Organic Grooves 313 Items

Two tasty tunes from Ghana in the seventies! Worth every single penny!

“We are inspired by our own experiences, as well as those of others. The last year was the beginning of a new era for all of us and it has left us with much to analyze and the need to rethink our priorities. There’s been so many changes on this planet: the confinement, the constant looking back at the past, the struggle of many against endless injustices, love, all this leads to the fact that our new songs have very current themes but that also transcend time. They continue the characteristic sound of Acid Coco, with the undeniable influence of the Caribbean.” Acid Coco If we can define folklore as the passing on of traditions from a particular group of people, then there can be no denying that Acid Coco, whether consciously or not, are playing an important role in disseminating the folk culture of Colombia’s Caribbean coast. Throughout their music there are links to tradition: the gaita flute typical of rural cumbia, the effervescent guitar licks that are such a big part of the coast’s Afro-diasporic sounds, the teeth-rattling bass indicative of communities brought up on picó sound systems since the 70s, the unmistakable sound of the marimba wooden xylophone (each note like a rain drop on the jungle canopy), and then there are the lyrics. Tradition should not stand still, and in Andrea’s words we find the oral traditions of the last 30 years: on “Hoy Como Siempre” she sings of the need for women to stick up for themselves, to not fall in love too easily; on “Cara Dura” the sentiment is even stronger, its lyrics picking out a male predator on the dance floor who will not be tolerated; and then there’s “Mundo de Mentira” where vulnerability peaks through, the story of a woman whose life has become a “world of lies” since their lover has left – who can she believe now the one she trusted the most has gone? They are stories that could have spilled out of Cali’s salsatecas, Cartagena’s picós or any club the world over, yet through Paulo’s canny production there is no doubt where we are. Dembow, cumbia, reggaeton, even on the spiky Caribbean folk of final track “Por Las Venas” or chiptune melody of “Aquí y Allá”, there is nowhere we can be other than on Colombia’s Caribbean coast. It’s music that comes from lived experiences, from growing up in Colombia’s clubs and through its violence and daily realities. Culture is being passed forward.

Exclusive live set for the reverend, right across the release of two influential albums on Hi Records: ‘Livin’ For You’ and ‘Call Me’

Recorded January 1973: NYC, NY - Wnet Studios "soul"

Maybe the best Alessandroni’s album ever. A true holy-grail for any collector and worldwide music lover, which we can consider nowadays as the most sought-after record of the whole legendary RCA SP 10000 series, and as the rarest album from the king of Italian libraries.
Jazz, mellow-funk, downtempo breaks, and incredible rock blends, make this record a refined portrait of the 70’s American way of life, viewed through the fully Italian lens of Alessandroni’s sensitivity.
The magic around Spontaneous is that this album is not only beautiful and astonishing, but is certainly on of those amazing records to which time gives new life and freshness, making it sounds unbelievably contemporary.
After five years of exhausting research, and three years later the finding of the original master tapes of the album, finally Four Flies can give a light to this obscure and fascinating mystery, rescuing it from the darkness. It’s not just another piece of Alessandroni’s legacy that is finally put back in the right place. This should be considered as the definitive act to re-estabilsh Alessandroni's leadership into the library music scene, and beyond.
Available again from July 19, coming in 180gr black vinyl, housed in a hard tip-on sleeve cover.
Limited Edition 500 copies

An unearthed treasure from the 70's Italian Avant Garde archives!, A previously unreleased recording from the legendary Beat72 club in Rome in 1973, featuring a One-Off Italian-American All-Star ensemble with Roberto Laneri founding member of the experimental vocal group Prima Materia, maverick American composer Alvin Curran co-founder of Musica Elettronica Viva. Trombone specialist Giancarlo Schiaffini from the historical Gruppo di improvvisazione Nuova Consonanza. Cello virtuoso Frances Marie Uitti, close collaborator of the likes of J. Cage and G. Scelsi. Bassist Bruno Tommaso from the legendary Gruppo Romano Free Jazz and American composer Tony Ackerman from the obscure Suonosfera group. Highly creative Music which defies categories and boundaries. An historical document!!! Additional booklet contains extensive liner notes and photos.

Recorded live in one of France's largest rock music festivals during the Back To Black Tour. Outstanding performance, top shape. Amy Winehouse made people rethink music.

First ever reissue of this private Dutch album from 1979: a latin-funk-psych-prog trip featuring groovy jazzy flute, superb acoustic/electric guitars, funky rhythm section, exotic percussion and some cool Oriental/Thai/Brazilian vibes. Angelo Noce Santoro is a guitar player with over forty-five years of musical career. A founding member of legendary psych-prog band Cosmic Dealer, Angelo has recorded and released albums under his own name and hes also behind projects like Palmeira (the first Dutch band playing Brazilian music), Santoro Brothers and Oriental Guitars among many others. His unique guitar playing, which incorporates surf, psychedelic, jazz and Oriental influences, has received praising from connoisseurs of obscure instrumental sounds such as Jello Biafra, who got in touch with Angelo after discovering one of his solo albums in a second-hand shop in the 80s. 'For You' was Angelo's first solo effort, released as a private pressing in 1979 on ANS, his own label. Angelo played bass, acoustic and electric guitars, flute and percussion. He was joined by ace flute player Steven Bishop, drummer Herman Muller and Lodewijk Hulsman on acoustic guitar. Most of the tracks were written by Angelo prior to 1979, with some of them dating back to the early 70s when he was with Cosmic Dealer.

Anilza Pinho de Carvalho, better known by her stage name Anilza Leoni was a Brazilian actress, singer, former ballerina and painter.

Balumba is uptempo samba jazz at it’s finest. Originally appeared on a very obscure 7” on Copacobana in 1967 entitled ‘Enfarte Musical / Festa Do Balamba’, and was included by Nicola Conte on his Viagem Vol. 4 compilation.

Sambalanço Trio were formed by Cesar Camargo Mariano, Humberto Clayber and Airto Moreira in 1960’s Sao Paulo. The group released some of the most important records of the period and in the genre of samba-jazz.

When the group split in 1965 Airto formed Quarteto Novo with Hermeto Pascoal, and Cesar Mariano went on form Som Tres.

Sam Blues is a Mr Bongo HQ favourite - uptempo bossa jazz fusion, taken from their self-titled LP originally released on Audio Fidelity (Brazil) in 1964.

The unstoppable, irresistible rhythms and melodies of Antibalas have influenced scores of artists across rock, hip hop, afrobeat and beyond. Born in a Brooklyn warehouse in 1997, 12 piece ensemble Antibalas is credited with introducing Afrobeat to a wider global audience, influencing countless musicians and developing a live show that is the stuff of legend. Members of Antibalas served as musical directors and the house band in the Broadway hit Fela! and penned original music for the show. Members have also recently collaborated/performed with Iron and Wine, Sharon Jones & The Dap-Kings, Mark Ronson, TV on the Radio and The Roots. On the heels of the hit musical Fela!, Antibalas ended up reuniting with former member and producer Gabriel Roth, who was at the helm for their first three albums. This self-titled album was their first on Daptone Records.

One year after his first release, the french producer and multi instrumentist Antoine Bourachot returns with Diversions, a groove filled journey into espionage. Inspired by great fusion and disco records, with the help from virtuosos Jim Grandcamp (Guitar) and Shoko Igarashi (Soprano Saxophone, Flute), this record is a tribute to musicians and their craft. Alongside cinematic instrumental tracks, a pop side of the record emerges. Miracle, with epic celestial vocals from Giacomo Lecchi d’Alessandro and the ever so sweet Action with his trusted studio mate Irfane (Breakbot). Created in a gear sanctuary somewhere in Paris this record takes the listener into a spy fantasy, portrayed on the cover by the very talented Julia & Vincent.

‘2 Minutos De Um Novo Dia’ – pacey samba-funk-MPB that originally appeared on a 7” from 1969 released on Odeon Brazil. Soaring vocals, strings and horns over alternating full and half-time funk drum breaks. Very big indeed.

‘Candomble’ has been a resident in our DJ sets for a long, long time. A retrained, deeper opening section drops into drum heavy, rich uptempo jazzy-MPB. Super catchy vocal hooks and piano lines sit over the top from start to finish. Taken from their self titled album from 1975 on RCA.

This is Archie Shepp caught live at two important European festivals in 1973. At the head of some sort of one-off line up featuring Dave Burrell on piano, Donald Garret on bass along with her partner Zusaan Fasteau on percussion, flute and vocals, and last but not least Muhammad Ali (Rashid's brother) on drums, Shepp, heard on tenor and soprano saxes and piano, delivers a full program of hot renditions of mostly standards by the likes of Ellington, Monk and Davis, plus a couple of pieces written by his regular partners of the time, Cal Massey and Grachan Moncur.

An amazing performance that captures the Queen of Soul in her prime. This was her last live appearance with King Curtis and the Kingpins, an amazing fourteen piece band (the same appearing on her famous "Live At The Fillmore West” album) featuring heavyweights such as guitarist Cornell Dupree, drummer Bernard Purdie and King Curtis himself on tenor sax, as well as the super tight Memphis Horns section and the invaluable Sweethearts Of Soul's backing vocals. Just have a look at the track list, a breathtaking sequence of her finest material performed at maximum energy and inspiration! How can you go wrong with all that?

Another exciting chapter in the Four Flies jazz series, this is the first full-album release of the long-forgotten soundtrack composed by Armando Trovajoli for Piero Vivarelli’s 1964 movie Il Vuoto. Here, elegant and nocturnal cool jazz alternates with more rhythm-oriented tracks influenced by groovy Brazilian vibes and raw rock’n’roll. All tracks are performed by a sextet featuring Trovajoli himself on piano, Carlo Zoffoli on vibraphone, Gino Marinacci on baritone sax and flute, Enzo Grillini on electric guitar, Berto Pisano on double bass, and Sergio Conti on drums and percussion. Finally rescued from the historical archives of CAM, this exquisite soundtrack offers a special insight not only into the history of Italian jazz, but also into the penetration of the genre into Italian film music.

The album features 11 original Verocai compositions with guest musicians including Azymuth, Ivan Lins and a nine-piece string section. The new vinyl release has been remastered from the original tapes and is being pressed to heavyweight vinyl, with a touched-up sleeve design. Encore was the highly anticipated follow up to Arthur’s eponymous debut album from 1972, which saw him joining the dots over 35 years to create a modern classic of Brazilian music that, like his debut, combined Brazilian influences with his take on American soul and cinematic experimentation.

Dimitri From Paris remixes Space Talk! Naya Beat is proud to announce a historic Asha Puthli 12” disco single, "Space Talk: With Remixes By Dimitri From Paris", the first in a series of Naya Beat remixes and retrospective releases featuring the legendary Asha Puthli. Working with the original Space Talk stems and studio recordings, Dimitri From Paris does the impossible – delivering not one but two stellar versions of the original masterpiece. Two remixes that are destined to be classics in their own right. Be it the world of disco, rare groove or hip hop, Space Talk is one of those rare tracks that transcends time, genre and place. A track equally at home in David Mancuso’s The Loft as in the hands of afro cosmic pioneers Beppe Loda and Daniele Baldelli. A track that has been sampled by The Notorious B.I.G and P Diddy, 50 Cent, and Redman. A track that has seen countless bootleg disco edits but that until now has never been remixed. No stranger to working with iconic music, Dimitri’s two stand apart remixes deliver his trademark sound and more. This is Dimitri at his best. Beautifully dubbed out and magically lush production (with plenty of laser sounds to boot) builds on the original’s interplanetary excursions. While the remixes are quintessentially Dimitri, they also pay homage to greats like Tom Moulton, Patrick Adams and Larry Levan. Exclusive to this release (along with "Dimitri From Paris Spacer Dub") are a "2023 Mix" and "Extended Mix" of the original, lovingly mixed for the discerning DJ by Naya Beat cofounders Turbotito & Ragz using the original studio recordings. Their very existence the stuff of rumour and legend, Naya Beat and Asha have tracked down the original stems and studio recordings from her most seminal albums, including "The Devil is Loose". "Space Talk" is the precursor to a full length LP coming out in September 2023 featuring remixes by legends like Maurice Fulton, Yuksek, Kon, Psychemagik, JKriv and Black Devil Disco Club to name a few. This is a once in a lifetime opportunity for producers inspired by her music to honour Asha’s influence and legacy. This is Naya Beat’s third release in a series of reissues, reworks, remixes and compilations dedicated to uncovering electronic and dance music from the subcontinent and South Asian diaspora

A. Ayaléw Mèsfin ft. Black Lion Band - Ghedawou
Ethiopian dance floor Funk rarity originally released on Kaifa 7” (KF 31) in
1976. Hand claps, guitar lines and call and response lead vocals punctuate the
driving bass line and understated drum groove.
Mesfin played primarily at the Lumumba Club in Addis Ababa’s red light district
and released many 45’s and cassettes during the mid seventies.
He worked very closely with the Black Lion Band (or Tequr Ambessa Orchestra)
AA. Mulatu Astatke ft. Feqadu Amdé-Mesqel - Asmarina
Laid back, drum-heavy, Ethipian jazz taken from the legendary Ethio Jazz’ LP on
Amha (AELP 90). Typifies the sound of the country and the period, truly classic
stuff.
Mulatu will be touring heavily in 2016, which we are very much looking forward
to.

Reissued on 180 gram vinyl in gatefold sleeve!

Vinyl part 2/2. Celebrating its 25th anniversary, Far Out Recordings proudly presents two albums of previously unheard Azymuth demo recordings from 1973-75

Repress on 180 gram vinyl!

The b-side wins again! Sampled to fame by Madlib for the mighty Madvillain album!

"Tonight" is a captivating, extraordinarily song written and arranged by Paolo Gianolio (one of Mauro Malavasi's most valid collaborators), who strongly wanted Ivana Spagna as a vocalist. In those very early 80s Spagna used to lend her refined voice.to successful productions using various pseudonyms: Mirage, Carol Kane and Yvonne Kay and precisely Barbara York The piece released in 1982 with Delirium Records was then released in 1983 on Smash One Music by Pino Toma who jealously preserved it making it one of the many rare gems of Italo-Disco. Now after 40 years here it is revived by Best Record in all four original versions, perfectly remastered by Dom Scuteri.

Yeah, this is the 1st real album by Matthew Tavares (Keys), Chester Hansen (Bass) & Alex Sowinski (Drums).

* New Pressing On Blue Colored Vinyl *In 1973, Davis Would Finally Kick Off Her Cosmic Career With An Amazingly Progressive Hard Funk And Sweet Soul Self-Titled Debut. Davis Showcased Her Fiercely Unique Talent And Features Such Gems As "If I'm In Luck I Might Get Picked Up" And "Game Is My Middle Name." The Album Betty Davis Was Recorded With Sly & The Family Stone's Rhythm Section, Sharply Produced By Sly Stone Drummer Greg Errico, And Featured Backing Vocals From Sylvester And The Pointer Sisters.

Betty Davis was a musical maverick with vision. Image, substance, sex, and grit combined with a badass band that could deliver the funk bed backbone to the sultry music between the sheets. After cutting two notorious discs for the Just Sunshine label (Betty Davis and They Say I’m Different), and Nasty Gal for Island Records, Davis went to work on her most personal and expressive record yet. After capturing 10 hard-hitting tracks in 1976 at the remote Studio In The Country (Louisiana), a creative difference with her then label caused the platter to be unexpectedly shelved. Davis would cut one final album and soon retreat from the music business, completely disappearing from the public eye.

Is It Love Or Desire is a little-known gem in the Davis catalog. Mastered from the original tapes, and untouched for over 30 years, this release features detailed liner notes, the originally intended artwork housed in a lavishly packaged digipak, rare photos, archival material, and recent interviews with Davis and her skin-tight band Funk House.

Never bootlegged, never released, never heard until now, the secret story of this lost album will finally enter the history books and cement this bold soul sisters contributions to music and popular culture. Its time to get down…

Long live Betty Davis!

Blue Note’s 1960s roster boasted numerous Hammond B3 organ whizzes including the soulful Kansas City born master Big John Patton. The dynamic quintet that Patton assembled for his 1965 album Oh Baby! packed a punch with the B3 master joined by trumpeter Blue Mitchell, tenor saxophonist Harold Vick, guitarist Grant Green, and drummer Ben Dixon.

Big John Patton (organ); Blue Mitchell (trumpet); Harold Vick (tenor sax); Grant Green (guitar); Ben Dixon (drums)

This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Jimmy Smith, Brother Jack McDuff, Jimmy McGriff. The Hammond B3 Organ was BIG in the late 60s/early70s, so hundreds of musicians around the world used it in their recordings. This is one of the many excellent examples of Hammond B3 soul-jazz.

Best Record Italy came out with another obscure italian disco record from 1977. This 12" release contais three solid dancefloor funky disco burners like 'Body, Body Love' unreleased Disco Version) and on the B side : 'Please Touch Me' and 'Sleep' from the Billy Woost Album.

Essential South African jazz, funk and soul - An anthology dedicated to the legendary Black Disco ensemble. Distilling the group’s recorded output into a single commemorative document, Discovery 1975-1976 compiles cuts from the lauded Night Express album alongside rare gems from the group’s long-out-of-print first and third albums. The newly remastered selection features previously unissued single versions of the mighty “Night Express” itself, a funk juggernaut with piercing flute whistles and rapturous sax cries as well as “Dawn” from the album Black Disco 3, a trippy, flute-driven awakening of soft light and gentle colours.

With a Yamaha organ and a dream, Pops Mohamed started his musical journey in the mid-1970s as the bandleader and composer of Black Disco, creating a hip melange of chill-out jazz with futuristic drum machine sounds and spiritual overtones. His cosmic organ transmissions were accompanied by two of the most sought-after session players on the South African scene, the sax and flute wizard Basil Coetzee, who had risen to fame in 1974 as one of the soloists on the hit “Mannenberg,” and Sipho Gumede, the young bass prodigy who was already rubbing shoulders with the old guard at the outset of his career. Backed at first with polyphonic beats from Mohamed’s electric organ and later taking on a drummer, Black Disco created a signature sound and a trilogy of innovative albums in a burst of studio creativity between 1975 and 1976.

On the heels of their epic various artists compilation, As-Shams Archive have produced a doozy of a compilation of some very essential South African jazz.

Released in 1974 with a "quadraphonic" sound. Brilliant songs by a cohesive band that knew how to materialize a memorable and original fusion project at an international level.

If Latin funk exists, it's thanks to pioneering bands like Black Sugar, a Peruvian group created in the early seventies that recorded two fundamental albums for the Afro-American and Latin genre. A pair of albums that are now re-released by the Valencian label Discos Monterey with the usual sound and visual quality to which we are accustomed. The roots of this band come from the Far-Fen (syllables for Farfisa and Fender), formed in the late sixties by guitarist Víctor "Coco" Salazar and Miguel "Chino" Figueroa on keyboards. One night they were spontaneously joined by the sensational voice of Carlos "Pacho" Mejía. In the seventies, in the Peruvian capital there was a shortage of "white" sugar and the darker cane sugar was consumed. Hence the group's name. Peru was in the midst of a dictatorship and the military were against music that did not come from Peruvian folklore.

Rock and roll with foreign roots languished due to the imposition of the established power, and Black Sugar emerged, whose main skill was to mix, with enormous passion and fascinating ability, Latin sounds and the funk that came from the United States.

The result is two memorable albums, with a large part of their own songs and most of them composed by Pacho. The first, with an eponymous title, was released in 1971 by Sono Radio, whose musical director Jaime Delgado Aparicio was in charge of the fiery arrangements with generous brass and energetic percussion. Released with the credits in English, they managed to break into the Top Ten of the Miami charts with the song "Too Late". They even received an offer to record their next album in the United States, but decided to stay in their country. That second album was released in 1974 with a "quadraphonic" sound, taking advantage of the label's magnificent studios. From the mid-seventies onwards the desertions began and it would not be until 2010 that the project would be recovered with some historical and younger musicians.

To listen to Black Sugar is to go back to the Peruvian night of the seventies with fiery music, full of sensuality and rhythm. Brilliant songs by a cohesive band that knew how to materialize a memorable fusion project, very original and at an international level. Two unique albums reissued by Monterey that will delight all lovers of Afro-Latin sounds and good music in general. Alex Magic Pop