl Blue

Turbulence & Pulse Colored Vinyl Edition

Release: 1957 / UK – Reissue

Genre: Organic Grooves

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Re-mastering by Ray Staff at Air Mastering!

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Asher Gamedze

LP | 2023 | US | Original (International Anthem)