- Lowest Price
- Highest Price
In The Jungle GrooveIn The Jungle groove is a compilation album by the great James Brown, released in August 1986 on Polydor Records. Originally issued to capitalize on
the popularity of Brown's music in hip hop circles at the time, it includes the first album release of the much-sampled single Funky Drummer (1969),
along with a selection of previously unreleased tracks, alternate takes, and remixes. The album's title is taken from a song Brown recorded in the studio in
August 1970LP 1
1. It's A New Day
2. Funky Drummer
3. Give It Up Or Turnit A Loose
4. I Got To Move
5. Funky Drummer
1. Talkin' Loud And Sayin' Nothing
2. Get Up, Get Into It, Get Involved
3. Soul Power
4. Hot Pants (She Got To Use What She Got To Get What She Wants)$34.99Vinyl LP - 2 LPs Sealed Buy Now
Slammin And JamminCharles Earland was known as the Mighty Burner for the intense way he commanded the Hammond B-3. Earland was originally a saxophonist who taught himself the unwieldy organ during a sax stint in Jimmy McGriff's band. Right from the get go, Earland coaxed the most individual of sounds from the Hammond B-3, firing off machine-gun ostinatos balanced with a cavalcade of just-right cushioning from his left hand and, most notably, a string-bassist's command of the organ's difficult foot pedals.
Earland's May 1997 recording of Slammin' & Jammin', now re-released by Savant as part of their 180-gram LP series, is among the Mighty Burner's very best. The six cookers here, not a ballad in the bunch, a collection of familiar and soulful covers, these grooves are ones Earland himself always admired. From Bill Doggett's Honky Tonk and Joe Zawinul's Mercy, Mercy, Mercy to Stanley Turrentine's Sugar and the late Grover Washington Jr.'s Mr. Magic, Earland shares his love of these tunes with some especially strong grooving. Guitarist Melvin Sparks, and funky drummer supreme, Bernard Purdie get loose and just play the way they were meant to play. Carlos Garnett adds his surprisingly warm tenor sax groove to Honky Tonk and Mr. Magic. These guys must have loved doing this date: playing the stuff they like, exactly the way they want. It cooks.1. Honky Tonk
3. Mercy Mercy
4. When Johnny Comes Marching Home
5. Blues For Sheila
6. Mr. Magic$18.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
I Do Not Want What I Haven't GotI Do Not Want What I Haven't Got became SinÉad O'Connor's popular breakthrough on the strength of the stunning Prince cover Nothing Compares 2 U, which topped the pop charts for a month. But even its remarkable intimacy wasn't adequate preparation for the harrowing confessionals that composed the majority of the album. Informed by her stormy relationship with drummer John Reynolds, who fathered O'Connor's first child before the couple broke up, I Do Not Want What I Haven't Got lays the singer's psyche startlingly and sometimes uncomfortably bare. The songs mostly address relationships with parents, children, and (especially) lovers, through which O'Connor weaves a stubborn refusal to be defined by anyone but herself. In fact, the album is almost too personal and cathartic to draw the listener in close, since O'Connor projects such turmoil and offers such specific detail. Her confrontational openness makes it easy to overlook O'Connor's musical versatility. Granted, not all of the music is as brilliantly audacious as I Am Stretched on Your Grave, which marries a Frank O'Connor poem to eerie Celtic melodies and a James Brown Funky Drummer sample. But the album plays like a tour de force in its demonstration of everything O'Connor can do: dramatic orchestral ballads, intimate confessionals, catchy pop/rock, driving guitar rock, and protest folk, not to mention the nearly six-minute a cappella title track. What's consistent throughout is the frighteningly strong emotion O'Connor brings to bear on the material, while remaining sensitive to each piece's individual demands. Aside from being a brilliant album in its own right, I Do Not Want What I Haven't Got foreshadowed the rise of deeply introspective female singer/songwriters like Tori Amos and Sarah McLachlan, who were more traditionally feminine and connected with a wider audience. Which takes nothing away from anyone; if anything, it's evidence that, when on top of her game, O'Connor was a singular talent.
- Steve Huey (All Music Guide)1. Feel So Different (2009 Remastered Version)
2. I Am Stretched On Your Grave (2009 Remastered Version)
3. Three Babies (2009 Remastered Version)
4. The Emperor's New Clothes (2009 Remastered Version)
5. Black Boys On Mopeds (2009 Remastered Version)
6. Nothing Compares 2 U (2009 Remastered Version)
7. Jump In The River (2009 Remastered Version)
8. You Cause As Much Sorrow (2009 Remastered Version)
9. The Last Day Of Our Acquaintance (2009 Remastered Version)
10. I Do Not Want What I Haven't Got (2009 Remastered Version)$21.99Vinyl LP - Sealed Buy Now
All Rise: A Joyful Elegy For Fats WallerAcclaimed pianist Jason Moran will release All Rise: A Joyful Elegy for Fats Waller, a collaboration with the vocalist Meshell
Ndegeocello that recasts the music of the legendary jazz entertainer Fats Waller as a modern dance party. The album-which was produced by
Ndegeocello and Blue Note Records president Don Was-is the ninth in a formidable catalog that Moran has been building on Blue Note since 1999.
All Rise features Moran hosting a changeable cast of musicians that includes vocalists Ndegeocello and Lisa E. Harris, his longtime trio The Bandwagon
featuring bassist Tarus Mateen and drummer Nasheet Waits, and a funky horn-inflected ensemble anchored by drummer Charles Haynes that features
trumpeter Leron Thomas and trombonist Josh Roseman, as well as guest saxophonist Steve Lehman. The album was recorded and mixed by Bob Power,
known for honing the sound on classic hip hop records by A Tribe Called Quest, Common and The Roots.1. Put Your Hands On It
2. Ain't Misbehavin'
3. Yacht Club Swing
4. Lulu's Back In Town
5. Two Sleepy People
6. The Joint Is Jumpin'
7. Honeysuckle Rose
8. Ain't Nobody's Business
9. Fats Elegy
10. Handful Of Keys
11. Jitterbug Waltz
12. Sheik Of Araby / I Found a New Baby$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
It Takes A Nation Of Millions To Hold Us BackRanked 78/500 On Rolling Stone Magazine's 500 Greatest Albums Of All Time.
I hated that record, said Public Enemy's Chuck D. Believe it or not, he's referring to Bring the Noise, the frenetic first track of It Takes a Nation of Millions to Hold Us Back, the group's 1988 agit-rap masterpiece and breakthrough album. Public Enemy had recorded the song in October 1987 for the soundtrack of the forgettable Less Than Zero. When Chuck (a.k.a. Carlton Ridenhour) first heard the final version, he said, I practically threw it out the window.
He changed his mind later that year when Public Enemy were on tour in England. I kept hearing people ask, 'What's this record you've got out? People are going crazy over it,' he remembered. I was like 'OK, pull that acetate out, and let's play it [in concert].' People went berserk.
Bring the Noise, along with Rebel Without a Pause and Don't Believe the Hype - all conceived in 1987 at the group's Hempstead, Long Island, studio, Spectrum City - would become the foundation of It Takes a Nation of Millions, an album that's loud, obnoxious, funky, avant-garde, political, uncompromising and hilarious all at once. Chuck may have been disgruntled over Bring the Noise, but he always liked Rebel Without a Pause, the track that introduced Public Enemy's trademark sirenlike horn squeals. Hank Shocklee of PE's production team, the Bomb Squad, says that Rebel started out as a response to Eric B. and Rakim's I Know You Got Soul. We were going for something that had the same feel but with more aggression, Shocklee said. Because we were angry.
For Rebel, PE coupled piercing squeals (a snippet from the J.B.'s' The Grunt played backward) with James Brown's Funky Drummer (Because that song was my milk, said Shocklee). Then it fell on Chuck to write the lyrics. I remember locking myself in the house for 24 hours, Chuck said. He emerged with verses that emulated Rakim's off-the-rhythm flow but stayed true to his own booming-baritone persona (Soul, rock & roll, comin' like a rhino); Chuck also dropped the name of black activist Joanne Chesimard, hinting at the political direction that his rhymes would soon take.
Don't Believe the Hype, recorded just before Bring the Noise, was Chuck's first foray into full-fledged polemics, in this case against the media. The lyrics were inspired by a slight against Chuck by New York-area radio DJ Mr. Magic. PE had serious doubts about that song, too. We thought 'Hype' was just garbage, said Shocklee. Again, they saw the response the song got when DMC (of the group Run-DMC) blasted the track out of his Bronco in Harlem on a Saturday night. The whole block was grooving to it, says Shocklee.
In January 1988, it all fit together. You had the combination of the noise from 'Rebel,' says Chuck, the tempo of 'Bring the Noise' and the subject matter of 'Don't Believe the Hype.' It set off Takes a Nation pretty nice.
- Rolling StoneLP 1
1. Countdown To Armageddon
2. Bring The Noise
3. Don't Believe The Hype
4. Cold Lampin' With Flavor
5. Terminator X To The Edge Of Panic
6. Mind Terrorist
7. Louder Than A Bomb
8. Caught, Can We Get A Witness?
1. Show 'Em Whatcha Got
2. She Watch Channel Zero?!
3. Night Of The Living Baseheads
4. Black Steel In The Hour Of Chaos
5. Security Of The First World
6. Rebel Without A Pause
7. Prophets Of Rage
8. Party For Your Right To Fight$24.99Vinyl LP - Sealed Buy Now
Love Power PeaceFirst Release Of 3 LP Set As Envisioned By James Brown
Includes Deluxe Jacket With Rare Photos And Liner Notes By Alan Leeds
Mastered From Brown's 1971 Mixdown Reels, Unused Until Now
James Brown's magnum opus! Love Power Peace is the sound of the Godfather and his youngblood J.B.'s (including Bootsy and Catfish Collins) electrifying a crazed Parisian audience on March 8, 1971. Sequenced and mixed by Brown himself for a planned triple album, the set was shelved when key band members departed before it could be issued. Here, for the first time, are the sides as intended, exactly as delivered by James Brown Productions to his label in 1971-a 3-LP set with each disc mastered from the original mixdown reels, and each with a unique name, Love, Power and Peace! Brown and band rip through recent singles like "Sex Machine," "Super Bad," "Give It Up or Turnit a Loose" and "Get Up, Get Into It, Get Involved" with a metronomic precision laid down by bassist Bootsy Collins and drummer Jabo Starks. "Ain't It Funky Now" - formerly a slow, simmering groove - is transformed into a fast, funky tour de force in which newbie Catfish Collins unleashes one of the most badass guitar solos ever, while a medley of three other Brown standards ("Papa's Got a Brand New Bag"/"I Got You (I Feel Good)"/"I Got the Feelin' ") blazes by faster than the Godfather of Soul's personal Learjet. Interspersed with just the right amount of slow numbers like "Georgia on My Mind," and including tracks from the show's supporting acts that were not included on the 1992 CD (which was a remixed, incomplete show), this document of the funk revolution features rare photos and liner notes by tour director Alan Leeds. The way to jump on board for a trip through James' world at the height of his career!LP1
2. Brother Rapp
3. Ain't It Funky Now
4. Georgia On My Mind - Part 1
5. Georgia On My Mind - Part 2
7. Intro: Bobby Byrd
8. Signed, Sealed, Delivered I'm Yours
9. I Need Help (I Can't Do It Alone)
1. Introduction: Vicki Anderson
2. Don't Play That Song (You Lied)
4. Break & Intro Announcement
5. Dance & It's A New Day
6. Bewildered - Part 1
7. Bewildered - Part 2
8. There Was A Time
9. Sex Machine
10. Try Me - Part 1
1. Try Me - Part 2
2. Papa's Got A Brand New Bag/I Got You/I Got The Feelin'
3. Give It Up Or Turnit A Loose
4. It's A Man's Man's Man's World
5. Who Am I
6. Please Please Please
7. Sex Machine (Reprise)
8. Super Bad
9. Get Up, Get Into It, Get Involved
10. Soul Power
11. Get Up, Get Into It, Get Involved (Reprise)
12. Finale$49.99Vinyl LP - 3 LPs Sealed Buy Now
The Obscure DepartmentIn the follow-up to his acclaimed debut "Woodland
Conspiracy", the guitarist and singer-songwriter Robert
Coyne has now released his second album on the Meyer
Records label, entitled The Obscure Department.
Featured on the cover next to Robert Coyne is Jaki Liebezeit, the legendary
Can drummer and percussionist, who has collaborated with the son of the
British multitalent Kevin Coyne on this latest 12-track offering. Supported by
Liebezeit's subtle, yet incisive drumming, the simplicity and intimacy of
Coyne's lyricism, together with his mellifluous and sophisticated vocals,
combine to conjure a compelling and evocative sound. A fascinating and
highly successful experiment.
Jaki Liebezeit is a drummer probably best known as a founding member of
Can who has been called one of the few drummers to convincingly meld
the funky and the cerebral. ,,In the mid-1960s, he was part of Manfred
Schoof's quintet, who were early exponents of European Free Jazz.
He subsequently moved towards the new possibilities being opened by
psychedelic music as a member of Can. His drumming was prominent in the
band's sound, particularly in his much-admired contribution to the side-long
Halleluhwah on Tago Mago. Liebezeit is best known for his exceptional
metronome style of playing; other members of Can have suggested that
he sounds as though he is half man, half machine.
In 1980, he became a member of Phantomband, and has formed drum
ensembles such as Drums off Chaos and Club off Chaos. Later he recorded
with numerous musicians, such as Jah Wobble and Philip Jeck, with whom
he produced an album for Jah Wobble's 30 Hertz Records, and has
contributed drums and percussion to many albums as a guest throughout
the years, such as the Depeche Mode album Ultra and Brian Eno's album
Before and After Science. Recently, he has worked with Burnt Friedman on
the Secret Rhythms albums and with Schiller on the Atemlos album.1. Signature Song
2. Delicate Flower
3. Dove Of Peace
4. The Wonder Of Me
5. Why Would I Remember You
7. 21st Century Magic
8. White Residue
10. Laugh Now
12. The Obscure Department$40.99Vinyl LP - Sealed Buy Now
The Wild Style Breakbeats
13 Songs Total, Spread Out Over Seven Big Hole 45s(each With A Different Label Color)
Re-Edited And Re-EQed Extended Audio Versions Of Each Song, From Original Reels
Extensive Liner Notes In A 28-Page Book, Including Dozens Of Images - From "Wild Style" Director Charlie Ahearn, Among Other Sources - As Well As Interviews With Fab 5 Freddy, Chris Stein And Grandwizzard Theodore
The 14th Side (The B-side Of The Seventh 45) Features Unique Etchings With Different "Wild Style" Graphics
Unique "Kay-Dee Casebook" Packaging - All Seven 7-inches Fit Into A Book As Self-contained Pages
KAY-DEE RECORDS, the online store and label owned and operated by Kenny Dope, takes things to the next level with the debut of its "Book Series." Kenny's vision for Kay-Dee's first book was to create a premium set with a mix of well-known and never-before-seen "Wild Style" photos, in addition to liner notes detailing the stories behind the music of one of his favorite films.
The year was 1981 and young, New York City-based filmmaker Charlie Ahearn was working on what would become one of the most important artifacts in the history of hip-hop music and culture: "Wild Style." He was scraping by to fund his efforts, which were far from a surefire money-making enterprise. Hip-hop wasn't even called "hip-hop" at the time, and it was still viewed as a fad, by both nationwide music listeners and a majority of the press.
As Ahearn and his crew continued to film scenes from "Wild Style" (which starred graffiti writers Lee Quinones and Lady Pink, among many other hip-hop and "Downtown" luminaries of the day), they reached an interesting juncture: what music would DJs in the film use in the soon-to-be-legendary live performance scenes?
The director - making a visionary move more than a half-decade before any sampling or music clearance lawsuits would appear - decided that he wanted to control the music to be used in these scenes. They would create their own breakbeats, instead of using known cuts of the day; for instance, The Incredible Bongo Band's "Apache" or James Brown's "Funky Drummer."
While Ahearn headed off to film more scenes, he left these important musical production duties to an up-and-comer who, thanks in part to his crucial role as Phade in the film, would grow to be one of hip-hop's and graffiti's most important ambassadors of the 1980s: Fred "Fab 5 Freddy" Brathwaite.
Over the course of a week's time in the late summer of 1981, the Wild Style Breakbeats sessions were completed and mastered. None of the three principal musicians who played on the Breakbeats were ever in the studio at the same time. And the final number of white-label-only Breakbeats 12-inches was, according to Freddy, only 100, making them some of the rarest "Holy Grail" pieces of vinyl in music history.
The original Breakbeats vinyl was given to the DJs in the film - including GrandWizzard Theodore, Charlie Chase and Kevie Kev Rockwell - who used them in live performance scenes, most of which were completed in the spring of 1982. Interestingly, out of 13 Breakbeats given to DJs, only five were ever used in these performance scenes or on the film's much-revered soundtrack.
For this premium Wild Style Breakbeats set, renowned DJ, producer, and lifelong "Wild Style" fanatic Kenny Dope obtained the original reel-to-reel tapes from director Charlie Ahearn and went about re-EQing and extending the length of each Breakbeat [most were originally about one minute long]. Thanks to these efforts, all 13 Breakbeats are presented here with top-level audio quality that has never been heard before. Additionally, since only bootlegs of the Wild Style Breakbeats have ever existed, this is the first time they have ever been presented on their own, as an official full album release.
This stunning set with unique "Kay-Dee Casebook" packaging - officially licensed from Charlie Ahearn by Kenny Dope and Kay-Dee Records, and packaged by Get On Down - is a hip-hop junkie's dream. It presents a crucial rap artifact with the respect it has always deserved but, until now, has not been given. It is sure to sit on your shelf alongside other trophies from the music and culture that has touched the lives of so many over the past four decades.1. Down By Law
2. Subway Beat
3. Cuckoo Clocking
4. Crime Cut
5. Gang Busters
7. Military Cut
8. Busy Bees
9. B Boy Beat
10. Jungle Beat
11. Yawning Beat
12. Baby Beat
13. Razor Cut$69.997 Vinyl Single - 7 Singles Sealed Buy Now
A Groovy SituationA Groovy Situation finds organist Reuben Wilson turning in a funky collection of R&B and pop covers. Supported by guitarist Eddie Diehl, alto saxophonist Earl Turbinton, and drummer Harold White, Wilson runs through familiar soul hits like (If You Let Me Make Love to You) Then Why Can't I Touch You, A Groovy Situation, and Signed, Sealed, Delivered I'm Yours, plus the Turtles hit Happy Together. With songs like this, there's no question that Wilson is going for a wide audience, and while these smooth, funky grooves will do nothing for jazz purists, it's an entertaining record, and some of the grooves are quite hot indeed.1. While The World Is Waiting
2. Sweet Tooth
3. If You Let Me Make Love To You Then Why Can't I Touch You
4. A Groovy Situation
5. Happy Together
6. Signed, Sealed, Delivered, I'm Yours$11.99Vinyl LP Reissue - Sealed Buy Now
Mother ShipOrganist Larry Young's final Blue Note album, Mother Ship, was not released until 1980. Teamed up with tenor saxophonist Herbert Morgan, the great trumpeter Lee Morgan, and drummer Eddie Gladden, Young performs five of his originals, which range from the funky Street Scene and the samba Love Drops to a spacy Trip Merchant and the complex Visions. This highly original set does not deserve to be so obscure.1. Mother Ship
2. Street Scene
4. Trip Merchant
5. Love Drops$15.99Vinyl LP Reissue - Sealed Buy Now
Hootin' 'N Tootin' (Awaiting Repress)
FRED JACKSON,TENOR SAX EARL VANDYKE,ORGAN WILLIE JONES,GUITAR WILBERT HOGAN, DRUMS, TENOR SAX EARL VANDYKE
Hootin' 'N Tootin', is a thoroughly enjoyable set of funky soul-jazz with hard bop overtones. It is true that Jackson doesn't try anything new on the set, but he proves to be a capable leader, coaxing hot, infectious performances out of guitarist Willie Jones, organist Earl Vandyke and drummer Wilbert Hogan, all of whom were collegues of Jackson in the Lloyd Price band. All of the songs on the album are Jackson originals, and while there are no substantial, memorable melodies, they provide an excellent foundation for the group's smoking interplay.1. DIPPIN' IN THE BAG
2. SOUTHERN EXPOSURE
3. PREACH BROTHER
4. HOOTIN' 'N TOOTIN'
5. EASIN' ON DOWN
6. THAT'S WHERE IT'S AT
7. WAY DOWN HOME$15.99Vinyl LP Reissue - Sealed AWAITING REPRESS Buy Now
Lee Morgan, trumpet
Bennie Maupin, tenor saxophone
George Benson, guitar
John Hicks, piano
Reggie Workamn, bass
Billy Higgins, drums
Trumpeter Lee Morgan performs two funky boogaloos, a ballad, and three complex group originals on this album whose music was first released in 1980. This is a transitional date with the hard bop stylist leaning in the direction of modal music and even anticipating aspects of fusion. His sextet (which includes Bennie Maupin on tenor, guitarist George Benson, pianist John Hicks, bassist Reggie Workman, and drummer Billy Higgins) is quite advanced for the period and inspires Morgan to some fiery and explorative playing.Avotcja One
Get Yourself Together
Taru, What's Wrong With You
Durem$11.99Vinyl LP Reissue - Sealed Buy Now
Uplift Mofo Party PlanOn 1987's The Uplift Mofo Party Plan, producer Michael Beinhorn (Soundgarden, Hole) helped the Chili Peppers incorporate more of a hard-rock approach to their already rich blend of funk and punk. This would be the best and unfortunately final album to feature the Kiedis/Flea/Slovak/Irons lineup as Slovak died from a drug overdose in 1988, and Irons exited soon after, turning up several years later as the drummer for Pearl Jam. Highlights include Fight Like a Brave, Funky Crime, Me and My Friends, Backwoods, Behind the Sun, No Chump Love Sucker and Special Secret Song Inside.1. Fight Like a Brave
2. Funky Crime
3. Me and My Friends
6. Behind the Sun
7. Skinny Sweaty Man
8. Subterranean Homesick Blues
9. Special Secret Song Inside
10. No Chump Love Sucker
11. Walkin' on Down the Road
12. Love Trilogy
13. Organic Anti-Beat Box Band$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Think!Think!, organist Lonnie Smith's 1968 sophomore effort for Blue Note, is easily one of the strongest dates the Hammond B-3 master would produce for the label. Featuring a stellar group of musicians including trumpeter Lee Morgan, tenor saxophonist David Newman, guitarist Melvin Sparks, and drummer Marion Booker, Jr., as well as a three-member Afro-Latin percussion unit led by Henry Pucho Brown, Think! is a perfect mix of funky soul and forward-thinking jazz. Kicking things off with Hugh Masekela's instantly memorable Son of Ice Bag, both Sparks and Newman take searching funk-flow solos while Morgan seems to be remembering a certain Masekela lick he dug.1. Think
2. Son Of Ice Bag
3. The Call Of The Wild
4. Three Blind Mice
5. Slouchin'$15.99Vinyl LP Reissue - Sealed Buy Now
The Promise (Awaiting Repress)
• Play 33 1/3 Series
• 180 Gram Heavyweight Vinyl Pressed By MMP
• Gatefold Jacket With Magic-Eye Graphic & Black Poly-Lined Inner Sleeves
• Includes 8-Page Booklet
• Project Designed & Sleeve Made By Khiov
The 'Play 33 1/3 LP Series' is a Vinyl LP project including masterpiece albums which have never been released on LP. The albums are released by Universal Music Korea on LP for the first time and the heavyweight vinyl LP is pressed in Germany. Khiov designs the project, reforms the original artworks for the LP size and precisely made the sleeves.
John McLaughlin's 1995 album was originally released on CD only on Verve Records. The cover features a Magic-Eye graphic that contains a hidden image. McLaughlin is joined by artists such as Jeff Beck, Al Di Meola, Michael Brecker and more!
Originally issued in 1996 when he was 54, the Promise offers a summation of all the places John McLaughlin has been in his career, and points directly toward his future. Featuring a wide range of musicians including appearances by the Free Spirits, the Guitar Trio, and an electric version of Shakti, the Promise is easily the most wide-ranging and diverse offering of McLaughlin's long career. Its contents encompass everything from straight post-bop and swinging soul-jazz to fusion to modern takes on East Indian music as it meets the West. As if this weren't enough, there are even moments with spoken word laced throughout, such as a verse of Dante read by Stefania Bombi toward the end of his scorching, funky, soul-jazz number Thelonius Melodius with B-3 organist Joey DeFrancesco and drummer Dennis Chambers. The set kicks off with one of its finest moments, a guitar-to-guitar reading of John Lewis' Django with Jeff Beck (bassist Pino Palladino, drummer Mark Mondesir, and drummer Tony Hymas round it out). Beck's solo is first; it is expansive as it moves from a gorgeous restating of the melody through slinky harmonic extrapolations. McLaughlin's answer is ambitious and intuitive. They then move toward one another and the melody, complementing each other perfectly. El Ciego is a complex, flamenco-tinged jazz number with McLaughlin trading knotty lines and soulful solos with Al di Meola and Paco de Lucia. Jazz Jungle is late 20th century fusion at its blazing best with Michael Brecker, Chambers, Don Alias, James Genus, and Jim Beard beginning almost nebulously before ratcheting the tempo and idea palettes to dizzying heights (Brecker is particularly brilliant). The Wish, with Zakir Hussein, Nishat Khan, and Trilok Gurtu, looks deeply into Indian classical music balanced by a European gaze. McLaughlin's engagement with Khan's sitar creates nearly rapturous expression, all the while contained inside a texture that is as atmospheric as it is exotic. Shin Jin Rui employs the same band as Jazz Jungle, with the exception of the saxophone, played by David Sanborn. His playing is riskier than on his own records, his alto juxtaposed with McLaughlin's guitar, a study in funky, electric jazz modernism. The set closes with a lovely all-acoustic reading of Jimmy Rowles' The Peacocks with guitarist Phillipe Loi and bassist Yan Maresz, and a verse by Lorca read by Susana Beatrix as an end cap. Ultimately, the Promise stands as one of McLaughlin's towering achievements as a guitarist and leader.
- Thom Jurek (All Music Guide)
John McLaughlin: guitars, keyboards
Don Alias: percussion
Jim Beard: keyboards
Jeff Beck: guitar
Michael Brecker: saxophone
Dennis Chambers: drums
Vinnie Colaiuta: drums
Joey DeFrancesco: organ, trumpet
Paco De Lusica: guitar
Al Di Meola: guitar
Zakir Hussain: tabla
Nishat Khna: sitar, vocals
David Sanborn: saxophone
Sting: bassLP 1
2. Thelonious Melodius
3. Amy and Joseph
4. No Return
5. El Ciego
1. Jazz Jungle
2. The Wish
3. English Jam
4. Tokyo Decadence
5. Shin Jin Rui
6. The Peacocks$59.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
REDD-ROY-5355xGarage A Trois
Always Be Happy, But Stay EvilA force greater than the sum of its colossal parts, Garage A Trois features Seattle-based saxophonics masater Skerik, Brooklyn-based sound-sculptor/keysman Marco Benevento, punk rock vibraphone hero Mike Dillon and New Orleans funky drummer/beat master Stanton Moore.
After the rousing success of the quartet's 2009 release, Power Patriot, Garage A Trois headed to Studio In The Country in Bogalusa, LA to record with revered sound engineer Randall Dunn (Southern Lord). A laser sharp foucs was paid to capturing Garage A Trois' sinewy, fourth-dimensional, polychromatic instrumental songwriting. The resulting album Always Be Happy, But Stay Evil delivers from track to track.No Listing Available.$15.99Vinyl LP - Sealed Buy Now
Method To My Madness180 Gram Blue Colored Vinyl
On 2014's The Devil You Know, California bluesman Tommy Castro pared his band back to a quartet called the Painkillers and returned his guitar playing and singing to the forefront of his attack. Though the album was chock-full of guest stars, its arrangements were largely uncluttered - no horns, strings, or other gimmickry. Method to My Madness strips back the veneer even further. The tightrope of energy, grit, and inspiration on display in these 12 tunes - ten originals and two excellent covers - are usually reserved for live shows. For the first time, Castro has produced an album by himself. Recorded at Ari Rios' Laughing Tiger Studio in San Francisco, he and the Painkillers - bassist Randy McDonald, keyboardist Michael Emerson, and drummer Bowen Brown - cut the music live from the floor with minimal overdubs.
Much has been made of Castro's vocal style being influenced by the singers from the vintage Stax/Volt era. While that's somewhat true, Method to My Madness reveals, perhaps for the first time, an even deeper debt to funky soul and country-blues singer Delbert McClinton. Common Ground is a swaggering gospel-tinged soul blues. The melody and choral refrain nod at Sly Stone, but Castro lets his McClinton flag fly with a gritty delivery atop a cracking snare and driving Wurlitzer groove.
Shine a Light is dirtier; it's a razor-wire, rocking soul-blues with double-timed drumming, bumping bassline, and killer slide guitar and B-3 work, with great backing vocals from Rios and Amber Morris adding gospel fuel to the fire. The title track is a wrangling guitar-driven boogie, where funky rock meets the 12-bar blues head on. Castro testifies in his delivery, leaving no room for doubt about his intentions and attitude. While Lose Lose is a simmering Stormy Monday-esque deep blues, its proceeding tune, Died and Gone to Heaven, is a swelling, souled-out, rousing, gospel-tinged love song.1. Common Ground
2. Shine A Light
3. Method To My Madness
4. Died And Gone To Heaven
5. Got A Lot
6. No Such Luck
7. Two Hearts
8. I'm Qualified
10. Lose Lose
11. All About The Cash
12. Bad Luck$20.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Hard BopCut from the Original Analog Mono Master Tapes by Kevin Gray and Robert Pincus & Pressed at RTI
Numbered Limited Edition of Only 2500 Copies
Some of the greatest jazz musicians of all time have passed through Art Blakey's Jazz Messengers: Horace Silver, Hank Mobley, Kenny Dorham, Wayne Shorter and Donald Byrd, among many others. However brief their stay, working with the demanding and full-throttle drummer not only increased their visibility, but also their chops and interpretive capacity. Blakey's ability to drum up the best players in the game may have even eclipsed his superhuman ability to play drums.
Altoist Jackie McLean, trumpeter Bill Hardman, bassist Spanky deBrest, and pianist Sam Dockery join the fold here to along with Blakey deliver whole-bop goodness on five propulsive, fiery tracks. True to its title, this LP bops hard, with a ferocious swing, boundless energy and telepathic communication between players - especially Blakey and Hardman. Considering the rhythmic demands of Blakey's locomotive playing style, this was an incredible achievement.
Impex Records has cut this gorgeous, limited edition (2,500 pressings) 180-gram LP with the original analog mono master tapes and without computer processing of any kind. You hear all the vivacious interplay that occurred on that weekend in 1957 when Blakey and crew forged a bold new vision of muscular, funky jazz. This is music that still resonates over 50 years later. Not to be missed!1. Cranky Spanky
2. Stella By Starlight
3. My Heart Stood Still
4. Little Melonae
5. Stanley's Stiff Chickens$32.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Essential TremorsNo stranger to the south, lead vocalist, guitarist and pianist J. Roddy Walston was brought up in the southern church hometown of Cleveland, Tennessee before relocating to Baltimore where he made the acquaintance of lead guitarist and vocalist Billy Gordon, bassist and vocalist Logan Davis and drummer Steve Colmus, now collectively known as The Business.
Essential Tremors, the band's third release, is the most far-ranging and eclectic album in the band's history. Their blend of classic rock & roll emphasized by rapturous hooks, riffs and rhythms, coupled with Motown flavor and funky charm brings out a pure Bacchanalian splendor. J. Roddy's arresting voice and thumping piano playing travels directly from your eardrums to your bone marrow as he keens, croons and intones words and music that are at turns lunatic and mystic. Their relentless touring and trademark spirited live performances has helped J. Roddy Walston & The Business grow from a grass roots movement into a band with a loyal and expansive following.
Joined by born and bred Valdostan Mark Neill, the Grammy-winning producer and engineer of Black Keys' Brothers and Matt Wignall (Cold War Kids, Delta Spirit), J. Roddy and co. manifested eleven immersive and relentless tracks that now comprise their third album Essential Tremors. From the explosive raw power of "Heavy Bells" to the hymnal reverberations of "Sweat Shock" to the contemplative, soulful call of "Boys Can Never Tell", Essential Tremors demonstrates the band's growth into becoming one of the forerunners in rock 'n roll today.1. Heavy Bells
3. Take It As It Comes
4. Black Light
5. Sweat Shock
6. Nobody Knows
7. Hard Times
8. Boys Can Never Tell
9. Same Days
10. Tear Jerk
11. Midnight Cry$19.99Vinyl LP - Sealed Buy Now
Hubbard's First Affair WithCreed Taylor's CTI Label
Group Includes Joe Henderson, Herbie
Hancock, Ron Carter, And Lenny White
Recorded At Van Gelder Studios, Engineered
By Rudy Van Gelder
Mastered From The Original Master Tapes At 45RPM
By Bernie Grundman
Pressed On 180 Gram Audiophile-Grade Vinyl At Pallas In Germany
"This may be Freddie Hubbard's finest moment as
a leader, in that it embodies and utilizes all of his
strengths as a composer, soloist, and frontman. on
red Clay, Hubbard combines hard bop's glorious
blues-out past with the soulful innovations of
mainstream jazz in the 1960s, and reads them through
the chunky groove innovations of 1970s jazz fusion.
This session places the trumpeter in the company
of giants such as tenor saxophonist Joe Henderson,
pianist Herbie Hancock, bassist ron Carter, and
drummer lenny White. Hubbard's five compositions all
come from deep inside blues territory; these shaded
notions are grafted onto funky hard bop melodies
worthy of Horace silver's finest tunes, and are layered
inside the smoothed-over cadences of shimmering,
steaming soul. This is a classic, hands down."
- Thom Jurek (All Music Guide)1. Red Clay
3. Suite Sioux
4. The Intrepid Fox$49.99180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
The LadderThe Ladder is a synthesis of the best traits of the experimental Fragile era and the pop-oriented 90125 era. Producer Bruce Fairbairn completed The Ladder shortly before his death in 1999, and unlike some of his work with Bon Jovi, Aerosmith, Kiss, and others, he didn't overproduce it. Vocalist Jon Anderson, lead guitarist Steve Howe, and bass guitarist Chris Squire all have fine moments, and drummer Alan White is consistent. The roles of keyboardist Igor Khoroshev and, in particular, guitarist Billy Sherwood are less clear. It occasionally seems the purpose of Khoroshev's keyboards is providing a variety of sonic textures instead of functioning as a lead instrument. Sherwood's second guitar tends to flesh out the sound. Homeworld (The Ladder) is a tight band performance, but the supple vocals/acoustic guitar/piano coda is the best part. Howe's bouncy acoustic guitar drives Lightning Strikes, yet the biggest surprise is the addition of a horn section. The energetic Face to Face is the strongest track, and Squire lets loose with a sputtering bassline. If Only You Knew is a sweet, straightforward love song Anderson wrote for his wife. The Messenger has a smooth, funky feel -- a remarkable feat considering prog rock is usually considered the whitest rock genre. New Language is the best long song on The Ladder, thanks to a clever arrangement giving all six members an opportunity to demonstrate their talents.1. Homeworld (The Ladder)
2. It Will Be A Good Day (The River)
3. Lightning Strikes
4. Can I?
5. Face To Face
6. If Only You Knew
7. To Be Alive (Hep Yadda)
9. The Messenger
10. New Language
11. Nine Voices (Longwalker)$37.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
The Ivory HuntersWhen Bill Evans agreed to do a two piano date with Bob Brookmeyer, eyebrows surely must have raised. Pairing a rising superstar of modern jazz with a gentleman known for playing valve trombone and arranging charts might have been deemed by some as a daunting task. Fortunately for the keyboardists, this was a good idea and a marvelous concept, where the two could use the concept of counterpoint and improvisation to an enjoyable means, much like a great chess match. For the listener, you are easily able to hear the difference between ostensible leader Evans in the right channel of the stereo separation, and the accompanist Brookmeyer in the left. The opener Honeysuckle Rose gives a basic idea of what to expect, as Evans leads out, Brookmeyer counters his moves, and they trade riffs in an inventive bridge. The Way You Look Tonight is similar as Brookmeyer is more playful in his chiming chords and second melody line. The energy level is very good here, as well as on the democratic, funky contemporary intro to the easy swing of It Could Happen to You and I Got Rhythm, jam-packed with fun plus risk-taking. There's a different give and take during The Man I Love, and they turn the lamp down low on a delicate version of As Time Goes By as the pianists trade leads, and bassist Percy Heath adopts a more pronounced role. It is Heath and drummer Connie Kay, on loan from the Modern Jazz Quartet, who precisely and firmly cement rhythmic elements, allowing the pianists to use space, harmony, wit and wisdom to full effect. Some have called this an effort based more on gimmick and showmanship, but if you agree to listen closely, the depth and substance of Evans and Brookmeyer reveals a lot of soul, invention, and musicians simply having a real good time. It would be nice to hear any alternate takes from this marvelous date.
-All Music Guide1. Honeysuckle Rose
2. As Time Goes By
3. The Way You Look Tonight
4. It Could Happen to You
5. The Man I Love
6. I Got Rhythm$27.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Get Thy BearingsRobert Walter performs all his own stunts. For 20 years, the San Diego native has been pulling drawbars and pushing the limits of the Hammond B3 organ. As a founding member of the Greyboy Allstars, he helped usher in the funk-jazz renaissance of the early '90s and has continued to keep one hand comping chords in the instrument's funky past, while the other explores ever-new melodic terrain. On June 25, his long-standing project, Robert Walter's 20th Congress, returns with, Get Thy Bearings, via The Royal Potato Family. It was a recent move from New Orleans to Los Angeles that jump-started the 20th Congress who hadn't recorded a studio album in ten years. The nine-track effort presents Walter's organ, piano, Rhodes and synthesizer driving an all-star line-up rounded out by guitarist/bassist Elgin Park, drummer Aaron Redfield, sax players Karl Denson and Cochemea Gastelum, and percussionist Chuck Prada.
Get Thy Bearings is drenched in the vintage old school soul, funk and jazz vibe of Walter's heroes like Big John Patton, but it also reflects his recent work scoring films. There's a conceptual depth to the songwriting that draws on elements of narrative and character development, lending a cinematic color to the proceedings. The tracks range from the Sly Stone-style soul vamp of Little Business to the heavy gospel of Crux. Dog Party might as well be the theme song to a cartoon of the same name, while Don't Chin the Dog shifts from delicate shuffle to horn-drenched boogaloo. Things get eerie on Up From the Skies, a Jimi Hendrix cover rendered nearly unrecognizable in washes of electric Miles. Similarly, the album's title track is a shrewd reworking of the 1968 Donovan tune Walter first discovered on compilation of sample-friendly breakbeats, full of fuzz guitar and a mercurial organ solo.1. Hunk
2. Little Business
3. Get Thy Bearings
5. Dog Party
6. Inversion Layer
8. Don't Chin The Dog
9. Up From The Skies$16.99Vinyl LP - Sealed Buy Now
Us Three (Pre-Order)Cut At 33 1/3 RPM By Kevin Gray At Cohearent Audio From The Original Rudy Van Gelder Blue Note Master Tapes
Pressed On 180 Gram Virgin Vinyl LP By RTI
Top Quality Gatefold Packaging With Laminated Covers & High Quality Session Photos
Us Three, featuring pianist Horace Parlan, bassist George Tucker and drummer Al Harewood, is one of Blue Note's greatest trio albums. The piano-bass-drums trio has long been the most compact of all jazz combos, a complete orchestra with just three pieces. Some trios have been completely dominated by its pianist including the Oscar Peterson and Art Tatum Trios. The trio on Us Three is a bit different for it features three superior jazz men who constantly play off of each other, communicating immediately and telepathically in sensitive yet funky interactions. Horace Parlan, already well known at 29 and a member of the Lou Donaldson Quartet, was perfect for the trio format in 1960. His soulful chordal style matches very well with the subtle contributions of George Tucker and Al Harewood. There are some very memorable originals and the trio makes some superior standards sound as if they were written for them. The members of Us Three seem to think as one and the resulting music, which has sonics never before realized, is fantastic.
Limited Edition of Only 3500 Copies
Remastered from the Original Rudy Van Gelder Blue Note Master Tapes
Remastered by Kevin Gray at Cohearent Audio
Pressed on 180 gram Virgin Vinyl LP by RTI
Ultra-Durable, Extra Thick Album Jackets
Gatefold Album with Session Photos in stunning High Resolution
This title is not eligible for discount.$39.99180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now