Jazz | Fusion Vinyl Sale 360 Items

Liberated Brother was the debut album from Weldon Irvine, and remains a landmark jazz release from the multi-talented explorer of sound. Originally released in 1972, over the course of eight tracks Irvine weaves through a collage of genre and instrumentation, fusing elements that would come to define his pioneering jazz-funk sound.

The album features Irvine’s early instrumental jazz before his decidedly conversational approach on the follow-up album Time Capsule. The title and opening track 'Liberated Brother,' with its playful Latin arrangements introduces the first half in spritely fashion, and mellows as Irvine's piano sets the mood for “Here’s Where I Came In” - a track where sombre tones feel luxurious, and conscious instrumentation tests the waters, spreading weight evenly across the soundscape. Guitarist Tommy Smith emerges as a singular figure at the start of side B with 'Gloria' - a timeless guitar composition so wholesome with its delicate simplicity, it attests the level of musicianship that keeps Irvine company across these tracks. The two then strike up a jazz-funk partnership on the subsequent “Homey” with their respective keyboards and guitar.

P-vine is thrilled to be reissuing Liberated Brother as a limited edition LP with newly remastered audio, and an iconic Japanese obi strip attached.

Limited to 500 copies on clear vinyl in occasion of HHV's 20th birthday.

20 years HHV: our team has selected an album from each of these years that is particularly relevant and precious to us. On a monthly basis we release exclusive and limited pressings of these records in collaboration with some of our favorite labels.

Officially licensed. Reissue on two discs.

Originally released in 1979, Betty Lou Landreth's Betty Lou has been expanded to a 15-song double album featuring the original studio recordings along with bonus material, alternative takes, and extensive liner notes from Joel Palmer, the producer of this Motor City holy grail.

Recorded in Detroit and produced and released by Detroit-born jazz historian Joel Palmer on his YaYa label, the album features many veteran and esteemed Detroit and New Orleans Jazzmen. Alongside Joel, producer and arranger Charlie Gabriel recruited some of the city’s top fellow musicians for the session, including his longtime friend and housemate, trumpeter Marcus Belgrave, drummer J.C. Heard, Motown's Funk Brothers, keys player Emmanuel Riggins, bassist Hubie Crawford, violinist Travis Biggs, the Body sisters and many more.

"Honestly, there were never any commercial expectations or aspirations for the album. We just got together to cook up a gumbo. Detroit, New Orleans, funk, jazz, torch, country and some great, great musicians to bring the flavours together. Our only intent was to create the best work of music possible; one which would allow Betty Lou Landreth to display her extraordinary vocal skills, and that we did. The reissue serves as a monument to all of those who all those long years ago contributed their special magic to creating a very unique musical work which has endured the test of time.” Joel Palmer, 2021.

The compelling sense of vulnerability you get from walking barefoot on the grass connecting with the earth is аn immersive experience. It opens you to the energy within, walking at your own pace, appreciating where you are, comprehending the impenetrable mystery of life within and around you. It settles you into a restful state of mind and expands your awareness.

Recorded live on all analog tape in Hämeenlinna, Walking On The Grass is the first album by Mush Tone Ensemble. There is a sense of elation in this music as the trio search for tranquility in one voice, speaking the unfettered language of everyday realities. It is music played with commitment and unassuming passion.

The spirit of friendship and invention you hear is liberating. Juha Sarkkola plays with an open heart. His bouncy drumming has determination and immaculate attention to detail. Tero Kemppainen's pronounced and submerging bass structures create musical affinity. Tuure Tammi's trumpet and flugelhorn provide pure and naked emotions, melodic and captivating. Together the trio is celebrating the joy of living, of being here on this earth and feeling free, like walking on the grass.

The impact of Weldon Irvine’s music across a wealth of genres cannot be overstated with his piano playing and compositions regularly handed down through generations, and influencing new waves of musicians. Artists like Q-Tip and Mos Def are noted admirers of the jazz-funk artist, and the distinct sounds of Irvine can be heard in the tapestry of the 90s sound via samples appearing in key records of the jazz hip-hop movement and beyond.

Time Capsule was originally released in 1973, and is keen to strike up a conversation with the listener as social commentary and poetic reflections signpost the way through its otherworldly jazz. Early tracks like 'Feelin’ Mellow' see a contemplative Weldon brew a satisfying blend of soul with lovingly warm vocal harmonies and gliding instrumentation. In contrast, other windows into the mind of Weldon like the meandering 'Watergate - Don’t Bug Me!,' are as much a virtuoso display of his bouncing creativity, as a charting of the rocky political climate at the time.

P-vine is thrilled to be releasing Time Capsule as a limited edition LP with a newly remastered audio, and an iconic Japanese obi strip attached.

Limited edition of 300 copies for HHV Summer Of Jazz 2020!

Limited to 4500 copies worldwide. Madlib reissues his long out of print collaboration with legendary Brazilian drummer Ivan “Mamao” Conti, propellant for lauded jazz fusion archetypes Azymuth, on his own imprint. Alternate cover artwork, photography by B+. When Madlib went to Brazil in 2002 with Mochilla to participate in the production of the Brazilintime documentary, his one mission was to meet Ivan “Mamao” Conti, the drummer of the legendary trio Azymuth. Madlib had made an Azymuth tribute record he wanted to play for him. On a rainy night in Rio, Mamao and Madlib went in the studio. Several hours later the rhythm tracks that make up Sujinho were laid and the process began. Featuring the music of Madlib, Mamao, Edu Lobo, Chico Buarque de Hollanda, Luiz Eca, Baden Powell, Vinicius De Moraes, Marcos Valle, Joao Donato, Dom Um Romao, Airto Moreira and even George Duke… and with guest vocals by Thalma De Freitas — Sujinho is a unique and classic record. Filled with the angularity and edge of a Madlib production and underwritten by the polyrhythmics of Mamao — Sujinho takes Brazilian music into places it has never been, bringing oft forgotten classics like “Upa Neguinho” to 21st century ears.

Quantity: 2200
Release type: RSD Exclusive Release
Iron Man (aka the Eric Dolphy Record), originally released in 1968, is known as an extraordinarily complex and challenging recording. A jazz multi-instrumentalist who gained prominence in the 1960s, Dolphy extended the vocabulary and boundaries of the alto saxophone and was among the earliest significant jazz flute soloists. Vinyl for the album ALL MUSIC calls “ESSENTIAL” has been long out of print and unavailable. This deluxe package for RSD Black Friday includes an OBI side strip, single album jacket, original album art work, printed inner sleeve, original record labels and specialty color vinyl.

The collaboration between Chicago funk band Southside Movement, who released a total of three albums between 1973 and 1975 on Wand and 20th Century Records, and female soul singer Jackie Ross, also based in Chicago and left many records for Chess and Brunswick. The fabulous collaboration is forgotten so long as it hasn't been released officially though a few test pressing copies only exist. P-vine proudly reissue the lost gems with new artwork and adding previously unreleased tracks from the Southside Movement to the tracklisting. The tropical groovy soul 'You Are The One That I Need' is just a super killer tune!

Sahib, besides being an undisputed leader and releasing records for prestigious European and American labels, was one of the key members of the prestigious Kenny Clarke Francy Boland Big Band.

Quantity: 1000
Release type: RSD Limited Run / Regional Focus Release

With his big, warm, round-toned sound, sophisticated phrasing, and hip quotes, Dexter Gordon was one of the major forces on the tenor saxophone from the mid-1940s until his death in 1990. Gordon was cited by both Sonny Rollins and John Coltrane as a major influence on their playing and is acknowledged as a jazz icon.

The popularity of mainstream jazz was on the decline in the States during the 1960s. The Vietnam war and racial turmoil were in high gear, and many of the music’s top-flight musicians, including Gordon, migrated to Europe in order both to escape and to make a living playing jazz. Gordon eventually settled in Copenhagen, Denmark. During this period, he usually played and recorded backed by a piano trio, but this 1969 recording is different. The usual quartet has been expanded with some of those premiere jazz ‘refugees’, each a major voice on his instrument, assembled for the session.

One of the great modern jazz trombonists, Slide Hampton, is also a composer/arranger of note. The album was a collaborative venture between Gordon and Hampton, and three of the compositions and all the arrangements on the album are his. The classy Jamaican trumpeter Dizzy Reese completes the front line. The rhythm section includes two jazz giants who were Gordon’s constant companions at Copenhagen’s famous Club Montmartre, fellow American expatriate pianist Kenny Drew and the great Danish bassist N-H Örsted-Peterson. The Gordon/Drew pairing is one of the classic horn-/piano matchups in jazz, and has often been compared with the Miles Davis/Red Garland and John Coltrane/McCoy Tyner pairings. Art Taylor, who “helped define the sound of modern drumming”, was brought in from Paris to complete the all-star rhythm section.

Debut vinyl by Cruz Perro Maldito, a Tenerife based trio forever imbued in the collective imagination and folklore myths of the magical and misty mountain of Agua García, located in Tacoronte district at the foot of Teide Volcano (Tene-rife/Canary Islands). Their music is an explosion of free jazz improv where sophisticated sound textures emerging from modular synths and processed guitar create abstract and random rhythmic patterns with complex saxophone lines guid-ing the ensemble from quiet to menacing passages of sudden bursts of noise and frenzy.

Entitled Truquetin Resorte, the album takes inspiration from the rich history of mechanical automata, such as Talos, the bronze giant who defended the island of Crete and was eventually defeated by Jason and his Argonauts. Or Apega de Nabis, a replica of King Nabis’ wife whom crossed unsuspecting victims with its iron spikes hidden in the device's lower arms, hands and breasts. Or even René Descartes and his infamous daughter- like Automaton replica, an eerie creation from the renown philosopher to evoke his dead daughter

These myths and more serve as reminder of a mechanical world’s past, a world of complex automata stories with me-chanic ‘imitating’ beings as its problematic protagonists. An eerie counterpoint to our current uber modern digital world and its rapid advancing A.I.s.

Food for ‘mechanical’ thought...

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

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

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

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

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

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

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

Soundway presents Circus Underwater’s 1984 self-titled masterpiece. Remastered and extended to a double LP, this deluxe version includes six unreleased tracks unearthed from the original ¼” tapes, and presented with an insert, including never-before-seen photos and the fascinating story behind the music. Featuring artwork from Grateful Dead collaborator, David Lundquist, the album encapsulates a unique moment in time. Echoing the story of a generation that grew up in the 50s and 60s where music was everything, two friends embark on a journey of experimentation which begins in the beatnik suburbs of Washington DC and travels to the heart of hippie San Francisco. The result is an opus that fearlessly blurs the boundaries of genres and embraces diverse influences. Elements of prog, rock, ambient and wave music culminate in an odyssey that seamlessly bridges the gap between the spaced-out creativity of the 70s and electronic music of today.

Initially quietly published then deleted via the 2020 pandemic-obscured Fresh Bread website - this 52-track all genre Sam Gendel anthology showcases unreleased tracks collected from Gendel’s personal archive of home recordings and public performances spanning the years 2012-2020. Comprising predominantly solo works, contributing players on select tracks include Carlos Niño, Jamire Williams, Daniel Aged, Gabe Noel, and Philippe Melanson.

Wilfred Trevor Woodley aka Woods (1934 - 2010) is certainly one of the best kept secrets in Caribbean jazz. A pianist composer from Point Fortin, Trinidad & Tobago, Woods was a fascinating man who lived an incredible life traveling to more than 70 countries. Even though he composed hundreds of songs he had never released an official album. Woods was a man who lived a fearless life. Even when faced with life's adversities he dealt with them with such courage and calmness that all who knew him could only remember him with admiration and respect. In july 1990 he was involved in an accident where a truck crushed one os his legs. facing the doctors, he replied with aplomb: "As long as I can play the pinao, everything is fine". This EP is the first project of a series to pay a tribute to his legend and to keep his music alive.

The Uproar in Bursts of Sound and Silence is a sort of emergent collage that came together over four years of composition, improvisation and production. The foundations for this album were initially recorded in 2018 by producer/engineer Jack Endino (Nirvana, Soundgarden, Mudhoney, Skinyard) at Soundhouse in Seattle, WA with myself (Evan Strauss, electric bass and upright bass), 5-Track (Guitar) and Sheridan Riley (Drums). The initial foundations of this music consisted of my long-form graphically notated conceptual compositions based on the calls of the Veery songbird (Catharus fuscescens), the astrological transits at the precise time of the recording session and some thematic elements from Ursula K. Le Guin’s novel The Dispossessed. In 2019 the album was given the working title Bird Songs for the Stars and I commissioned the cover art, Night Fisher, from Jeane Cohen. Also around this time, Daniel Carter had emphatically told me, “I’m going to become a rapper by the time I turn 90.” So, a few weeks later Daniel and I were hanging out, recording music and eating stir fry in my Ditmas Park apartment and I convinced him to make some progress on his goals by recording his voice into a microphone. Daniel began by recording an excerpt from Virginia Woolf’s The Waves and continued by recording some of his own poetry. The recordings of Daniel from that afternoon would eventually make their way onto this album alongside my own experimentations in production inspired by Lee Scratch Perry, J Dilla and Ingram Marshall. I have since come to believe that this music was waiting for Daniel’s voice and music. Over the next couple of years I experimented with production techniques, renamed the album The Uproar in Bursts of Sound and Silence after an excerpt from The Waves (“wind blows the uproar in bursts of sound and silence across the court / now again they are smashing the china / that is the convention”), moved to the pacific northwest, corresponded with the estate of Virginia Woolf, mastered the entire project onto a cassette tape and convinced 577 records to release it. I hope you enjoy it as much as I have! -Evan Strauss, February 2022

ItayoN'eri is a unit formed by three of Japan's jazz legends, Fumio Itabashi (Pf), Eri Ohno (Vo), and Yasushi Yoneki (Ba). Newly recorded "Watarase" and "Goodbye" are now available on long-awaited LP!! "Watarase" and "Goodbye," two treasures of the Japanese jazz, are included in "watarase", released in 1982, which marked the beginning of Fumio Itabashi's brilliant career. The "itayoN'eri" version with Eri Ohno on vocals and Yasushi Yoneki on bass, which was only available on CD and sold only at live concerts, is finally going to be released on LP. The magnificent melody that reminds us of the eternal flow of a great river, and the unique and courageous voice where stillness and movement coexist, are suitable for 12inch 45rpm.