Jazz | Fusion Vinyl 7 Inch 332 Items

Psycho 2000 - A dark but funky theme that begins with an occulting Italian echo-oscillator drone that is soon followed by pulsating bass and breakbeat drums, leads to tremolo guitars, an ostinato on electric mandolas, strings climbing eloquent ladders, otherworldly electronics, and a cinematic finale. An evocation of a parade of wooden nutcracker soldiers elaborately dressed in gold-trimmed black uniforms down a wide avenue decorated with mardi gras beads and animal skulls upon golden cobblestones toward a tornado spiralling out purple-hued glissandos and curlicues of elephant smoke. White Spiritual - Head nod action, the twinkling of a late 60’s Vox Continental II with sickly transistors, the noodling matrix of an intergalactic telephone exchange carried on a bed of bouncy bass with a firm backbeat. The Johnny Guitar Watson-esque bite and sting of a ‘67 Teisco guitar preludes slabs of unison dark brown moog and organ giving way to the dance of fingers over the black naturals and white sharps of the Continental II.

Psycho 2000 - A dark but funky theme that begins with an occulting Italian echo-oscillator drone that is soon followed by pulsating bass and breakbeat drums, leads to tremolo guitars, an ostinato on electric mandolas, strings climbing eloquent ladders, otherworldly electronics, and a cinematic finale. An evocation of a parade of wooden nutcracker soldiers elaborately dressed in gold-trimmed black uniforms down a wide avenue decorated with mardi gras beads and animal skulls upon golden cobblestones toward a tornado spiralling out purple-hued glissandos and curlicues of elephant smoke. White Spiritual - Head nod action, the twinkling of a late 60’s Vox Continental II with sickly transistors, the noodling matrix of an intergalactic telephone exchange carried on a bed of bouncy bass with a firm backbeat. The Johnny Guitar Watson-esque bite and sting of a ‘67 Teisco guitar preludes slabs of unison dark brown moog and organ giving way to the dance of fingers over the black naturals and white sharps of the Continental II.

"Beautiful Smile" by SOFFet, a well-known song from the Japanese cosmetic clinic "Takasu Clinic" TV commercial, is now available on 7-inch for the first time! This double-anniversary edition also includes an instrumental self cover by YoYo the "Pianoman"!! The original TV commercial aired in 2010 as Takasu Clinic commercial "Dubai Edition", the funky Jazz / Swing tune written just for the commercial went viral for its quality.

Limited to 150 copies. Dynamite Cuts are proud to be able to release this classic afro jazz vibe groove. Sampled back in the day by The Jungle Brothers. This track is Originally 10 minutes long; we have now edited it down to a brilliant 4 minutes, for this exclusive vinyl release. The entrancing, hypnotic saxophone and vocals fill your ears with an uplifting energy of Jazz.

“Sensational”

This incredible trio of poets, were not only musicians but Civil Rights Activists, rising up in the early 1960’s. They formed the group whilst in prison where they began performing the “spoken word” to rhythm and percussion. The last poets where born! None of this prolific music has been issued as a 7” before, great music for all good music lovers

A - “It’s a trip” - Vocal Acid Jazz / dance gem!

Killer Track. Percussive vocals; addictive and funky. Acid jazz club classic. Dare you to keep up. Once you start, you can’t stop dancing. Such vibes. Environmental and racism-alerts messages chorused as early as 1977. You gotta listen to the words. Zeitgeist extraordinaire.

B - “Blessed are those who struggle” - Exclusive 7” cut for this vinyl release. The super funky drums of Mr Bernard Purdie, one of the best drummers in the World, if I may say so myself. Stunning

Released in 1975, Farewell To The Welfare' is the only Tribe release to actually have “The Tribe” in the artist name! Originally released on 7” vinyl by “Wendell Harrison and The Tribe” without a cover, we’re reissuing the album with original artwork and modern remastering on limited edition 45rpm vinyl!

As you would expect from the sole release with “The Tribe” as part of the artist name, Wendell Harrison (ts. fl.), Phil Ranelin (tbn.), Harold McKinney (pf.), and Lopez Leon (ba.) are all present, with Harrison playing one of the most electrifying solos of his career over a breakneck jazz-funk beat. But that’s not it! The Tribe are here in full force, with Detroit musicians Ron English (gt.), George Davidson (ds.), and Ralph Jones (sax.) also making appearances on the track.

Farewell To The Welfare is jazz-funk of the highest caliber, with wah’d out staccato guitar strumming, unison horn lines, and a groove so tight you couldn’t slide a piece of paper in it. Harrison’s fantastic solo at the beginning of the solo section is followed by Jones on the soprano saxophone, his tone almost bracing as he occasionally pushes the boundaries of harmony with extended lines before making his way back home. The track is rounded out by a solo from English. Compared to the fiery solos from the two saxophonists before him, it seems understated. But his mellow tone and impeccable phrasing fit perfectly with the rhythm section, playing off of McKinney’s piano lines and Leon’s bass.

Reissued for the first time ever with artwork made specifically for this release and modern digital remastering, this is sure to be one of the hottest 7”s of this year!

Dwarfs Of East Agouza are a leading force of improvised musical excitement and stand apart from wider parts of an lame ass underground of the 20ies. Founded in Cairo circa 2015 by Alan Bishop (ex-Sun City Girls) with Sam Shalabi (Land Of Kush, Karkhana) and Maurice Louca (Karkhana) the trio developed an unique always recognizable sound, but with many faces to show. Two very different ones are shown on their contribution to Unrock’s „Il Burro Sabe Mas Que Tu“ Singles Series. Speaking in Tongues sounds like a nightmare coming straight out of hell, conducted by Bishops unique voice, while Organism 46-B shows them in a classical softer mode, touching nearly classical Free-Jazz issues. Mixed by Adham Zidhan. Mastered by Peter Koerfer at Ivory Tower. Photography by Hans van der Linden, realisation by Philip Lethen. One-time limited run on black vinyl.

If you ever witnessed an Alvarius B show you are probably aware that there are a few things only in underground music matching this level. If you haven’t, don’t miss him when he’s coming close next. „Karaoke“ shows one of the many charakters you could explore during his shows. As his brother Richard, the other keyholder of Sun City Girls legacy, Alan Bishop played a lot of shows not only under the Alavrius B moniker on various Unrock stages through the years. Solo Nostalgia (E. Morricone) and Tiba Tiba Tu Menangis (T. Koeswoyo) are songs which Alan rarely performed and they show off his alter-ego as a cosmopolite solo-entertainer. Unrock’s 30th anniversary as an entity seems to be a good reason to release those tracks at that point. Sound wizzardry by Peter Koerfer, photography by Hans van der Linden and realisation by Philip Lethen. One-time limited run on black vinyl.

Wenha’s inaugural release! From Wenha and Tribe co-founder Wendell Harrison comes Dreams Of A Love Supreme with the never before-reissued 7” single “No Turnin’ Back / Rocket Love” for the first time ever!

Following the untimely collapse of Tribe Records, Tribe co-founder Wendell Harrison established the Wenha record label in 1980, followed that same year by its inaugural release : Dreams Of A Love Supreme. Spirituality and themes of Black Consciousness are apparent throughout, yet compared to the fiery hymnals of its namesake, or even the funky avant-garde jazz of The Tribe, Dreams Of A Love Supreme is mellow - a reflection of the changing landscape of Detroit’s jazz scene. Electric guitars and pianos twinkle behind Harrison’s always impressive playing, with soft tones tempering the fiery spirituality of his solos. Featuring many of Detroit’s greatest musicians, including Tribe co-founder Phil Ranelin (Tb.), Harold McKinney (pf.), and Roy Brooks (perc.), Dreams Of A Love Supreme is filled to the brim with spiritual jazz royalty! Reissued for the first time ever alongside a never before reissued 7” single “No Turnin’ Back / Rocket Love”, as well as one of our iconic obi-strips, everything about this screams deluxe! Don’t miss Dreams Of A Love Supreme (Deluxe Edition) available only from P-vine Records!

Those who know, know. This is a man who has both stood on stage in front of thousands of fans and sat silently at the feet of Sufi masters. His journey began as a leading light within the underground club scenes of East London and Soho. There he co-founded the group Galliano and created the template for Acid Jazz - a movement that continues to this day. Having spent 10 years in Africa dedicated to self-development and study of Sufism. He has now returned to London and reconnected to his artistic roots. Writing, singing, producing, directing, designing, and collaborating by way of his new label Itez Records - with his own brand of afro folk, spiritual soul, jazz, and reggae, Itez Music marks the long-awaited return of 21st Century Renaissance Man, Constantine Weir a.k.a Yahya.

In Loving Memory Patrick Huntrods (aka Pat Fish AKA The Jazz Butcher) (20 December 1957 - 5 October 2021) Featuring David J (Bauhaus), Victor DeLorenzo (Violent Femmes), Strings by Fiona Brice & Janet Schiff. Produced by David J. The first Jazz Butcher record, the LP 'In Bath of Bacon' was released almost 40 years ago on the original Glass Records label. Plans were made for a new album on Glass Modern to celebrate this, for release in 2023, but sadly Patrick passed away last October before any real work could be done for it. This recording is all we have. Never Give Up was re-recorded for Pat's final LP, The Highest In The Land - it's one of his greatest songs, maybe the greatest. His Hallelujah, if you will. The B side, Silver Street by Nikki Sudden & Dave Kusworth (Jacobites) was recorded for a forthcoming Glass Modern compilation, of various artists covering Glass artists material from the eighties. Tracklist Side A Never Give Up (Glass Version) Side B Silver Street. Random colour 7"-Vinyl

On this 7”, we present two lost jazz tracks by the trombonist and Horace Tapscott-collaborator, Lester Robertson. Lester has worked with some of the greats of jazz including Gerald Wilson, Anita O'Day, Lionel Hampton and Roy Porter Sound Machine on the classic 'Jessica' album. Lester was a member of Horace Tapscott's The Pan-Afrikan Peoples Arkestra and features on the iconic underground jazz albums 'The Call' and 'Live At I.U.C.C.'. The Arkestra was set up in 1961 in Los Angeles and over the years has included wonderful, inspirational musicians such as Adele Sebastian, Kamasi Washington, Dwight Trible, Phil Ranelin, Arthur Blythe, Jesse Sharps and Nate Morgan. These two recordings have recently been discovered on an archived master tape that little information on it other than Lester's name and the track titles. Sadly, the other players on the tracks aren’t credited on the tape, so a line-up can’t be 100% confirmed. Still, the magic of what they laid down in the session pays testament to their artistry. First up is the lively popping track 'Akirfa' in which Lester gets space to let rip and exercise his talents. On the flip is the euphonious 'Untitled Ballad', a mellifluent lullaby for an end-of-the-day wind-down. Lost for a while, but thankfully not forgotten, these beautiful recordings finally get their chance to shine.

Bird Moves is the jazz offspring of the German band Noetics. Originally founded as a classical formation devoted to jazz, the members quickly explored its related styles. Without genre restrictions Bird Moves are mixing Jazz with anything from Funk to Dub and had their debut release on Agogo Records.

For this single they recorded two amazing new songs. »Easebound« is a groovy-breezy laid-back tune while late night cruising, slowing down or just daydreaming. On the flip you'll get an afro-tingled mid-tempo track named »Kakra Kakra«.

Bird Moves is the jazz offspring of the German band Noetics. Originally founded as a classical formation devoted to jazz, the members quickly explored its related styles. Without genre restrictions Bird Moves are mixing Jazz with anything from Funk to Dub and had their debut release on Agogo Records.

For this single they recorded two amazing new songs. »Easebound« is a groovy-breezy laid-back tune while late night cruising, slowing down or just daydreaming. On the flip you'll get an afro-tingled mid-tempo track named »Kakra Kakra«.

The long-awaited 7-inch version of the single released in 2022 by Zoe's Shanghai, a neo-soul band based in Paris, France! They made a splash with their album "Lava Love" released in 2021, and this year, 2022, they are releasing two singles in physical format for the first time! Must-check release for fans of Hiatus Kaiyote / Moonchild

Nubiyan Twist and Swindle reimagine two Blue Note classics for Blue Note Re:imagined II; a new 16-track compilation featuring fresh takes on music from the illustrious Blue Note vaults recorded by a heavyweight line-up of the UK jazz, soul and R&B scene’s most hotly-tipped rising stars. Arriving off the back of the widespread international success of the first volume, which topped jazz charts around the globe, Blue Note Re:imagined II once again infuses the spirit of the new UK jazz generation into the legendary label’s iconic catalogue, balancing the genre’s tradition with its future and reflecting the melting pot of talent and diversity within the current scene.

We Jazz Records kicks off their new series of archival 7" releases with Esa Pethman "In Belgium 1967" released 23 September 2022. The two-tracker is licensed from the Belgian VRT radio archives and both of the pieces are previously unreleased. Finnish jazz legend Pethman, heard here on alto flute and tenor sax, joins forces with European jazz greats such as Heinz Bigler, Uffe Karskov and Jean Fanis. This is a small but valuable piece of unheard European jazz history from the early heyday of modern jazz. The physical release is a quality "inside-out"-styled EP with 3mm spine and small center hole on the 45rpm vinyl.
An excerpt from the liner notes by Mikko Mattlar:
"Esa Pethman (b. 1938) was one of the key figures of modern Finnish jazz in the 1960s. His album The Modern Sound Of Finland was the first Finnish modern jazz album and his composition "The Flame" a true modern Fenno-jazz evergreen.
Pethman was born in Kuusankoski, 135 kilometres from Helsinki in the Kymenlaakso area. The jazz scene was active even though it was an area of rural landscapes and paper mills. Pethman discovered jazz when he heard a Charlie Parker record being played at a local music shop in the late 1940s. Following Parker, bebop became his favourite style of jazz.
Young Pethman played flute and saxophone in local bands who accompanied schlager singers. They played tangos and waltzes for dancers, but usually started a typical dance event with an hour of jazz. In 1959 Pethman moved to Helsinki to study music at the Sibelius Academy. Back then it was a strictly classical music academy, but Pethman later described the studies as crucial for his development and career. He quickly made his way to studio sessions and into the best orchestras in Helsinki.
As a student of composition, Pethman also began writing his own music. "The Flame" was a melody he just got on his mind one night, and he decided to write it down. The catchy composition was released as a 7" single in 1964, a year before Pethman's debut album. Both records stand as benchmarks for modern Finnish jazz. The album consisted entirely of Pethman's compositions, not versions of jazz standards like a lot of the Finnish jazz released until then.
In the mid 1960s, Finnish jazz was also taking its first international steps. Pethman's quintet took part in the first Montreux Jazz Festival in Switzerland in June 1967. At the Montreux jazz band competition, the quintet came in fourth of the twelve contestants. Despite not winning the competition, the band got an honourable mention, and Pethman was now recognized outside Finland.
In December 1967 Pethman travelled to Brussels. His visit was organised by the national Finnish broadcasting company Yleisradio and their jazz program producer Matti Konttinen. Konttinen was supposed to go to Brussels with Pethman, but the musician ended up traveling alone.
In the Decca recording studios Pethman played two songs. He recorded a version of his most famous composition "The Flame", where he played the alto flute and was accompanied by Belgian musicians. On Swiss saxophonist Heinz Bigler's composition "Like Steel", Pethman played the tenor saxophone. The band was now more international, consisting of Bigler, the Italian Francesco Santucci, the Dane Uffe Karskov, a Belgian rhythm section and Pethman. After 55 years, Pethman still remembers Bigler's remarkable skills as a saxophonist.
The two-day visit included the recording session, a dinner and a concert. Pethman and the other non-Belgian musicians came to Brussels mainly to play at a jazz concert organised by the European Broadcasting Union EBU. They played at the studio first, and the concert was held the following day. Pethman and all the other soloists played as members of an international big band. The studio and live session were produced by the Belgian Radio and Television jazz section leader Elias Gistelinck."

Freestyle Records reissue a DIY 7" from 1980 by short-lived all-female group Spoilsports. Existing at the intersection of post-punk, jazz-rock and modern soul - these two political yet playful numbers were laid down by a band formed from a range of players active in London's feminist and improvised music scenes at the time, and represent the groups only recordings.

-------

Spoilsports began in 1979 with the aim of having an all-female band that could be actively feminist and playful at the same time, with an eye toward gaining an appeal beyond that of the wider women's lib movement of the time. The line-up originally consisted of Carole Nelson on keys, Angele Veltmeijer on saxophone, Sheelagh Way on drums, Lesley Shone on bass, Isabel on congas and with Laka Koq providing vocals. After a short while this would become just Carole, Angele & Sheila - with Ruth Bitelli being brought in on bass, and Barbara Stretch topping things off on vocals. The band played at Gay Pride '79 in Hyde Park, a Women's Music Festival in Neimegen, Holland; lots of benefits, and maintained a weekly residency at The Earl of Aberdeen in Mile End (now sadly demolished).

Unfortunately the group lasted only 18 months or so all in all, and this is their first and last record - in fact, they intentionally laid it down to tape in order to provide a memory of the group before they called it a day, and we are so glad they did! Recorded in Pimlico's Archipelago Studios in the same year that Elvis Costello would record his album Get Happy there, the original 7" gained a review in the NME, whom dubbed it "a cross between Steely Dan and The Joy of Cooking".

„Blue Note Re:imagined II“ is the sequel to the successful 2020 album. Once again hip, young Brits use modern means and creative ideas to update famous Blue Note tracks. No. 2 of the four pre-release 7" singles features singer KAY YOUNG with "Feel Like Making Love" (after Marlena Shaw) and the instrumental duo VENNA & MARCO with "Where Are We Going" (after Donald Byrd).

Now Again Records and Sonor Music Editions announce the debut release by The Kimba Unit on 45. Grown up in Los Angeles, Julian Rapaport made his musical studies in New York, developing his personal musical taste listening to the Jazz mentors of American Spiritual/Avant-garde movement (Sun Ra especially). Legendary Madlib’s jazz projects influenced him a lot too. Since his very young age, he had a deep connection with Italy and the world of Italian Library music: renowned Italian composers like Piero Umiliani and Piero Piccioni definitely completed and surely influenced his musical background. The 3 tracks from this EP are entirely DIY studio recordings, with a distinct Lo-Fi sound and shades of Spiritual Jazz all over.

Special! Limited** One-sided 7-inch. Cover art is printed on specialty paper with aluminum vapor deposition.

"Minami-kaze α Wave (Southerly wind alpha wave)“ is a very rare ‘vocal piece’ that Henry Kawahara has produced, and released under the name HMD (H Music Deperception) in 1993. The song is a vocal version of the cyber-occult exotic instrumental piece "Nanpu“ included in the compilation “Cybernetic Defiance and Orgasm: The Essential Henry Kawahara” [em1197tcd/dlp]. This track is a rare example that proves he had also a genius for producing ‘pops’ in the general sense of the word, and which seems to have challenged head-on the pop songs produced by Haruomi Hosono or Tetsuya Komuro in the 80s-90s.

The Henry Kawahara project on EM Records was developed only with the enthusiasm of proving Kawahara's existence if he is to be erased as nothing in the current art context, and we have confirmed that there are a lot of supporters all over the world for our opinion when we released "Cybernetic Defiance and Orgasm" (several articles and interviews have been given). This single is a 'prescription' for the sequel, tentatively titled "Cybernetic Defiance and Orgasm 2: Other Sides of Henry Kawahara," which is currently in the process of being prepared.

This 7” is a limited one-off release, not included in the full compilation released in 2021

A Sade-inspired take on Hawaiian music, Kainani Kahaunaele’s “He Lei Aloha No Mī Nei” melds the beauty of the Hawaiian language with a heavenly R&B groove.

Reminiscent of Nohelani Cypriano’s “Lihue” — the 1979 cult classic that expanded the sound of Hawai‘i with its unexpectedly funky, tropical flavor — “He Lei Aloha No Mī Nei” charges forward into the 21st century with the same spirit. Kainani’s gentle voice and lyrics float across shimmering vocal arrangements and soft touches of piano, accompanied by tasteful drum programming, acoustic guitars swaying like palms against the calming warmth of the bass line.

Known throughout Hawai‘i as one of the archipelago’s greatest advocates of the native Hawaiian language, 'Ōlelo Hawai’i, the singer, songwriter and educator finds music is one of her best methods for perpetuating the language. “I have to be the example that Hawaiian is a living language that you can apply in all facets of your life,” she told the University of Hawai‘i at Hilo in a 2021 interview.

As the closing track on her award-winning album, Waipunalei, “He Lei Aloha No Mī Nei” stands out from the rest of the album with its modern R&B style. Instead of composing in a familiar “cha-lang-a-lang” style, Kainani and her collaborators deliberately placed the song, or mele, outside the box of what might typically considered “Hawaiian music”. For Kainani, mele is rooted in the lyrics, which come from a Hawaiian worldview. “To me, that’s the most important part. And when that part is set, there really is no limit to what kind of music you can put around it to support the mele.”With “He Lei Aloha No Mī Nei”, she achieves that with a shining example for generations past and present to carry the Hawaiian language into the future.

Pressed to 7-inch vinyl and housed in a full color jacket with full color labels. The B-side of this release offers the instrumental version as a mahalo, or thank you, to the talents and strengths of Kainani’s collaborators, Shawn Kekoa Pimental, Michael Grande, and Kale Chang.

A couple of magnificent Sun Ra gems on this heavyweight 7". Pressed at 33rpm on neon magenta vinyl. TIP!

Both tracks are denoted as 'Disco Edit' by the label, and we smell and air of fun in that. If not then find us the Disco that plays this kind of fire and we are there! This ain't no added kick drum + high hat to make the stiff folk dance bullshit.

Side A is very respectful and dope chop up of Disco 3000's Dance OF THE Cosmo Aliens. Side B a more subtle edit of Sleeping Beauty's celestial Door OF THE CosmoS

.. did we say TIP!?

2021 saw the release of 'The Globeflower Masters Vol.1'. An album released on Mr Bongo and born from the fruitful collaboration between Glenn Fallows (The Impellers / Andres y Xavi) and Mark Treffel (Blue States / The Soul Steppers).

Taking inspiration from classic 60s and 70s soundtrack and cinematic composers such as Axelrod, Morricone, Gainsbourg, Jean-Claude Vannier and Piero Umiliani, the album was very well received upon its release and struck a chord with the scene’s connoisseurs.

We all felt the next logical step was to make their music available on 45 too. The release features an album track ‘Fear Me Now’ on the A-side and is paired on the B-side with two new tracks that channel the sound of library music giants such as Hawkshaw and Bennett.