Organic Grooves 260 Items

Originally From East Orange NEW Jersey

THE Exciting Williams Brothers Band GOT Their Start BY Their Father AND Mother MR. Roscoe Williams SR. AND MRS Esther Maude Walker Williams IN THE Late 60’s. They StartED OUT IN Gospel Music Like Their Father AND Family OF Brothers Before Them Whom YOU Will SEE Photos OF “the Original Williams Brothers” Throughout This Site From Time TO Time. THE Group From Oldest TO Youngest AT That Time Consists OF: Roscoe Williams JR. (lead Vocals) Eugene Williams (lead Guitar AND Background Vocals) Osbert Williams (bass Guitar AND Background Vocals) Alexander Williams ( Keyboard AND Background Vocals) AND Anthony Williams (lead Vocals) Anthony WAS THE Youngest Member OF THE Group AT That Time When ONE DAY While ON Their WAY TO Perform A Gospel Show ON MotherS DAY OF 1969, They HAD A Terrible CAR Accident Which Brought THE Family TO A Stand Still DUE TO Injuries AND Left Anthony Paralyzed TO This DAY. BY THE Time THE Exciting Williams Brothers Band Began High School They Asked Their Father IF They Could Play R&B Music. AT First Their Father WAS Against IT BUT When They Began PlayING Dances AND Clubs, SO Many People Began TO Book Them That Their Father HAD TO Install A Business Phone IN THE House TO Keep UP With THE Calls. IN 1975 THE Brothers Auditioned FOR A Beer Company Based IN NEW Zealand (the NEW Zealand Breweries) THE Company Came TO NEW York TO Audition American BandS AND THE Exciting Williams Brothers WON Against 12 Other BandS. THE Brothers Career Skyrocketed. They Toured FOR SIX Months IN NEW Zealand, Recorded A Record AND DID 3 Television ShowS IN NEW Zealand AND A Soft Drink Commercial FOR Sarsaparilla Soft DrinkS. When THE Brothers Came Back TO THE States Their Father Auditioned Them TO THE NEW York BookING Agencies AND That Began THE Group Touring IN THE United States. They Began 3 Months ON THE Road AND 2 Weeks Home AND They DID This FOR 8 Years. THE Exciting Williams Brothers Band Have Come Together TO Unleash A NEW Dimension OF EDM Music Through ESP. They ARE True Legends OF Music AND ONE OF Their RecordINGS Today Sell FOR Nearly $4000.00 PER Copy. THE Brothers USE There Roots IN Gospel Music TO Deliver Hard Hitting Jams AND Grooves TO THE LateST Dance Music Scene, “live” AS They Emerge AND Establish ThemSELVES AS AN Exciting Opening ACT FOR Major DJS.

The band Gillespie assembled for this date – Junior Mance, Les Spann, Sam Jones, & Lex Humphries - was for the most part a working band on the club & concert circuit, offering a mixture of Gillespie’s entertaining songs, established repertoire, & some Latin & African-influenced pieces. With them, Dizzy found a middle ground in his music that gave his legacy room to breathe, but with much more rhythmic variety. The Verve By Request Series features 180-gram vinyl, pressed at Third Man in Detroit.

VERVE BY REQUEST SERIES: remastered, audiophile-quality 180-gram vinyl from Third Man Pressing/Detroit, Single Sleeve.

Saar Records, through its famous Music subsidiary, re-releases the second Chet Baker’s LP, recorded with his sextet and quartet and originally released in March 1960; one of the rare occasions for our musicians to team together with an American trumpet player for a rather long period.

Chet Baker is one of the most important and essential characters of modern jazz and over the years he has not lost his strength and colour, a fact that’s clearly demonstrated by this release, indeed showing us a quite different Chet Baker. His style has become less slender, more excited, more precise, more violent, and several tracks of this record prove it.

The musicians here accompanying Chet Baker are the very best the Italian jazz scene of the time could offer: Glauco Masetti on alto sax, Gianni Basso on tenor sax, Renato Sellani on piano, Franco Cerri on double bass, together with the Italian-American Gene Victory on drums. As usual in such situations, arrangements were entrusted to Giulio Libano, who wisely provided the musicians with ample space for their solos. Chet Baker is undoubtedly the protagonist, but a lot of freedom of expression is granted to his fellow adventurers.

The album was recorded on 25 and 26 September and on 6 October 1959 at the Guertler Bros studio.

Oscar Peterson's Frank Sinatra tribute features his trio with bassist Ray Brown & drummer Ed Thigpen. The renditions are all under four minutes and are highlighted by "Come Dance with Me," "Just in Time," "I Get a Kick Out of You," and "How About You?" This is one of Oscar Peterson's most essential dates—swinging and enjoyable.

VERVE BY REQUEST SERIES: remastered, audiophile-quality 180-gram vinyl from Third Man Pressing/Detroit, Single Sleeve

Refined jazz. Well-crafted rock. Finely honed funk. Swallowing everything, a strong groove begins to run.

Since their formation in 1969, Soul Media has advocated a fusion of jazz and rock. This work, ``In the Groove,'' recorded in 1973, took this route to the next step. Bringing the sharpness of jazz to the fore, blending rock to give it an edge, and injecting funk to exude power and elasticity. They created strong, sophisticated, and simply "cool music" that could not be categorized into existing genres such as jazz-rock, jazz-funk, and fusion.

This work is said to be a response to The Crusaders, which Jiro Inagaki was paying attention to at the time. The aim was on point. With this work, Soul Media acquires a "sophisticated black feeling" and heads toward their final destination, "Funky Stuff.”

Text by Yusuke Ogawa (universound/deep Jazz Reality)

Family Circle’s 1973 LP draws a tight ring around the most beguiling soul tropes of its era, with its full house of ambitious players and hook-laden originals. Newark, New Jersey’s Simmons siblings—George, James, Mary, Don, and David—rallied around journeyman arranger George Andrews and business maven/producer Randy Irwin, whose industry ties brought studio luminaries into the Simmons orbit: session guitar giant Cornell Dupree, guitarist/songwriter Billy Vera, and the inimitable Bernard “Pretty” Purdie on drums. Charles Simmons’ “Well Runs Dry” dipped several toes into Jackson 5-saturated waters, while “I Hope You Really Love Me” stayed together with the Al Green ethos. Where the bowling, basketball, and karate-obsessed Simmons fivesome was hitching to—thumbs unfurled and dressed to impress in Central Park on Family Circle’s back cover—is anyone’s guess, but their sparkling, layered sound, gospel-honed vocal chops, and instantly relatable melodies should’ve dropped them off on everybody’s turntable. Give Family Circle a lift, drive ‘em around awhile.

Sleeve Records & Dig This Way teamed back to bring to light the history and the tracks of this iconic early 70' Psychedelic Afro-funk East Nigeria group.
The Hygrades's album will include all 4 rare 45"s united in a single LP with an insert of their story told by a true Uchenna narrator.

All ‘N All is the eighth and most well-known studio album by the
American band Earth, Wind & Fire. The album features hit singles
such as “Fantasy” and “Serpentine Fire”. It’s an great addition
to the disco and soul classics Maurice White and his band of
talented musicians recorded during the years. Everything comes
together in this excellent mix of different music styles and also
shows their variety in pop music. Their funk is so full of sounds in
classics like “Jupiter” and “Serpentine Fire”.
Earth, Wind & Fire is an American band which became famous
during the 1970s with their contagious mix of soul, funk, disco,
pop, rock and Latin. They have won tens of awards and been
inducted into both the Rock and Roll Hall of Fame as the Vocal
Group Hall of Fame

The Intercommunal Free Dance Music Orchestra was created in 1971 by French free jazz pianist legend, François Tusques. Free Jazz, was also the name of the 1965 recording Tusques made along with and other Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin and Charles Saudrais. Six years later, in 1971 Tusques would go ahead of free jazz.

Wondering if free jazz wasn’t a bit of a dead end together with Barney Wilen (Le Nouveau Jazz) or even solo (Piano Dazibao and Dazibao N°2), Tusques formed the Inter Communal Free Dance Music Orchestra, an association under the banner of which the different communities of the country would come together and compose, quite simply. If at first the structure was made up of professional musicians from the jazz scene it would rapidly seek out talent in the lively world of the MPF (Musique Populaire Française).{French Popular Music, ndlt}

Compiling extracts from concerts given between 1976 and 1978, L’Inter Communal demonstrate the “social function” which inhabited free jazz and popular music at the time calling upon Spanish singer Carlos Andreu along with Michel Marre, Jo Maka, Adolf Winkler and Jean Méreu. Andreu, claimed Tusques, was a griot “who created of new genre of popular song improvised with our music, based on events going on at the time”.

L’Inter Communal can start the festivities: on “Blues pour Miguel Enriquez”, it is first Thelonious Monk who is invoked in an homage to one of the leading figures of the Chilean revolution, and a victim of Pinochet. The circumstances may be serious, the music, though, is not. The musicians light a bonfire to bring together on the same frequency France and Spain, the Americas and Africa: “L’heure est à la lutte” (the time to fight is here ndlt), is the new song offered by the l’Intercommunal Free Dance Music Orchestra... As if proof were needed that their music is still more than timely!

Formed by Roland Treaudo and Manuel Herrera Jr, the Family Underground emerged from the rich musical tapestry of New Orleans. Despite their distinct upbringings in Baptist and Hispanic congregations, the band achieved widespread popularity. Securing a coveted Sunday residency at Whitey’s Devil’s Den, located in the heart of New Orleans, the band's dynamic performances led by Manuel on the grand piano and Roland on the mic drew in crowds that exceeded the 400-person capacity. Remarkably, this energetic scene continued until 4 am every Monday for over 250 consecutive weeks, all without the need for promotion or flyers. Amidst frequent tours and a bustling schedule across the Southern states, the band had limited time for recording. In 1975, at 'Cos' Matassa’s Warehouse Studio, they produced the single 'Everybody Knows'. The following year, their rendition of the Isley Brothers’ 'For The Love Of You' became a stripped-down classic, surpassing the original. Until now anyone wanting to own this piece of rare New Orleans funk and soul had to pay out nearly £150 for the pleasure, but for the first time in 49 years, the release has been officially licensed and lovingly reissued on heavyweight 7 inch vinyl, exclusively for RSD. An essential purchase for any lovers of rare soul and funk from the Deep South!

Licensed from "Warner Records Sweden" and remastered from original material in Warner Record's vaults by Shawn Joseph at Optimum Mastering Bristol. 180 gr heavyweight vinyl Manufactured in Optimal Berlin.
Recorded between Istanbul and Stockholm, it captures the era between Okay Temiz's Don Cherry Trio touring and his own band Oriental Wind's sensational debut.
Mentioned distinctive elements have elevated the record to 'cult' status among record collectors, sample enthusiasts, and diggers around the world.
By 1980, Okay Temiz had already embarked on a series of dynamic collaborations and sound experiences with Don Cherry as a member of the Don Cherry Trio. This period included a noteworthy summer in the early '70s at Dartmouth College in New Hampshire, hosted by Jon Appleton, a notable American composer and visionary in electro-acoustic music.
"During that summer, Jon asked me, 'What kind of sound do you have in mind?' I had already given this considerable thought, using a tape recorder to capture sound frequencies influenced by the moon's position. Jon Appleton's question made me think about the extension of 'Organic Music Theory,' which we were exploring with Don Cherry at the time."
In 1982, Okay Temiz recorded the most comprehensive answer to 'What is Turkish Jazz?' at the Montreux Jazz Festival (CAZLP 004) with his band Oriental Wind, featuring Bobo Stenson (of the Jan Garbarek - Bobo Stenson Quartet), Palle Danielsson (of the Peter Erskine European Trio), and Lennart Åberg (of the Scandinavia New Jazz Group).
In 1980, without fully realizing he was navigating between these two worlds, Okay Temiz entered Stockholm's renowned Metronome studios to record the 'sound in his mind' as a solo artist.
`Drummer of Two Worlds` is a star map of Okay Temiz's musical worlds. Blending elements from the grand piano to his handmade drums, and from the amplified Berimbau to his cowbell array, weaving Turkish rhythms like 9/8 and 7/8 with the universality of 4/4, it presents a unique sound narrative that resonates with the dimensions of a well-traveled mind."
Haluk Damar

The Intercommunal Free Dance Music Orchestra was created in 1971 by French free jazz pianist legend, François Tusques. Free Jazz, was also the name of the 1965 recording Tusques made along with and other Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin and Charles Saudrais. Six years later, in 1971 Tusques would go ahead of free jazz.

Wondering if free jazz wasn’t a bit of a dead end together with Barney Wilen (Le Nouveau Jazz) or even solo (Piano Dazibao and Dazibao N°2), Tusques formed the Inter Communal Free Dance Music Orchestra, an association under the banner of which the different communities of the country would come together and compose, quite simply. If at first the structure was made up of professional musicians from the jazz scene it would rapidly seek out talent in the lively world of the MPF (Musique Populaire Française).{French Popular Music, ndlt}

As with L’Inter Communal a few years earlier, Le Musichien follows on from the group of varying musicians that Tusques had conceived as a “people’s jazz workshop”. In 1981, at the famous Paris address, 28 rue Dunois, the pianist sang with his partner Carlos Andreu “Le Musichien”, an Afro-Catalan tale over an exceptional bass line from Jean-Jacques Avenel backed by percussion from Kilikus, saxophones from Sylvain Kassap and Yebga Likoba and trombone from Ramadolf which presented a myriad of constellations. The sky has no limits, let’s make the most of it.

“Les Amis d’Afrique” is recorded the following year, at the ‘Tombées de la Nuit’ festival in Rennes, bassist Tanguy Le Doré would weave with Tusques the fabric on which would evolve an explosive “brotherhood of breath”: Bernard Vitet on trumpet, Danièle Dumas and Sylvain Kassap on saxophones, Jean-Louis Le Vallegant and Philippe Le Strat on... bombards. With hints of modal jazz inspired by Coltrane or Pharoah Sanders, the Intercommunal Free Dance Music Orchestra is an ecumenical project which speaks to the whole world.

In a time where dancing has a kind of nostalgic feeling attached to it, Glossy Mistakes kicks off its brand new series of dancefloor-oriented EPs, Glossyfloor. The starting point of this adventure from the Madrid based label comes with the reissue of the highly demanded Cover Boys’ banger ‘Reality’, an absolute ode to one of human beings most basic instincts. Canadian producer Charles Biddle Jr. is the man behind the Cover Boys project, who arranged, wrote and sang ‘Reality’.

Originally released in 1984, this anthem seamlessly captures the 80s essence with an addictive bassline and a pop-infused chorus recalling a summery euphoric atmosphere. One of those tracks that sticks to your mind while having a strong power to move your body.

A2, the reggae version of the ‘Reality,’ is a refreshing cover with fantastic arrangements that flips the mood but holds the essence.
The B-side contains a remix from one of Australia’s finest producers, Hysteric, that provides brings his magical touch focusing his efforts in turning the original version even more dancefloor friendly, making it a perfect tool for DJs.

The frontcover artwork, Fluo Flowers, comes from Barcelona based painter, Jordi Aguilar, capturing with his painting the colorful soul of the whole release.

A holy grail for fans of French boogie, early hip hop, Arabic funk and Balearic bops,"Ettika" has been seriously sought after since Vidal Benjamin found it in the 1€ bin back in 2006. Teasing the ears of the underground via Vidal's 'Balearic Nightmare' mix for Noncollective, copies of the original were soon snapped up completely, and the later adopters were sated by a Blackdisco edit from Alexis Le-Tan (himself gifted Vidal's second copy), which is now also rare as hen's teeth. The fervour for the track is easy to understand. Underpinned by an endlessly buoyant bass groove, chanted female vocals dart out the speakers like a post- modern mantra while synth vamps flare in stuttering stereo. Middle-Eastern motifs add an air of mystery, but this truly belongs in a dance floor utopia. That the track was the product of a 'back-to-work' scheme aimed at unemployed immigrant youth in Rouen only adds to the appeal. Led by teacher Bernard Guégan, a quartet of students delivered lyrics in French and Arabic inspired by their rejection letters, serving a little social commentary and a lot of funk. If you're mad on Ahmed Fakroun and Shams Dinn, or even those folks in the Bush of Ghosts, then this is a must have for you.

Randy Wiper is only known for this highly sought-after 100% pure Italo-Disco song from 1984, but the reason why he hasn't published anything else is that the artist embarked on a career as a film actor immediately after. The beginning of the song "I'd Like To Know" could be divided into three, the pattern of which is repeated in the subsequent instrumental parts, the piece possesses the sidereal energy of space disco. When it seems that we will leave the planet on board a shuttle, the soloist's voice enters, full of personality, it is that of Marcello Arcangeli and has the gift of inflections that sometimes recall that of Roy Orbison, at other times that of David Bowie. What remains most imprinted on the listener is the romantic part of the ballad, highlighted by the piano and passion. Finally there is the chorus which sounds exclamatory, imploring, but at the same time casual and danceable. Through a unique theme, that of a rare piece like "I'd Like To Know", we explore space, the heart, the disco.

Imagine for a moment that Arthur Russel had learned to speak Brazilian and then moved to Italy to produce an Italo-Disco single back in 1984. There's a good chance it would sound like the Dub version of the B side on this record (Remixed by Bob One). A percussive foundation channeling Latin Freestyle beats sets the groundwork for the chill sunset vibed melody to pleasantly unfold intertwined with the alluring Brazilian lyrics. The recording engineering on this production is clearly at a higher standard (than the usual neighborhood italo disco studio from back in the day) with some of the techniques at play giving it a very balanced and sophisticated sound for its time. The meticulous remastering this re-issue underwent allow for a generous low end with crystal clear mid range – game changing on any well calibrated dance floor sound system.

Gargantuan is the debut studio album by U.K. electronic duo Spooky (Charlie May and Duncan Forbes), released by William Orbit's Guerilla Records in March 1993. Today Gargantuan is regarded as a landmark album in the history of progressive house and British dance music. As Guerilla’s standard bearer, they helped coalesce an immersive sound that was neither Detroit, nor Chicago, nor Manchester.

The duo became renowned for being at the forefront of the progressive house scene that emerged in the aftermath of the "post-rave comedown", joining fellow acts like Orbital and Underworld in re-casting house music in an energetic live environment. Gargantuan has been out of print on vinyl since 2006 and is re-released on 21st June.

Back in print with new artwork !