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Pure Pleasure Vinyl, CD & Tape 92 Items

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Weldon Irvine - Time Capsule
Weldon Irvine
Time Capsule
LP | 1973 | UK | Reissue (Pure Pleasure)
29,99 €*
Release:1973 / UK – Reissue
Genre:Organic Grooves
For fans of funk, soul and jazz, it doesn't get much better than this 1973 classic.
180 gram LP

The sublime Time Capsule remains Weldon Irvine's most fully realized and influential recording. A supremely talented multi-instrumentalist and composer, Irvine had a musical vision that was unerringly soulful, spiritual, and funky. Assembled as a kind of musical scrapbook documenting the thought patterns and belief systems of the early '70s, it nevertheless boasts a surprising vitality and timelessness thanks to luminous funk grooves that anticipate the latter-day emergence of acid jazz. Irvine also rhymes over several tracks, further cementing his influence on successive generations of hip-hop. A profoundly righteous spirituality winds through all eight of Time Capsule's performances, assaying both the affection ('Soul Sisters') and anger ('Watergate') vying for control of post-Woodstock America. Irvine's searing keyboard and piano playing further capture the moment in question, deftly balancing between beatitude and bitterness. For fans of funk, soul and jazz, it doesn't get much better than this 1973 classic.
Pharoah Sanders - Journey To The One
Pharoah Sanders
Journey To The One
2LP | 1980 | US | Reissue (Pure Pleasure)
50,99 €*
Release:1980 / US – Reissue
Genre:Organic Grooves
Preorder 24.04.2020
* 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.
Cecil Payne - Zodiac
Cecil Payne
Zodiac
LP | 1973 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1973 / UK – Reissue
Genre:Organic Grooves
It's impossible to talk about this album without acknowledging the spectre of death that hangs over it - not only is it the third entry in Strata-East Records' Dolphy Series, a collection of archival recordings from some of the label's close associates honoring the recently deceased multi-instrumentalist, but it is actually dedicated to two members of the band, Wynton Kelly and Kenny Dorham, who died in between the recording sessions and its release. The point is driven home even further by the fact that the album begins with a tribute from Payne to the fallen Martin Luther King, Jr., a piece that acts as a de facto solo for Dorham - his playing all rosy elegance and regal warmth - before shifting into the lighter (though equally coolly-paced) "I Know Love," a showcase for Payne's sax. While not the most somber jazz track ever recorded, this opening suite is a low-key and mournful way to open the affair, but thankfully the album really picks off and shows these musicians more in their element the rest of the way.

"Girl, You Got a Home" is a funky piece, beginning very soulfully with some tight interplay among the rhythm section of Kelly, bassist Wilbur Ware and drummer Albert Heath. Ware is in especially fine form on this track, tying together the disparate passages of the piece by grounding the more ponderous moments in a deep funk, while Kelly's playing is especially ear catching in the way he stabs at his piano like it's an organ. After the first two tracks take up nearly twenty minutes, the four-minute "Slide Hampton" feels almost impossibly brief, a feeling that's enhanced by its quick, jittery, and infectious rhythm, driven by some really dexterous work from Kelly. The final track, "Flying Fish," may be the album's highlight, a Caribbean-inspired composition that casts the rhythm section as flighty ground for both Payne and Dorham to vamp on. The track is oddly danceable for something released on Strata-East, maybe the most fun moment ever for the label, and relentlessly uptempo. Though this release may be in part defined by the deaths that preceded it, it's clear that the recording process was actually a lot of fun for everybody, as their enthusiasm and energy jumps right out of the speakers. This is one of the first Strata East records I really got into and is still one of my favorites, a must-hear for any fans of the flightier moments of Dorham or Kelly's career, and a fitting tribute for both master musicians.
Linda Hill - Lullaby For Linda
Linda Hill
Lullaby For Linda
LP | 2019 | US | Original (Pure Pleasure)
27,99 €*
Release:2019 / US – Original
Genre:Organic Grooves
Featuring members of the Arkesta
Re-mastering by Kevin Gray
Produced by Tom Albach
Recorded & mixed by Dennis Moody in 1981
Linda Hill recorded this LP for Nimbus West in 1981 with fellow Arkestra members, including flautist Adele Sebastian. And it’s Sebastian’s vocal duet with Hill on the spiritual jazz epic “Leland’s Song” that opens this stunning LP. Hill’s ensemble also included the serious horn player Sabir Matteen, as well as bassist Roberto Miranda and drummer Everett Brown Jr., who would all go on to record LPs for Nimbus.



The Arkestra first started rehearsing at pianist Linda Hill’s house in the early ‘60s. “In a few months, we’d built up from seven or eight to about 18 cats, musicians started living there,” Tapscott wrote in his autobiography. “People got involved with the Arkestra like it was their life’s work.” Hill took the role seriously, earning her the name of “the Ark’s matriarch” by Tapscott.
Cab Calloway - Cab Calloway
Cab Calloway
Cab Calloway
LP | 1956 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1956 / UK – Reissue
Genre:Organic Grooves
From 1932 to the late 1940’s the period covered by this set, Cab had an orchestra that was about as swinging a band of solid senders as you’d find on the big-band circuit.
Cab projects, in his singing on records, something of the vital magic of his stage presence, a boundless exuberance and enthusiasm. His orchestral backing during the Thirties and Forties included many well-known names in jazz. At various times, Milt Hinton, Danny Barker and Cozy Cole were in his rhythm section.The reeds included the late, great Chu Berry as well as Ben Webster. Dizzy Gillespie was in the band, some members of which, at odd moments, served as a laboratory for the style to be called Bop. »This whole new chord structure idea was interesting to me,« Milt Hinton recalled, »and I would walk the new chords behind his playing.« Cab wasn’t the least enthusiastic. Danny Barker quoted him as saying, »I don’t want you playing that Chinese music in my band.«
The main attraction, however, was always Cab—showman, singer, entertainer. Most audiences didn’t even know that some of his sidemen were candidates for the jazz hall of fame. And that was as it should be. The musicians’ first function was to provide musical backing and a musical setting for the man who was being called 'King of the Hipsters', and this they did, wonderfully well. It was as Barry Ulanov noted in Metronome (January, 1943) a band extraordinary in every respect, hailed for its »clean musicianship, its jazz kicks, its brilliant showmanship«.
Hermeto Pascoal - Slaves Mass
Hermeto Pascoal
Slaves Mass
LP | 1977 | UK | Reissue (Pure Pleasure)
14,99 €*
Release:1977 / UK – Reissue
Genre:Organic Grooves
Not strictly a jazz album in the strict sense, "Slaves Mass" has strong compositional themes among its seven tracks. The maestro Hermeto Pascoal plays everything from flutes, soprano saxophone, guitar, Fender Rhodes, acoustic piano and clavinet on this set, and enlists help from Ron Carter, Airto, Flora Purim, Raul DeSouza, David Maro and others. "Mixing Pot", is the opener and an anomaly in that it is a vanguard fusion tune where Pascoal really digs in and improvises. It also features the only appearance on this set of Alphonso Johnson on electric bass. In "Missa Dos Escravos", the title track, Pascoal's emblematic pig gives his first growls in a song dominated by Brazilian Indian references. Wonderfully and intricately composed, it centers around folk tropes. "Chorinho Para Ele" is a beautiful and modern choro with a somewhat challenging glissando bridge that really proposed new directions for the traditional genre. "Aquela Valsa" is a beautiful six/eight theme that turns into a samba with a beautiful trombone solo by DeSouza. "Cannon" is an utterly improvisational piece that meanders and winds around Pascoal's flute solo. Atonalism dominates the piano solo in "Escuta Meu Piano", which also presents bits and pieces of different styles (like bai?o) and folk songs. Hot samba improvisation is found in "Geléia de Cereja", that slips and slides through a variety of schema and dynamic changes without much internal focus, but it is a compelling bit of creative anarchy nonetheless in that it displays Pascoal's full range of restless musical and textural impulses -- as well as a beautiful soprano solo.
Paul Desmond - Desmond Blue
Paul Desmond
Desmond Blue
LP | 1962 | UK | Reissue (Pure Pleasure)
26,99 €*
Release:1962 / UK – Reissue
Genre:Organic Grooves
Re-mastering by Ray Staff at Air Mastering!
Leon Thomas - Spirits Known And Unknown
Horace Tapscott - Live At Lobero
Horace Tapscott
Live At Lobero
LP | 2019 | US | Original (Pure Pleasure)
28,99 €*
Release:2019 / US – Original
Genre:Organic Grooves
Re-mastering by Kevin Gray
Produced by Tom Albach
Recorded & mixed by Dennis Moody Nov. 12,

1981 in the Lobero Theater, Santa Barbara, California

This is a reissue of a now out-of-print album from live trio date by the legendary LA-based pianist, composer and multi-bandleader, Horace Tapscott. Pianist Horace Tapscott is always at his best when he is leading a trio. 'Sketches of Drunken Mary' features some sparkling piano revolving around a most lyrical bass part that is absolutely touching. The piece ends with a long, monstrous drum solo has to be heard to be believed. I recall hearing/seeing the mighty Sonship with John McLaughlin's One Truth band live at Central Park way back in 1979 and being knocked out by his drumming. 'Raisha's New Hip Dance' is a lovely piece that starts with some amazingly powerful and somewhat dark solo piano, with some strong two handed playing going in different directions and then winding down to somber conclusion, then building back up once again. The final piece is called 'Dark Tree' which is a great work that features a colossal, McCoy-like repeating line that is most hypnotic. The trio explodes in waves together, an immensely propulsive circular current at the center of the storm. Roberto Miranda takes an astonishing, fleet-fingered contrabass solo and then Sonship again provides a cosmic gong, cymbals and drum solo. This is a momentous offering from start to finish. It doesn't get any better than this.
Sarah Vaughan - Sarah +2
Stanley Turrentine - Sugar
Stanley Turrentine
Sugar
LP | 1971 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1971 / UK – Reissue
Genre:Organic Grooves
Recorded: November 1970 in Rudy Van Gelder Studios, Englewood Cliffs, NJ, USA
Art Pepper - The Complete Art Pepper At Ronnie Scott's Club
Art Pepper
The Complete Art Pepper At Ronnie Scott's Club
7LP | 2010 | US | Reissue (Pure Pleasure)
176,99 €*
Release:2010 / US – Reissue
Genre:Organic Grooves
The Complete at Ronnie Scott's Club London - June 1980. Includes 17 performances that were previously unavailable along with ALL the tracks on the Mole Jazz Albums: Blues For The Fisherman and True Blues.

This recording was made using multi-microphones in a straight stereo mix without any noise reduction system, limiting, compression or equalization on either the location or on the transfer of the master tapes to the laquers from which the final pressings are made. Mastered by Ray Staff at Air Mastering, Lyndhurst Hall, London.
Dadisi Komolahe - Hassan's Walk
Dadisi Komolahe
Hassan's Walk
LP | 2019 | US | Original (Pure Pleasure)
29,99 €*
Release:2019 / US – Original
Genre:Organic Grooves
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.
Adele Sebastian - Desert Fairy Princess
Adele Sebastian
Desert Fairy Princess
LP | 1981 | US | Reissue (Pure Pleasure)
29,99 €*
Release:1981 / US – Reissue
Genre:Organic Grooves
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.
Charles Brackeen - Rhythm X
Charles Brackeen
Rhythm X
LP | 1973 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1973 / UK – Reissue
Genre:Organic Grooves
On this record, the little-known Charles Brackeen brings his saxophone to a party with most of Ornette Coleman's band. As might be expected, while Brackeen certainly holds his own, it's Ornette's boys who bring the thunder, playing around Brackeen's muscular alto as if they were a gang jumping on a new member. Haden's bass playing provides the frantic pulse, here and there ceding the stage to Blackwell's flexible drumming and dropping out to provide rolling sheets of sound by bowing his instrument. Brackeen and Cherry wrestle across this solid bedrock, with results that are often surprising and never short of beautiful.
Music Inc. - Music Inc.
Music Inc.
Music Inc.
LP | 1971 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1971 / UK – Reissue
Genre:Organic Grooves
The remarkable Music, Inc. Big Band remains the apotheosis of trumpeter Charles Tolliver's singular creative vision. Rarely if ever has a big band exhibited so much freedom or finesse, while at the same time never overwhelming the virtuoso soloists on whom the performances pivot. Built around the core of Tolliver, pianist Stanley Cowell, bassist Cecil McBee, and drummer Jimmy Hopps, the music boasts the kind of give-and-take born equally of talent and telepathy -- each player seems to communicate with his colleagues on a higher plane, delivering performances to rival any in their careers. Tolliver in particular plays like a man possessed, summoning an energy and clarity that slice through the big, bold arrangements like the proverbial hot knife through butter.
Phil Ranelin - Vibes From The Tribe
Phil Ranelin
Vibes From The Tribe
LP | 1971 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1971 / UK – Reissue
Genre:Organic Grooves
Phil Ranelin was a session trombonist recording with the likes of Steve Wonder before setting up the Tribe label with Wendell Harrison in Detroit.
Like other contemporary artist run labels like Strata East and Black Jazz, Tribe releases were characterised by a heady mix of post Coltrane free jazz, soul and funk, all informed by a strong political conscience.
"Vibes From the Tribe" is a fine record. The title track is lusciously, greasily funky and stands in pretty stark contrast to the kind of airbrushed fusion that was in vogue at the time. "Sounds From The Village" is even better (and dirtier), showcasing Ranelin's oily trombone gymnastics and a viciously fuzzed guitar solo. "Wife" features Phil's singing and is oddly reminiscent of Frank Zappa's writing on "Sleep Dirt"; an affecting, snaking melody topped off with a beautiful solo from the leader, whose playing here has the grace of Bob Brookmeyer coupled with the agility of George Lewis.
"He The One We All Knew" is the obligatory Coltrane tribute and is a trip into the kind of groove based free playing typical of Pharoah Sanders, though only really picks up when the band launch into post bop swing mode in the last six minutes or so, provoking another fine Ranelin solo. Bassist Ralph Armstrong is particularly strong here; his brief solo passages are a wonder of agility and tough lyricism that make me wonder why he's not better known. Other highlights come from the mellifluous flute of Wendell Harrison. Beautiful stuff, and it's good to know that Ranelin is still at work even now. Essential.
Harold Vick - Don't Look Back
Descendants Of Mike And Phoebe, The - A Spirit Speaks
Descendants Of Mike And Phoebe, The
A Spirit Speaks
LP | 1974 | UK | Reissue (Pure Pleasure)
27,99 €*
Release:1974 / UK – Reissue
Genre:Organic Grooves
One of the most unique albums on the Strata East label – and that's saying a heck of a lot, given the creative energies flowing through that legendary jazz outlet! "Descendents Of Mike & Phoebe" is a righteous little project put together by Spike Lee's father, Bill Lee, and his brothers and sisters (Cliff Lee, Grace Lee Mims, and Consuela Lee Moorhead) – working here in a group named after their slave ancestors, who are paid tribute in a beautifully flowing batch of tunes! Lee's round, warm bass tones are firmly at the head of the group on most numbers – recorded at a similar level to his excellent work with Clifford Jordan on Strata East during the same time – and other instrumentation includes piano from Consuela, flugelhorn from Cliff, and percussion from Sonny Brown and Billy Higgins – all used in a wonderfully evocative style that's even better than some of Lee's later soundtrack work. A few numbers feature vocals from Grace – singing wordlessly and with a really heavenly sort of quality – and together, the whole group have an undeniable sense of power and majesty, yet also one that's touched by a really personal sense of poetry too. Titles include a great version of Lee's "Coltrane", which was more famously recorded with Clifford Jordan.
Steve Reich - Drumming
Aretha Franklin - Yeah!
Yusef Lateef - The Doctor Is In … And Out
Yusef Lateef
The Doctor Is In … And Out
LP | 1976 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1976 / UK – Reissue
Genre:Organic Grooves
In 1976, Yusef Lateef's as restless a spiritual seeker as there ever was in the field of music, revisited some of his earliest themes in the context of modern sonic frameworks: The Eastern modal and melodic frameworks of his Prestige sides, such as "Eastern Sounds", "Cry!/Tender", and "Other Sounds", brought to bear in much more sophisticated, complex, and grooved-out ways -- after all, it had been 20 years or more. The groove referred to is funk and soul. Funk itself was mutating at the time, so Lateef's interpolation at the crossroads of all ports in the musical journey was not only valid in 1976, but also necessary. For this recording, he utilized an absolutely huge group of musicians, bringing them in for this or that part, or a sound, or a particular vamp. Some of those present were Kenny Barron, Ron Carter, Dom Um Romao, Al Foster, Billy Butler, Anthony Jackson, a five-piece brass section, and a synth player. Lateef, as always, was offering evocative glimpses of geographical, psychological, spiritual, and emotional terrain in his compositions, but not in predictable ways. There's the deep minor-key meditation on blues and evolving thematic variations on "Hellbound" that becomes a Latin funk tune; the airy, contemplative, and skeletal "Mystique", which may use a repeating rhythmic phrase but explores every inch of its margins via a string section and Lateef's flute solo; the smooth, urban, bluesy funk of "Mississippi Mud"; the completely out electronic musique of "Technological Homosapien" that becomes a series of synth squeals and an erratically tumbling bassline; and the wonderfully warped mariachi variation (sung in white-boy English) that featured the band playing bluesy hard bop over an age-old recorded track on "In A Little Spanish Town". It's a weird way to end a record, but then, it's a weird and wonderful record.
Cesaria Evora - Cafe Atlantico
Cesaria Evora
Cafe Atlantico
2LP | 1999 | UK | Reissue (Pure Pleasure)
37,99 €*
Release:1999 / UK – Reissue
Genre:Organic Grooves
The glorious "Café Atlantico" finds Césaria Évora venturing into more Latin American musical landscapes, as opposed to Portuguese, which dominated her previous albums. Évora draws from traditional Cuban and Brazilian music to mesmerizing effect. The album is also a tribute to her home town of Mindelo, on the Cape Verdean island of Sao Vicente, which was once a busy port with sailors cruising between South America, the Caribbean, and Portugal. Therefore, the music is heartbreaking and nostalgic, warm and tragic all at once. The masterful "Carnaval de Săo Vicente" is one of the most joyous, bittersweet party songs ever put on wax (and was even issued as a maxi-single with fantastic remixes). "Roma Criola" is tragic, lonely, destitute, and always interesting, making for an undiscovered masterpiece of a ballad, and her rendition of the Spanish language standard "Maria Elena" is absolutely heartbreaking. The album evokes a moody elegance rarely found in modern music, from the sweeping opener "Flôr Di Nha Esperança" to the summery "Amor Di Mundo", and the picture she paints of this café at the end of the world is a gorgeous, multi-colored, and emotion-stirring palate. This album is nothing short of world class and will be enjoyed by generations to come.
George Benson - Give Me The Night
George Benson
Give Me The Night
LP | 1980 | UK | Reissue (Pure Pleasure)
26,99 €*
Release:1980 / UK – Reissue
Genre:Organic Grooves
This is the peak of George Benson's courtship of the mass market -- a superbly crafted and performed pop album with a large supporting cast -- and wouldn't you know that Quincy Jones, the master catalyst, is the producer. Q's regular team, including the prolific songwriter Rod Temperton and the brilliant engineer Bruce Swedien, is in control, and Benson's voice, caught beautifully in the rich, floating sound, had never before been put to such versatile use. On "Moody's Mood", Benson really exercises his vocalese chops and proves that he is technically as fluid as just about any jazz vocalist, and he become a credible rival to Al Jarreau on the joyous title track. Benson's guitar now plays a subsidiary role -- only two of the ten tracks are instrumentals -- but Q has him play terrific fills behind the vocals and in the gaps, and the engineering gives his tone a variety of striking, new, full-sounding timbres. The instrumentals themselves are marvelous: "Off Broadway" is driving and danceable, and Ivan Lins' "Dinorah, Dinorah" grows increasingly seductive with each play. Benson should have worked with Jones from this point on, but this would be their only album together.
Terry Riley - In C
Terry Riley
In C
LP | 1968 | UK | Reissue (Pure Pleasure)
26,99 €*
Release:1968 / UK – Reissue
Genre:Organic Grooves
If ever there were a popular work of minimalism, one that stated its purpose so clearly it could not be mistaken, Terry Riley's legendary composition In C is the one. It is a work that needs no explanation for its pulsing sequences of pitch all centering around the 53 phases of no duration played on the note and its performances have been numerous - even if there have been relatively few recordings of it. The Bang on a Can all-stars have recorded perhaps the most innovative version of the work thus far, after Riley's own, which was issued in the 1960s on Columbia's long defunct Odyssey label. This version reads minimalism as popular music and popular music as, finally, classical. The Bang on a Can version is outrageously wonderful. This single repeated note, meditatively engaged and then played upon in modulation, is taken by Bang on a Can and torn apart, with gritty, urban vision, rock & roll energy, and pure New York street smarts. Using a wide array of instruments (from piano, vibes, glockenspiel, cello, Wu man's pipa, clarinet, mandolin, soprano saxophone, electric guitar, marimba, chimes, and bass) for 45 minutes, this mind-flexing composition is moved through the sequence of all these instrumentalists, each coloring it just a bit, moving it a tad further outside and into the future, the dynamics shift subtly and change, direction becomes fluid, and the drama becomes white-knuckle tense after such a meditative beginning and then releases again. This is the creation of language, tonal, timbral, and spatial. There is an architecture at work in this version that erects small towers of meaning in sound and piles them atop each other until a sonic Tower of Babel is finally fully erected. The pulse never stops; it never disengages no matter which instrument or group of instruments enters or leaves the fray. It is there, constant, always being born and always dying and being transformed, reincarnated as some other sound, some other phrase, but always identified by the pulse. This is more hypnotic than any rock & roll, and more powerful than any Beethoven symphony is taken in with openness. This is music - ultimately made by a truly gifted and disciplined ensemble that share a singularly optimistic vision for modern music - that can, and will, change your life.
Canned Heat - Boogie With Canned Heat
Cassandra Wilson - New Moon Daughter
Nina Simone - Little Girl Blue
Nina Simone
Little Girl Blue
LP | 1957 | UK | Reissue (Pure Pleasure)
26,99 €*
Release:1957 / UK – Reissue
Genre:Organic Grooves
Re-mastering by Ray Staff at Air Mastering!
Max Roach - We Insist!
Max Roach
We Insist!
LP | UK | Reissue (Pure Pleasure)
28,99 €*
Release:UK – Reissue
Genre:Organic Grooves
Special hi-quality 180 gram limited edition. Audiophile mastering and pressing!
Gary Bias - East 101
Gary Bias
East 101
LP | 2019 | US | Original (Pure Pleasure)
28,99 €*
Release:2019 / US – Original
Genre:Organic Grooves
Recorded at City Recorders, 1981
Produced by Tom Albach & Co-produced by Gary Bias
Engineer – Dennis Moody
A beautiful, dreamlike expression of spiritual jazz recorded at a time when the idiom was completely out of vogue, Gary Bias' East 101 remains little known even by cult-classic standards, but its free-flowing approach demands attention from listeners who believe this kind of LP ceased to exist somewhere around the late 1970s. Recorded with a stellar supporting cast including vibist Rickey Kelly, bassist Roberto Miranda, and pianist David Tillman, Bias unspools a suite of deeply soulful and profoundly far-reaching original compositions that vividly evoke the blue skies of the record's Los Angeles origins. His flute and soprano saxophone somehow divine gravitas from weightlessness, creating music that challenges as much as it comforts.
Cecil McBee - Mutima
Cecil McBee
Mutima
LP | 1974 | UK | Reissue (Pure Pleasure)
27,99 €*
Release:1974 / UK – Reissue
Genre:Organic Grooves
A landmark recording in early creative improvised modern music, bassist Cecil McBee's recording for the Strata East label is an important document introducing him as a leader from the international jazz-based scene in New York City via his native Tulsa, OK and following a brief mid-'60s stint in Detroit. McBee as a pure musician has staggering technique, rich harmonic ideas, and an indefatigable swing, but it is as a composer that he is set apart from other musicians of this mid-'70s era. "Life Waves" is a stunning piece of composed and improvised music, with a brief clarion horn section setting off McBee's chordal strumming and harp bop drive. Trumpeter Tex Allen's brash lines, the incendiary tenor saxophonist George Adams, and more thoughtful alto saxophonist Allen Braufman dig into hefty but contrasting solos, while drummer Jimmy Hopps stokes the coals. The other premier piece, "Mutima", has a soaring longer melody switching on and off onto a samba palate that is pretty, beautiful, and much more introspective than other wild and woolly cuts. The legendary but under recognized flutist Art Webb shines on the floaty free "A Feeling", and the atypical but wholly contemporized "Tulsa Black", a portent to the music that would be made later in this time period by Sonny Fortune, and featuring the wah-wah electric bass guitar work of Cecil McBee, Jr. The two-minute "Voice Of The Seventh Angel" sports the disparity of a complex arrangement alongside the beautiful singing of a young Dee Dee Bridgewater, while the marathon "From Within" has McBee performing solo, but overdubbed on two basses in opposite stereo channels, using serene long-toned arco and static pizzicato in arresting sounds that meld into a bridge squawk reminiscent of the saxophone playing of bandmate Adams. In retrospect, McBee's great career was ostensibly launched well before this recording, having worked with prominently with Charles Lloyd, Alice Coltrane, Pharoah Sanders, Yusef Lateef, Charles Tolliver, and countless others. "Mutima" (translated as "unseen forces") undoubtedly solidified his stature and brilliance as a major player.
Cal Massey - Blues To Coltrane
Cal Massey
Blues To Coltrane
LP | 1978 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1978 / UK – Reissue
Genre:Organic Grooves
Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London /// Cal Massey, a track title from the Clifford Jordan album “Glass Bead Games”. And this album, the only one recorded under his name. There was much more to his musical life than this title.

Born January 11th 1928 in Philadelphia, Pennsylvania, Massey studied trumpet under Freddie Webster, and following this played in the big bands of Jay McShann, Jimmy Heath, and Billie Holiday. After that he mainly worked as a composer.

In the late 1950s he led an ensemble with Jimmy Garrison, McCoy Tyner, and Tootie Heath; John Coltrane and Donald Byrd occasionally played with them. In the 1950s he gradually receded from active performance and concentrated on composition; his works were recorded by Coltrane, Tyner, Freddie Hubbard, Jackie McLean, Lee Morgan, Philly Joe Jones, Horace Tapscott and Archie Shepp. Massey played and toured with Shepp from 1969 until 1972. He also performed in The Romas Orchestra with Romulus Franceschini.

In examining Massey’s life and music, three names continually emerge. One is that of the great tenor saxophonist John Coltrane, whom Massey met as a teenager in Philadelphia and who remained a close friend until his death in 1967. After Coltrane’s passing, Massey frequently joined forces with saxophonist, poet, and playwright Archie Shepp; though Shepp was about ten years Massey’s junior, the two developed a bond that remained close for the rest of the older man’s life. Massey, Coltrane, and Shepp are all linked by the prolific but obscure composer and arranger Romulus Franceschini, who lent his hand to many important jazz projects, such as Coltrane’s Africa/Brass and Shepp’s Attica Blues. He maintained with Massey a symbiotic relationship not unlike that of Billy Strayhorn and Duke Ellington. On the whole, as in the case of Ellington and Strayhorn, it was difficult to tell where one musician’s contribution ended and the other’s began.

Massey also shared a radical political stance with Shepp and Franceschini. It is impossible to separate his work from the militant arm of the Civil Rights Movement that took shape in the 1960s and 1970s. As Fred Ho has noted, “Titles such as ‘[Hey Goddamn It], Things Have Got to Change,’ ‘The Damned Don’t Cry,’ and ‘The Cry of My People’ spoke directly to a consciousness of oppression and a politics of liberation.” In fact, the Black Panthers were a driving force behind Massey’s creation (with Franceschini) of The Black Liberation Movement Suite. At the first Pan-African Arts Festival in Algiers in 1969 Massey met exiled Panthers leader Eldridge Cleaver who commissioned the Suite primarily as a fundraising venture. The work would be performed at Black Panther benefits three times during Massey’s lifetime.

Massey paid heavy dues for his adventurous music and ideology, as did many of his contemporaries. According to his widow, an altercation with an executive at Blue Note Records resulted in his being blacklisted (or, as Fred Ho put it, “whitelist-ed”) from major recording companies. As a result, only one album was recorded under his name, Blues to Coltrane (Candid, recorded 1961, released 1987).

Massey died from a heart attack at the age of 44 in New York City, New York. October 25, 1972.
Stacey Kent - Close Your Eyes
Stacey Kent
Close Your Eyes
2LP | 2019 | UK | Original (Pure Pleasure)
40,99 €*
Release:2019 / UK – Original
Genre:Organic Grooves
Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London /// All arrangements by Jim Tomlinson except Dream Dancing by Colin Oxley /// It was one day in 1996 when a demo set turned up in my BBC post-bag, one of many that I receive in my capacity of jazz radio presenter. The singer’s name, Stacey Kent, was new to me, and the cassette sat on my desk for weeks taunting my conscience until, faced with a long car, I gathered it up with a variety of other tapes and transferred it to my car. On the road, it happened to be the first tape I picked up from the heap on the passenger seat – and the last. The singing held me riveted for the rest of the outgoing journey and throughout the return trip the next day. Now the invitation to write a note for this debut album calls upon me to analyse the cause of this rush of enthusiasm to the head.

Let’s start with the “feel”. Stacey Kent grew up in New York, exposed to the music of Frank Sinatra, Nat “King” Cole, and the jazz masters of the Swing Era. Before she thought of adopting a singing career, she had come to love the repertoire of American popular song, much of which had been established decades before she was born. And it shows in every note she sings.

The next stage in my analysis leads me to “style”, that elusive quality which identifies an artist’s handling of the subject matter. Many popular songs through the ages have survived as “standards” largely through the attention of jazz or jazz-influenced performers. To appreciate Stacey’s command of style, listen to “Day in, Day Out” and hear the natural ease with which she varies the recurring pattern of the song’s title.

Swing, elegant variation, impeccable pitch and diction – these are all the stock in-trade of an accomplished jazz singer, and to combine them all is an achievement in itself. What makes Stacey Kent so remarkable is her “sound”. The voice itself is an impressive instrument, in pitch and timbre coming closer to Mildred Bailey than to her acknowledged idols, Billie Holiday and Ella Fitzgerald. Strong and clear, it has the invigorating tang of Vermouth.

Of course, all the magic hitherto described could be subverted by inappropriate or insensitive accompaniment.

Stacey is richly served by her quintet here. The partnership between her voice and Jim Tomlinson’s tenor saxophone is sublime. The latter captures the spirit rather than the substance of Lester Young, whose way it was, not to expand a tune with complex harmonic exploration, but to probe for the essence of it. Listening to Jim’s solos such as in “Sleep Warm”, the irrelevant padding, no pressing need to launch into paraphrase until the moment is ripe.
Weldon Irvine - Liberated Brother
Weldon Irvine
Liberated Brother
LP | 1972 | US | Reissue (Pure Pleasure)
29,99 €*
Release:1972 / US – Reissue
Genre:Organic Grooves
Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

Weldon Irvine’s debut as a leader remains one of the most fiercely idiosyncratic electric jazz outings of the early ‘70s. Innovative not only for its moody, nuanced jazz-funk sensibility, Liberated Brother also translates the uncommonly strong passion of Irvine’s political and philosophical views into its grooves, creating music of rare sincerity and ambition. While the record’s first-half features longer, more meditative songs, like the Latin-inspired title tune and “Blues Wel-Don,” the second side of Liberated Brother commands the most attention. With sterling contributions from guitarist Tommy Smith, bassist Roland Wilson, and drummer Napoleon Revels-Bey, cuts like “Mr. Clean” and “Sister Sanctified” (later sampled by Boogie Down Productions for the rap classic “My Philosophy”) achieve a deeply funky consciousness forged from elements of jazz, soul, and psychedelia; “Juggah Buggah” even features Irvine on Moog synthesizer, further expanding the LP’s cosmic reach.
Clifford Jordan Quartet - Glass Bead Games
Clifford Jordan Quartet
Glass Bead Games
2LP | 1973 | US | Reissue (Pure Pleasure)
41,99 €*
Release:1973 / US – Reissue
Genre:Organic Grooves
* 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.
Charles Tolliver - All Stars
Charles Tolliver
All Stars
LP | 2019 | US | Original (Pure Pleasure)
29,99 €*
Release:2019 / US – Original
Genre:Organic Grooves
* Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London / This was Charles Tolliver’s first album as a leader. The setting is unique only because his second Freedom-Black Lion album “The Ringer” and all of his subsequent albums on Strata-East featured his quartet Music Inc. with pianist Stanley Cowell. Here he is surrounded in quartet and quintet formats with a truly stellar cast of the leading players on the New York jazz scene.

Charles plays the role of leader, composer and trumpeter. But it is surely that last role that deserves the most attention. The trumpet is a brass instrument that leans toward a hard sound and staccato phrasing. Yet Tolliver is the quintessence of fluidity. While it may be undeniable that he has learned from his musical heritage and past trumpet masters, a trumpeter of such flow, tone, control, lyricism and creativity is, by definition, a major musician.

Charles Tolliver first came to the professional jazz scene in the mid-sixties, when he first met Jackie McLean. Under McLean’s leadership, he played on a number of Blue Note record sessions, some of which have yet to be released. He contributed original tunes to many of those sessions.

Within a couple of years, Tolliver was a well known figure in New York circles, playing and/or recording with Booker Ervin, Archie Shepp, Andrew Hill, Roy Ayers, Art Blakey, Sonny Rollins, Willie Bobo, Gerald Wilson, McCoy Tyner, Hank Mobley, and many others. His compositions were getting recorded by many artists. He gained his greatest recognition during a two year stint with the Max Roach quintet that also included Gary Bartz and Stanley Cowell.

There is also a previously unreleased bonus track of the song, "Repetition", recorded by Charles for this LP which will be included on this new release of the album. This song was originally made famous by Charlie Parker's LP With Strings.

This album is certainly an important and lasting document in light of the musicians involved and in light of its unique context for Charles Tolliver. But basically, it is just a great album to listen to.
John Hicks - Hells Bells
John Hicks
Hells Bells
LP | 1980 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1980 / UK – Reissue
Genre:Organic Grooves
John Hicks (1941-2006) gave much to jazz over several decades but never really received the appreciation he so richly deserved. As a pianist, he proved himself in the Art Blakey and Betty Carter universities. He was also the prototypical musician's musician, a first-call pianist for many jazz greats and a magnificent accompanist to the art's best saxists, including Pharoah Sanders, Arthur Blythe, Chico Freeman, Archie Shepp, and David Murray.
He was often accused of hovering in McCoy Tyner's shadow, which is unfair and untrue. But he evinced a great fondness for Coltrane's music and was often heard on many a Coltrane tribute, showing affection for the saxophonist and his appreciation for Tyner's contribution to Coltrane's finest music.
Another facet of John Hicks' career, which gets even less attention than his wondrous playing, is his ability to craft identifiable compositions that are wandering and melodic, suggestive and malleable yet memorable all at once.
It would be difficult to conceive the ideal tribute to John Hicks. As a jazz contributor, he wasn't easily pigeon-holed. While he was always a (straight) jazz player, he skirted the edges of free jazz and pure romanticism that neither side ever appreciates in the other. But both camps could find moments of joyous life in all the ways Hicks chose to express himself. He was an unmistakably perfect accompanist in any mode.
Phil Ranelin - The Time Is Now
Phil Ranelin
The Time Is Now
LP | 1974 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1974 / UK – Reissue
Genre:Organic Grooves
Phil Ranelin's first record as a leader is worlds away from his later 1976 offering, "Vibes From the Tribe". "The Time Is Now" is a vanguard jazz record, full of the spirit, determination, and innovation inspired by John Coltrane, Eric Dolphy, Cecil Taylor, Pharoah Sanders, and Archie Shepp. Recorded in 1973 and 1974 and released at the end of 1974, the set shows Ranelin to be an imposing composer and frightfully good trombonist. The original album contained six compositions that are a deep musical brew of avant-garde improvisation, hard bop jazz esthetics, and soulful melodic ideas that were superimposed as a jump off point for both harmonic and rhythmic (read: Latin) invention. The stamp of Detroit is all over this thing. Tracks like the title and "Black Destiny" reflect the anger and vision of the era, while moving it all in a positive musical direction. Soloists on the set include the rest of the Tribe collective -- Marcus Belgrave and Wendell Harrison -- as well as local players who deserved far more than they received in terms of national recognitions: bassist Reggie 'Shoo-Be Doo' Fields, trumpeter Charles Moore, pianist Keith Vreeland, drummer Bill Turner, and others including Ranelin himself. The arrangements on "The Time Is Now" were ahead of their time, clustering a rhythm section as part of the horn's front line ("13th and Senate" and the title track) and a stylistic angularity that reflected both musical history and futurism in jazz and R&B ("Time Is Running Out" and "Times Gone By"). "The Time Is Now" is a must for any vanguard jazz aficionado or anyone interested in the strange, rhythm-oriented evolution of Detroit music.
Weldon Irvine - Cosmic Vortex (Justice Devine)
Weldon Irvine
Cosmic Vortex (Justice Devine)
LP | 1974 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1974 / UK – Reissue
Genre:Organic Grooves
After two visionary LPs for his own tiny Nodlew label, Weldon Irvine signed to RCA for "Cosmic Vortex (Justice Divine)", exploring the deeply spiritual and political terrain of his previous efforts on the kind of grand musical scale that major-label funding accommodates. This is a big, bold record by any measure, with a startlingly pronounced focus on lyrics and vocals. At the same time, however, the melodies spread out like tentacles, informed by the improvisational sensibilities of jazz and the deep-groove spirit of funk.
Wendell Harrison - An Evening With The Devil
Wendell Harrison
An Evening With The Devil
LP | 1972 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1972 / UK – Reissue
Genre:Organic Grooves
»The compositions we play are reflective of the music of our times whereby we play Jazz, Rock, and African music with its poly or many rhythms. I wrote all the tunes on this particular LP and it is written as a suite in 5 movements which means that the music can be performed along with poetry and dancers. On our last LP called “Message From The Tribe” we featured the compositions of our very talented composer, arranger, and trombonist Phil Ranelin. On one side he wrote all the compositions and on the flip side I wrote all the tunes. This album was produced by us on the Tribe record label. As far as the music on “Evening With The Devil” is concerned it really speaks for itself. In addition to the music it features some relevant poetry by two very talented young poets named Oba and Vajava who are also members of a very excellent theatre group in Detroit called The Black Messengers.«
Extract from the sleeve notes of this album by Wendell Harrison.
Bob Brookmeyer - Kansas City Revisited
Charles Lloyd Quartet, The - Love-In
Charles Lloyd Quartet, The
Love-In
LP | 1967 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1967 / UK – Reissue
Genre:Organic Grooves
Four-and-a-half decades after the event, saxophonist Charles Lloyd's "Love-In", recorded live at San Francisco's Fillmore Auditorium in 1967, the counterculture's West Coast music hub, endures as much as an archaeological artifact as a musical document. From sleeve designer Stanislaw Zagorski's treatment of Rolling Stone photographer Jim Marshall's cover shot, through the album title and some of the track titles ("Tribal Dance", "Temple Bells"), and the inclusion of John Lennon and Paul McCartney's "Here There And Everywhere", "Love-In's" semiology reeks of the acid-drenched zeitgeist of the mid 1960s, a time when creative music flourished, and rock fans were prepared to embrace jazz, provided the musicians did not come on like their parents: juicers dressed in sharp suits exuding cynicism.
It is likely that more joints were rolled on "Love-In's" cover than that of any other jazz LP of the era, with the possible exception of saxophonists John Coltrane's "A Love Supreme" (Impulse!, 1965) and Pharoah Sanders's "Tauhid" (Impulse!, 1967). Chet Helms, a key mover and shaker in the West Coast counterculture, spoke for many when he hailed the Lloyd quartet as »the first psychedelic jazz group«.
It is to Lloyd's credit that, at least in the early stages of his adoption by the counterculture, he resisted dumbing down his music. The adoption stemmed from Lloyd's espoused attitude to society, his media savvy, his sartorial style and his sheer nerve in playing jazz in the temples of rock culture. He took the quartet into the Fillmore West three years before trumpeter Miles Davis took his into the Fillmore East.
So "Love-In" comes with a load of baggage, some of it less than fragrant. But as 45 minutes of music, it still has legs. Lloyd's vocalized tenor (and flute on two tracks) has Coltrane-derived muscle; the young Jarrett's lyrical and funky solos, particularly on his 07:55 showcase, the gospel-ish "Sunday Morning", his two featured originals ("Sunday Morning" and the soul jazz-ish "Is It Really the Same?"), and his playing the strings of the piano directly with his hands, all remain compelling; McClure and DeJohnette are solid and inventive.
John Gordon - Step By Step
John Gordon
Step By Step
LP | 1976 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1976 / UK – Reissue
Genre:Organic Grooves
John Gordon, a trombone master, brings us another gem from that most renowned of 70’s record labels, Strata-East. The trombone is a difficult instrument. In the hands of an artist like John Gordon, however, it can create vivid images and conjure up beautiful music. And when the cohort of other players includes the likes of Charles Tolliver & Stanley Cowell, you know you’re in for an extra treat.
Modern Jazz Quartet - The Sheriff
Ruth Brown - Miss Rhythm
Solomon Burke - King Solomon
Annie Ross & Zoot Sims - A Gasser
Annie Ross & Zoot Sims
A Gasser
LP | 1959 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1959 / UK – Reissue
Genre:Organic Grooves
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.
Billy Harper - Capra Black
Shamek Farrah - First Impressions
Tito Rodriguez And His Orchestra - Three Loves Have I
Lee Konitz - Inside Hi-Fi
Carmen McRae - Lover Man & Other Billie Holiday Classics
Norman Connors - Love From The Sun
Stanley Cowell - Regeneration
Stanley Cowell
Regeneration
LP | 1976 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1976 / UK – Reissue
Genre:Organic Grooves
Around the time of this recording, Stanley Cowell had achieved a degree of prominence as the pianist for the advanced bop quartet Music Inc., which he co-led with trumpeter Charles Tolliver, as well as for unusual projects like his Piano Choir. With Regeneration he chose another path, essentially trying to produce a jazz-infused pop album with strong African roots, perhaps owing a little bit to Stevie Wonder. He assembled an extremely strong cast of musicians for the venture, including Marion Brown, Billy Higgins, and Ed Blackwell, as well as several African string and percussion masters and, by and large, succeeded conceptually if not commercially. A few songs use vocals in a fairly standard pop framework, and, while they are performed capably enough, the lyrical content leaves something to be desired in typical mid-'70s fashion. But much of the rest of the music makes up for this with, among other things, a delightful fife and drum piece by Brown and strong bass work by Bill Lee (Spike's dad). Regeneration is an interesting, often enjoyable album which, aside from its own small pleasures, provides a snapshot of some of the cross-fertilization in genres occurring at the time.
Sam Dees - The Show Must Go On
Sam Dees
The Show Must Go On
LP | 1975 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1975 / UK – Reissue
Genre:Organic Grooves
The best R&B songwriter and soul singer that most people have never heard of, Sam Dees has written songs for countless artists, including Gladys Knight, Aretha Franklin, Whitney Houston, George Benson, the Temptations, Teddy Pendergrass, Millie Jackson, Jackie Wilson, the Manhattans, Regina Belle, KC & the Sunshine Band, Willie Clayton, and many others. He's also a pretty fine singer, having recorded for the Chess, Atlantic, Polydor, and SSS labels, and he had a nice string of his own hits in the 1970s. His 1975 Atlantic album The Show Must Go On has long been regarded by Southern soul aficionados as one of the best of the genre. Sounding a bit like a deeper-voiced Curtis Mayfield (in both style and theme), Dees sings with assurance, wisdom, passion, and a whole lot of soul here. Songs like "Child of the Streets", "Troubled Child," & "What's It Gonna Be," share Mayfield's commitment to social commentary, and Dees knows his way around a love song, too. It's absolutely essential.
Billy Parker's Fourth World - Freedom Of Speech
Billy Parker's Fourth World
Freedom Of Speech
LP | 1975 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1975 / UK – Reissue
Genre:Organic Grooves
Most of the musicians who gathered to record this fantastic spiritual jazz record for the Strata-East label on May 24th, 1974 had crossed each other's paths in various musical pairings over the preceding few years. Husband and wife team Dee Dee Bridgewater (vocals) and Cecil Bridgewater (trumpet) had been working together on albums like Frank Foster's "Loud Minority", and Roy Ayers' "Coffy" and "Virgo Red". Ten weeks before the "Freedom Of Speech" session, the couple had been joined in Tokyo by Cecil's brother Ronald Bridgewater (tenor saxaphone) to record Dee Dee's debut album, the beautiful "Afro Blue". Also in the studio on May 24th, 1974 was Donald Smith, (piano, vocals), fresh from recording on his older brother Lonnie Liston Smith's "Cosmic Funk" - on which Ronald Bridgewater had also played percussion. Cecil McBee (bass) was also there - just two weeks before, he'd completed his own Strata East date "Mutima", and in February he'd played on Mtume's "Rebirth Cycle" - with both albums also featuring Dee Dee Bridgewater on vocals. He'd also played on Lonnie Liston Smith's "Astral Travelling".
So 1974 was a huge year for all five of these people. Donald Smith and Cecil McBee were six months away from recording on Lonnie Liston Smith's massive "Expansions", with McBee fitting in a few Pharoah Sanders albums in between.
AND THEN, THE MYSTERY ... So with all this fervent activity, the question has to be asked ...Who was Billy Earl Parker Jr (drums), the leader of this session?
Billy Parker remains unlisted as a musician on all major jazz sites. His only other recording appears to be as a percussionist on Charles Tolliver's "Impact" in 1975.
Etta James - The Right Time
Thelonious Monk - Criss-Cross
Modern Jazz Quartet - Pyramid
Modern Jazz Quartet
Pyramid
LP | 1960 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1960 / UK – Reissue
Genre:Organic Grooves
With such a tight group as the MJQ is is impossible to single out individual musicians which probably accounts for their long lived success.
This is a strong recording from the Modern Jazz Quartet, with inventive versions of John Lewis' "Vendome". Ray Brown's "Pyramid", Jim Hall's "Romaine", and Lewis' famous "Django", along with cooking jams on "How High The Moon" and "It Don't Mean A Thing". The MJQ had become a jazz institution by this time, but they never lost their creative edge, and their performances (even on the remakes) are quite stimulating, enthusiastic, and fresh. Scott Yanow/AMG
Charles Lloyd - Dream Weaver
Charles Lloyd
Dream Weaver
LP | 1966 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1966 / UK – Reissue
Genre:Organic Grooves
The first studio date of the Charles Lloyd Quartet, with Keith Jarrett, Cecil McBee, and Jack DeJohnette, was recorded and released just a few days before the band took both the European and American festival circuits by storm. First came Europe, which was just getting the disc as the band was tearing up its stages. While the live dates are now the stuff of legend, it's easy to overlook the recordings, but to do so would be a mistake. "Dream Weaver" is a fully realized project by a band -- a real band -- in which each member has a unique part of the whole to contribute. Jarrett's unusual piano style fits musically with Lloyd's lyricism in a way that it shouldn't. Jarrett was even then an iconoclast, playing harmonic figures from the inside out and relying on counterpoint to create new spaces, not fill them in. (Just listen to "Autumn Sequence", where his solos and his backing harmonics are equally strident and inventive as Lloyd's Eastern explorations of mood and mode.) And then there's the rhythm section of McBee and DeJohnette, whose modal inventions on the intervals make the "Dream Weaver" suite an exercise in open time, allowing all players to wander around inside it and take what they want out. The set closes with a group party jam on "Sombrero Sam", with Lloyd and Jarrett trading eights on a Cuban variation on a fantasia. There were no records like this one by new groups in 1966.
Zodiac, The - Cosmic Sounds
Zodiac, The
Cosmic Sounds
LP | 1967 | UK | Reissue (Pure Pleasure)
25,19 €* 27,99 € -10%
Release:1967 / UK – Reissue
Genre:Rock / Indie
Absolutely essential Peel favourite Psych masterpiece now back on Vinyl taken from Analogue Masters and like you’ve never heard it before … A conceptual Psychedelic collaboration by MORT GARSON!
This album was released on the ELEKTRA label in August 1967 in the U.K. It was heavily played by John Peel on his Perfumed Garden shows, where he used it as a basis for a competition (He had been sent a copy by Clive Selwood, the then head of Elektra’s London office and later to become Peel’s manager). The LP was extremely popular with Perfumed Garden listeners and was mentioned in the lyrics of Geoffrey Prowse’s fan tribute to the program, “The Perfumed Garden Blues, or John Peel’s lament”.
'»He played the Mothers of Invention and the Velvet Underground. He played some freaky music called the Zodiac Cosmic Sounds...«
The 12-track concept album featured both music and spoken narration on the theme of signs of the zodiac. Based on an initial idea by Elektra chief Jac Holzman, it was a collaborative effort with music written by Mort Garson, words by Jacques Wilson, and narration by Cyrus Faryar. The early use of the Moog synthesizer was by Paul Beaver. There was no artist called either The Zodiac or Cosmic Sounds, a fact which confused some buyers of the LP. The back sleeve informed listeners that the record "MUST BE PLAYED IN THE DARK".
In 1994, Peel played the LP again in full over three months on his BBC Radio One shows in a regular spot shortly after the 5.30 news on Saturday afternoons, to follow a similar run through the ‘Astrology Songs’ album of Harvey Sid Fisher.
Peel continued to broadcast selections from the 1967 LP into the 21st century, usually coupled with more contemporary tracks with similar themes. On 13 August 2002, he commented:
»Hasn’t really stood the test of time terribly well, but at the same time, clutches at the heart slightly.«

Recording: 1967 by Jim Lockert
Production: Jac Holzman
George Benson - In Flight
George Benson
In Flight
LP | 1977 | UK | Reissue (Pure Pleasure)
27,99 €*
Release:1977 / UK – Reissue
Genre:Organic Grooves
Simply one of the greatest guitarists in jazz history, George Benson is an amazingly versatile musician, whose adept skills find him crossing easily between straight-ahead jazz, smooth jazz, and contemporary R&B. Blessed with supreme taste, a beautiful, rounded guitar tone, terrific speed, a marvelous sense of logic in building solos, and, always, an unquenchable urge to swing, Benson's inspirations may have been Charlie Christian and Wes Montgomery, but his style is completely his own. Not only can he play lead brilliantly, he is also one of the best rhythm guitarists around, supportive to soloists and a dangerous swinger, particularly in a soul-jazz format. Yet Benson can also sing in a lush, soulful tenor with mannerisms similar to those of Stevie Wonder and Donny Hathaway, and it is his voice that has proven more marketable to the public than his guitar. Benson is the guitar-playing equivalent of Nat King Cole -- a fantastic pianist whose smooth way with a pop vocal eventually eclipsed his instrumental prowess in the marketplace -- but unlike Cole, Benson has been granted enough time after his fling with the pop charts to reaffirm his jazz guitar credentials, which he still does at his concerts.
In the wake of "This Masquerade", the balance of power shifted for the first time toward George Benson's suddenly marketable voice; four of the six tracks on "In Flight" are vocals. By this time, Benson was tailoring his tenor toward soulful pitch-bending à la Stevie Wonder on tunes as diverse as "Nature Boy" and "The World Is a Ghetto", and the unison scatting with the guitar that caught fire with the public on "Masquerade" is now pulled out whenever possible. Benson's backing band from "Breezin'", still set in its funk mode, is intact, and Claus Ogerman again contributes gentle orchestral cushions. The two instrumentals, particularly Donny Hathaway's "Valdez In The Country", prove that Benson remained a brilliantly inventive melodist on guitar, in full possession of his powers. Yet there is every indication here that Benson was set upon becoming primarily a pop star. By Richard S. Ginell/AMG

Recording: 1977 at Capitol Studios, Hollywood, by Al Schmitt
Production: Tommy Lipuma
Sydney Bechet - The Grand Master Of The Soprano Saxophon
Sydney Bechet
The Grand Master Of The Soprano Saxophon
LP | 1956 | UK | Reissue (Pure Pleasure)
27,99 €*
Release:1956 / UK – Reissue
Genre:Organic Grooves
Sidney Bechet's historic recordings for Blue Note and RCA Victor tend to overshadow some of his other work because they have been reissued more frequently, though there are lesser-known dates worth acquiring as well. This Columbia LP compiles three separate recording sessions made between 1938 and 1947. Bechet sticks almost exclusively to soprano sax throughout each of them and has ample space for his solos, full of his trademark heavy vibrato. The earliest set matches him with drummer Zutty Singleton, bassist Henry Turner, and guitarist Leonard Ware (all members of his working band at the time), along with pianist Dave Bowman and baritone saxophonist Ernie Caceres. The Bechet-Singleton collaboration "Jungle Drums" has delightful solos by the two reeds, along with Singleton's exotic tom-toms. Six tracks come from a 1947 quartet with pianist Lloyd Phillips, bassist Pops Foster, and either Freddie Moore or Arthur Herbert on drums. Bechet's swinging tribute to a legendary jazzman, "Buddy Bolden Stomp", a romp through "Just One Of Those Things", and a heartfelt arrangement of "Laura" are the highlights of this session. Another 1947 session gives a preview of the future of classic jazz, featuring a sextet led by Bechet's star pupil, a young Bob Wilber, along with Dick Wellstood, who would rise to fame as a master stride interpreter. Bechet plays soprano sax and Wilber sticks to clarinet on two numbers, though they switch roles on "Kansas City Man Blues". While Wilber doesn't have Bechet's strong vibrato on soprano sax, they are harder to tell apart on clarinet.
Ken Dryden/AMG

Recording: November 1938 and July 1947
John Lewis - The Wonderful World Of Jazz
John Lewis
The Wonderful World Of Jazz
LP | 1960 | UK | Reissue (Pure Pleasure)
27,99 €*
Release:1960 / UK – Reissue
Genre:Organic Grooves
There is nothing hurried about this disc. That said, the music is focused and will stretch your mind. Lewis employed masterful melodic improvisers here: Paul Gonsalves, Eric Dolphy, Jim Hall among others. Listen to "Body And Soul" as it builds powerfully and the soloists explore every possible melodic theme, where the quiet power of these master musicians is almost too much to take. Listen to "I Remember Clifford" where the players are essentially the MJQ with Jim Hall replacing Milt Jackson. This set swings, but oh-so-elegantly. Just like Mr. Lewis.
S.C.Berry
Whether you're an old-time jazz afficionado or new to the genre, this album is essential. In my opinion, Lewis' lovely solo on "Body & Soul" makes his version virtually definitive - 15 minutes of bliss. The rest of the album, particularly "Afternoon In Paris", is at the same level. "Wonderful" is the perfect title for this record.
E Barrios

Recording: July and September 1960
Production: Nesuhi Ertegun & Tom Dowd
Carmen McRae - The Great American Songbook
Carmen McRae
The Great American Songbook
2LP | 1972 | UK | Reissue (Pure Pleasure)
39,99 €*
Release:1972 / UK – Reissue
Genre:Organic Grooves
This is a gem of an album and one of my favorites by McRae. It was recorded live for Atlantic Records at Donte's Club in Los Angeles on November 6, 1971 and released the following year.
What I love is not only the choice of songs, but the sound quality and the performance itself. The set not only contains established standards by Ellington, Cole Porter and the other greats, but some new (at the time) material. Including Burt Bacharach's "They Long To Be Close To You" in the set was a wise decision in my opinion. It deserves to be a standard. Of course there is the obligatory Billie Holiday song that McRae would include in all of her performances. On this album it's "I Cried For You", which was one of Billie's first recordings in 1936.
The sound quality is superb. The engineer managed to capture not only the energy from the live performance, but the richness of the ensemble backing McRae. Indeed, the musicians backing her are perfect for the material: Jimmy Rowles on piano (who wrote the "Ballad" of Thelonious Monk), Joe Pass on guitar, Chuck Domanico on bass and Chuck Flores on drums.
If you love hearing some of the best songs from the Great American Songbook performed by a master this album will delight you. There is a cohesiveness to the album that earns kudos from the production team as well as the performers. Interestingly McRae and her ensemble performed 32 songs the night that this was recorded. One can only speculate as to why a volume 2 wasn't released. Regardless, this is - in my opinion - some of McRae's best live material.
Mike Tarrani

Recording: November 1971 live at Donte's, Los Angeles CA., by Ray Thompson
Production: Jack Rael
Miroslav Vitous - Infinite Search
Rahsaan Roland Kirk - Bright Moments
Dave Brubeck Trio, The & Gerry Mulligan - Blues Roots
Randy Weston - African Cookbook
Randy Weston
African Cookbook
LP | 1964 | UK | Reissue (Pure Pleasure)
25,19 €* 27,99 € -10%
Release:1964 / UK – Reissue
Genre:Organic Grooves
When this set was recorded in 1964, pianist Randy Weston had no luck interesting any label to release the music, so he came out with it independently on his tiny Bakton company & then in 1972 Atlantic released the performances. It is surprising that no company in the mid-1960s signed Weston up because "Willie's Tune" from the set had the potential to catch on, "Berkshire Blues" is somewhat known and the mixture of accessible bop with African rhythms overall is appealing. Trumpeter Ray Copeland was responsible for the arrangements while Weston contributed all but one of the songs. Copeland and the great tenor Booker Ervin have their share of solo space, bassist Vishnu Wood and drummer Lenny McBrowne are fine in support, and on three numbers the percussion of Big Black and Sir Harold Murray are added; Big Black also sings on "Congolese Children". An excellent outing, infectionously listenable!!
Ben Webster - The Warm Moods
Big Joe Turner - The Boss Of The Blues Sings Kansas City Jazz
Big Joe Turner
The Boss Of The Blues Sings Kansas City Jazz
LP | 1956 | UK | Reissue (Pure Pleasure)
27,99 €*
Release:1956 / UK – Reissue
Genre:Organic Grooves
Besides helping to invent rock 'n roll with his hit "Shake, Rattle and Roll", Big Joe Turner was one of the most soulful blues shouters of all time. His best albums married the boogie-woogie piano stylings of the great Pete Johnson with a jazzy jumpin' horn section. "Boss Of The Blues" is arguably Joe's best recording, in part because he sang with particular gusto during these 1956 sessions. At the time, "Boss Of The Blues" marked a nostalgic return to the jump-blues style that Turner helped pioneer in the '40s. Besides Johnson, Boss featured some of Kansas City's finest ever jazzmen and various members of Count Basie's band, including Joe Newman (trumpet), Pete Brown (alto sax), Lawrence Brown (trombone), Frank Wess (tenor sax) and Freddie Green (guitar). The bawdy "Cherry Red" and the rollicking "Roll 'Em Pete" are my favorite Turner-Johnson collaborations. Both feature some incredible playing by the piano master. Turner's versions of "I Want A Little Girl", "Low Down Dog", "You're Driving Me Crazy", and "Morning Glories" are definitive. If I had to compile a list of my 10 favorite albums, "Boss Of The Blues" would be there.
Mose Allison - Takes To The Hills
Mose Allison
Takes To The Hills
LP | 1962 | UK | Reissue (Pure Pleasure)
24,29 €* 26,99 € -10%
Release:1962 / UK – Reissue
Genre:Organic Grooves
The incomparable and profoundly influential pianist/singer-songwriter Mose Allison – who’s inspired everyone from Georgie Fame, The Who and The Clash to Van Morrison and Pixies – developed his own unique, idiosyncratic style that melded an ironic sense of wit and humour with country-blues inflections and a bebop-esque vocabulary. Besides cool playing and his uniquely smoky singing, has great taste in material. "Hey Good Lookin'" fits right in with revisited versions of "I Love the Life I Live", "I Ain't Got Nobody" and "Baby Please Don't Go", complete with what the singer himself calls his distinctive 'involuntary groan' during the piano solo. Teo Macero's intimate production makes it feel like you're right there in the studio.
Kenny Burrell - God Bless The Child
Kenny Burrell
God Bless The Child
LP | 1971 | UK | Reissue (Pure Pleasure)
26,99 €*
Release:1971 / UK – Reissue
Genre:Organic Grooves
Kenny Burrell's guitar artistry is well-documented in his years with Oscar Peterson and on his first dates as a leader on the Blue Note label, but "God Bless The Child", his only date for CTI in 1971, is an under-heard masterpiece in his catalogue. Burrell's band for the set includes bassist Ron Carter, percussionist Ray Barretto, Richard Wyands on piano, flutist Hubert Laws, trumpeter Freddie Hubbard, and drummer Billy Cobham. CTI's house arranger, Don Sebesky, assembled and conducted the strings in a manner that stands strangely and beautifully apart from his other work on the label. Sebesky understood Burrell's understated approach to playing guitar. Burrell didn't belong with the fusioneers, but he could groove better than any of them. Sebesky built a moody, atmospheric soundscape behind him, one that was as impressionistic as it was illuminating of a player who could dig in and chop it up -- as he does on his own composition "Love Is the Answer" and "Do What You Gotta Do" -- and stroke it smooth and mellow as on the title track, the truly sublime "Be Yourself", and Thad Jones' "A Child Is Born". This is Burrell at his level best as a player to be sure, but also as a composer and as a bandleader. Magnificent.

Recording: April & May 1971 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA
Production: Creed Taylor
Melvin Taylor - Plays The Blues For You
Melvin Taylor
Plays The Blues For You
LP | 1984 | UK | Reissue (Pure Pleasure)
26,99 €*
Release:1984 / UK – Reissue
Genre:Organic Grooves
Guitarist Melvin Taylor's fluid, smartly constructed solos and understated yet winning vocals are surprises on this 1984 nine-track set recorded for Isabel. Taylor is not a fancy or arresting singer but succeeds through his simple, effective delivery of lyrics, slight inflections, and vocal nuances. His guitar work is impressive, with skittering riffs, shifting runs, and dashing solos. Organist/pianist Lucky Peterson is an excellent second soloist, adding cute background phrases at times, then stepping forward and challenging or buttressing Taylor's playing with his own dazzling lines.
Esther Phillips - From A Whisper To A Scream
Esther Phillips
From A Whisper To A Scream
LP | 1971 | UK | Reissue (Pure Pleasure)
25,99 €*
Release:1971 / UK – Reissue
Genre:Organic Grooves
One of Esther Phillips finest '70s releases, From "A Whisper To A Scream" is the first of seven albums the singer recorded for CTI offshoot Kudu. Arranged and conducted by Pee Wee Ellis, the December 1971 session also involved principal players such as bassist Gordon Edwards, drummer Bernard Purdie, percussionist Airto, guitarists Cornell Dupree and Eric Gale, keyboardist Richard Tee, and saxophonists Hank Crawford and David Liebman. Setting the tone for Phillips' Kudu era, "Whisper" offers a series of spacious, yet fully arranged ballads of burning heartache, along with a handful of relatively funky numbers that do nothing to compromise her talent, dishing out loads of classy grit. It's a definite point of departure from the likes of "Esther Phillips Sings" and "And I Love Him!", her field of contemporaries closer to Al Green and Aretha Franklin than before. She grabs onto "Home Is Where The Hatred Is," Gil Scott-Heron's most harrowing rumination on drug dependency -- which, at that point, wasn't even a year old -- as if it were her very own, and it's all the more poignant given its parallels with her own life. (It’s meaning was only compounded by her death in 1984.) Though there is absolutely nothing lacking in the album's more energetic moments, it's still the ballads that shine brightest, like the alternately fragile and explosive "From A Whisper To A Scream" (Allen Toussaint) and a staggering "Baby, I'm for Real" (Marvin and Anna Gordy, made popular by the Originals) so vulnerable yet commanding that it really should've closed the album.
Freddie Hubbard - Straight Life
Charles Mingus - East Coasting
Charles Mingus
East Coasting
LP | 1957 | UK | Reissue (Pure Pleasure)
27,99 €*
Release:1957 / UK – Reissue
Genre:Organic Grooves
Charles Mingus is usually known for his wild, soulful and avant-garde compositions. "East Coasting" is mellow by comparison, but it still cooks on a musical level. The Mingus touches are there; the trombone, drummer Danny Richmond and of course the dark emotional undercurrent looms large, too. The personnel are all Mingus regulars, except for pianist Bill Evans, who would not be described as 'soulful' in the traditional sense, but his introverted and sensitive style works well with Mingus's music. His playing on "West Coast Ghost" (the album's stand-out track) and "Celia" are two examples of Evans' ability to understand an artist's musical vision and play accordingly in his own beautifully original style.?"East Coasting" sounds like the prototypical 1950s jazz recording. It's something one would hear in an attic converted to a bedroom where an artist or lonely soul might live. It's what a lot of people might believe Jazz would or should sound like. Highly recommended to Jazz lovers and perhaps more importantly to young people who have just been blown away by Kerouac's novel "On The Road" and have become interested in exploring Jazz. "East Coasting" will allow them to get a taste of lost creative America.

Recording: August 1957 in New York City
Milt Jackson - Sunflower
Milt Jackson
Sunflower
LP | 1973 | UK | Reissue (Pure Pleasure)
26,99 €*
Release:1973 / UK – Reissue
Genre:Organic Grooves
Recorded over two days in December of 1972 at Rudy Van Gelder's Englewood, New Jersey home studio, vibraphonist Milt Jackson's "Sunflower" is the first -- and best -- of his three albums for Creed Taylor's CTI imprint. (And one of the finest offerings on the label.) With a core band consisting of Herbie Hancock (playing electric and acoustic piano), bassist Ron Carter, drummer Billy Cobham, trumpeter Freddie Hubbard, drummer/percussionist Ralph McDonald, and guitarist Jay Berliner. A chamber orchestra exquisitely arranged and conducted by Don Sebesky adorns the session as well. Jackson's "For Someone I Love", opens the five-tune set, with Berliner playing solo flamenco guitar before the vibes, trumpet, and elements from the chamber orchestra delicately, impressionistically color the background. It gradually moves into a languid, bluesy ballad that slowly gains in both texture and dynamic until the strings trill tensely. Hubbard and Hancock engage them in solos that gently swing out the tune. The reading of Michel Legrand's "What Are You Doing for the Rest of Your Life" is a gorgeous showcase for Jackson; his solo dominates the arrangement. Carter gets downright funky on his upright to introduce Thom Bell's "People Make The World Go Round," and Hancock follows him on Rhodes. Jackson takes the melody, striking a layered contrast as Hubbard slips around all three playing an extension of the melody with requisite taste, fluidity, and taut phrasing. Hancock gets funky to the bone in his brief solo, as the vibes soar around and through his phrases. The title track is a Hubbard composition that floats and hovers with a Latin backbeat before shifting tempos as the solos begin. The expanded harmonic palette of trumpet with the reeds, woodwinds, and strings on the melody add an exotic textural palette for his solo. Jackson's "SKJ" closes the set with an old-school, swinging hard bop blues with barely detectable embellishments by Sebesky. While "Sunflower" sometimes feels more like a group session rather than a Jackson-led one, that's part of its exquisite beauty.
Oscar Pettiford - Volume 2
Count Basie & His Orchestra - Kansas City Suite
Canned Heat & John Lee Hooker - Hooker'n Heat
Jamie Cullum - Pointless Nostalgic
Nat King Cole - Penthouse Serenade
Paul Quinchette & Charlie Rouse - The Chase Is On
Otis Rush - Right Place Wrong Place
Sonny Rollins & Coleman Hawkins - Sonny Meets Hawk
Sonny Rollins & Coleman Hawkins
Sonny Meets Hawk
LP | UK | Reissue (Pure Pleasure)
26,99 €*
Release:UK – Reissue
Genre:Organic Grooves
Special hi-quality 180 gram limited edition. Audiophile mastering and pressing!
Duke Ellington & Orchestra - Such Sweet Thunder
Duke Ellington & Orchestra
Such Sweet Thunder
LP | UK | Reissue (Pure Pleasure)
21,74 €* 28,99 € -25%
Release:UK – Reissue
Genre:Organic Grooves
Special hi-quality 180 gram limited edition. Audiophile mastering and pressing!
Duke Ellington - The Nutcracker Suite
Duke Ellington
The Nutcracker Suite
LP | UK | Reissue (Pure Pleasure)
27,99 €*
Release:UK – Reissue
Genre:Organic Grooves
Special hi-quality 180 gram limited edition. Audiophile mastering and pressing!
Charles Mingus - Let My Children Hear Music
Charles Mingus
Let My Children Hear Music
LP | UK | Reissue (Pure Pleasure)
27,99 €*
Release:UK – Reissue
Genre:Organic Grooves
Special hi-quality 180 gram limited edition. Audiophile mastering and pressing!
Charles Mingus - Presents Charles Mingus
Charles Mingus
Presents Charles Mingus
LP | UK | Reissue (Pure Pleasure)
24,64 €* 28,99 € -15%
Release:UK – Reissue
Genre:Organic Grooves
Special hi-quality 180 gram limited edition. Audiophile mastering and pressing!
Booker Little - Out Front
Booker Little
Out Front
LP | UK | Reissue (Pure Pleasure)
27,99 €*
Release:UK – Reissue
Genre:Organic Grooves
Special hi-quality 180 gram limited edition. Audiophile mastering and pressing!
Abbey Lincoln - Straight Ahead
Abbey Lincoln
Straight Ahead
LP | UK | Reissue (Pure Pleasure)
26,99 €*
Release:UK – Reissue
Genre:Organic Grooves
Special hi-quality 180 gram limited edition. Audiophile mastering and pressing!
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