Conception (Vinyl)

SKU: SSE 12002
Label:
678 Records
Category:
Kosmigroov
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This came out of nowhere and was one of the top archival releases of 2016...but it flew under everyone's radar.

Jan Huydts is a Dutch keyboardist and long standing fixture in the jazz scene there.  He was involved in many projects and had recording with his trio...but this one was never released.  In this incarnation, the Jan Huydts Trio consisted of:

Jan Huydts (electric piano, organ, bass guitar, zither, grand piano, percussion, voice)
Leo De Ruiter (drums, percussion, tabla, saw, acoustic guitar, voice)
Ali Haurand (double bass, sounds, percussion, voice)

As you can see from the instrumentation its rather eclectic and perhaps that's why it was never released.  The session was recorded in Germany on May 12, 1971 and sounds like a long lost recording for MPS or Japo.  The album consists of 2 side long tracks.  While a touch experimental its completely coherent and showcases Huydts abilities on electric piano and organ.  Percussive sounds are flying all over the place.  Kosmigroov meets the undergound.  Definitely has a Germanic feel - not Dutch but that's what it is.  Its wild but in a good "I can't believe I'm hearing this for the first time" way.

This was taken from the original analogue tapes and the label is clear in pointing out that it never touched the digital format in mastering.

The hype sticker is correct and a bit funny.  "Unheard and Unknown Kraut-Jazz".  "If released in the seventies this would be on your want list now!"  Both comments are right on the mark.  

Buy it now or wait a few years for it to go out of print and prices will skyrocket.  This one is unbelievable.

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  • Legit reissue of this classic 1969 release by The Wolfgang Dauner Group.  Originally released as a private pressing it was repackaged and released on the Brain label a few years label.Dauner is working with Fred Braceful and Roland Wittich on drums, Eberhard Weber on bass and cello and Siggy Schwab on guitar.  Dauner concentrates on organ and piano but also contributes flute as well.  The whole album has a bit of a psychedelic/soul jazz/Swingin' London feel.  Ripping organ breaks and wah wah laced guitar solos over a funky rhythm bed.  Siggy is killin' it on this one.  One of the great ones!!
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  • Essential third album from the Mwandishi band. A pure kosmigroov classic in which the ensemble touches on African based rhythms and electric fusion. Hancock and Patrick Gleeson somehow integrate a battery of electric keyboards into the jazz realm but in a way that was organic and seems just about right. A must own.
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  • Some of you may be familiar with sax/flautist Joe Farrell for his work with the original and last incarnation of Return To Forever or for his stint with Elvin Jones.   Farrell had an extensive career and recorded a good chunk of his discography for Creed Taylor's CTI label.  While that label later devolved into smooth jazz schlock the early 70s releases on the label were stellar - easily on par with Blue Note.  In fact Rudy Van Gelder handled the knobs for most of the CTI releases back then.  Moon Germs is no exception.  While most of Farrell's work for CTI was uniformly excellent there has to be a pinnacle and Moon Germs is it.  Check out this line up:Joe Farrell: flute and soprano saxHerbie Hancock: electric and acoustic pianoStanley Clarke: bassJack DeJohnette - drumsThis is the epitome of classic kosmigroov.  Its pure electric jazz.  All four musicians are playing their nuts off.  Herbie sends his electric piano into overdrive.  DeJohnette doesn't stray too often into rock territory so I wouldn't call this jazz rock although it certainly has that energy.  Clarke is insane on this record playing bass like John Entwhistle.  The album is just four tracks of highly frenetic but also highly melodic jazz that will blast your noggin into the stratosphere.  If you are a fan of fusion and are interested in moving backwards in time a bit this one would be a great place to start.  If you are a fan of kosmigroov and don't own this already you need to - its a cornerstone of your collection.  BUY OR DIE!"Recorded in 1972 and released in 1973 with Herbie Hancock, Stanley Clarke, and Jack DeJohnette, Joe Farrell's Moon Germs was a foray into the electric side of jazz. On the opener, "Great George," Farrell leads off with the hint of a melody before careening into legato streams of thought along striated intervallic paths. DeJohnette is like a machine gun, quadruple-timing the band as Clarke moves against the grain in a series of fours and eights, and Hancock's attempts to keep the entire thing anchored are almost for naught. On the title track there is more of a funk backdrop, but the complex, angular runs and insane harmonic reaches Farrell attempts on his soprano, crack, falter, and ultimately turn into something else; the sheer busy-ness of the track is dazzling. "Bass Folk Song" by Clarke, is the only thing on the record that actively engages melody rather than harmonic structures. Farrell uses his flute and Hancock strides into the same kind of territory he explored with Miles Davis, chopping up chordal phrases into single lines and feeding them wholesale to the running pair of frontmen--in this case Clarke and Farrell. DeJohnette uses a Latin backdrop to hang his drumming on and pursues a circular, hypnotic groove on the cymbals and toms. It's a gorgeous piece of music and utilizes an aspect of space within the melodic frame that the rest of these firebrand tunes do not. This is sci-fi Farrell at his creative best." - Allmusic
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  • 5CD budget priced set collects 5 of Joe Farrell's best work for CTI and is a nice complement to the Moon Germs release.  During his time with CTI Farrell explored electric jazz and early jazz rock sounds.  At the very least this is necessary for Upon This Rock and Penny Arcade which finds Joe Beck tearing it up on guitar. Overall though this is a fine collection.The set contains:Joe Farrell QuaretOutbackPenny ArcadeUpon This RockCanned Funk
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  • Sometimes there are great albums that just float underneath everyone's radar.  Poor distribution, small label - or simply a band is just too far ahead of the curve for collector's to catch up.   Sooner or later they do.  That's just the nature of collecting music.  Such is the case of Sway.  Many years ago I stumbled across a copy of this obscure Italian album from 1973 and could not find any mention of it beyond one advanced collector mentioning "Oh yeah that's rare".  At the time there was little interest from the rock community in modal jazz, souljazz, space jazz, kosmigroov - whatever you want to call it.  Jazz collectors may well have been aware of the album but perhaps because the lineup consisted of relatively unknown (outside of Italy) musicians, no one really paid much attention to the album.  I did my fair share of turning friends and collectors on to the album.  Maybe it made a difference.  All I know is that finding a copy of the album now is next to impossible.So what the hell am I exactly talking about?  Sway is a quintet led by noted jazz pianist Sante Palumbo (he's still going today!).  The rest of the lineup consists of journeymen session players: Hugo Heredia (alto/tenor sax, flute), Sergio Farina (guitar), Marco Ratti (acoustic/electric bass), and Lino Liguori (drums/percussion).  If you are a fan of electric Miles Davis or Weather Report you must hear this album.Palumbo is the focal point of the band - his runs on acoustic and electric piano are breathtaking.  This guy can tear of the keys.  The music has that definite kosmigroov sound.  Electric piano plays off of wah-wah laced guitar, some nice skronking sax (and at times gorgeous, liquid flute) and a rock solid rhythmic foundation.  There are some parts to the album which have a slightly freer vibe but for the most part is quite accessible.  If you listen carefully you might hear strains of a sound that bears a kinship to Canterbury. New authorized reissue from Schema Records.  BUY OR DIE!
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  • The Japanese jazz scene is finally getting the attention it deserves.  Long written off as just a scene filled with copycats of American and European artists, jazz fans around the world are now discovering that there was some amazing music being created there.  Some of the musicians like Terumasa Hino and Masabumi Kikuchi crossed over into the world jazz scene but for the most part many of the musicians there only gained popularity in Japan.  One of the most important Japanese jazz labels from the 70s was Three Blind Mice.  It was started in 1970 by producer Takeshi "Tee" Fuji.  The label adhered to strict audiophile standards and all of the releases on the label featured exemplary sonics.  The music of Three Blind Mice tended to fall into three facets of jazz (they would crossover from time to time).  Some of the artists play very traditional straight ahead jazz.  Frankly while this stuff appeals to audiophiles its not that appealing beyond the sonics.  There was also an experimental side to the label featuring a lot of free jazz blowing.  The third aspect, which to my ears is the most interesting, is the area where the label explored modal jazz, often with an electric element.  Very little of it would be hardly be called fusion, but a rock element would sometimes be present.  This falls into the realm that has been broadly tagged as "kosmigroov".The label only existed in the 70s and the rights to the catalog has now passed over to Sony Music.  Think Records in Japan has started a limited ediiton reissue campaign of the Three Blind Mice label.  They arrive in mini-LP sleeves and are manufactured using Sony's proprietary Blu-Spec process.  We are cherry picking titles we think should have your attention.  More will follow in the near future.George Otsuka is a very well known jazz drummer in Japan.  This is a hot set he recorded in 1976 for Three Blind Mice.  The album consists of 4 long tracks.  The lineup consists of Fender Rhodes, soprano and tenor sax, bass, drums, and percussion.  Some beautiful mellow parts that explode into high energy modal jazz with some freaky keyboard sounds.  This is a stunning recording that exemplifies the Three Blind Mice sound.  
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  • "Despite the rumors, pre-fusion acid jazz-rock is alive and well, living it up in Southern California. Psicomagia is the joint forces of leading members of noted prog and stoner-rock outfits Astra and Radio Moscow. The band serves up a mixture of the same essence that Soft Machine, Tony Williams Lifetime, and Magma pioneered during that magical period just seconds before progressive electric jazz was grabbed by the institutional jazz scene. A formula thought lost until this day, when seemingly out of the blue, the relentless force of Psicomagia appeared. Spearheaded by multi-instrumentalist and producer Brian Ellis' roaring saxophone, constantly interplaying Tyler Daughn's franticly screaming organs and synthesizers, the soul of Psicomagia is in the endlessly permutated bursts of energy of the two. The relentless heart, however, is kept going by drummer Paul Marrow (Radio Moscow), who carves out a constantly brooding and shifting rhythmic base along with the heavy, travelling bass of Trevor Mast. Together they balance a line between an insanely tight and rhythmic notion of progress, as well as transgressing each instrument's carved path on this cataclysmic journey of musical events. Imagine, on top of that, two poets, repeating obscured mantras, rumbling bells and gongs, and you're getting closer to playing your own Jodorowsky-does-jazz movie playing in your head via Psicomagia. If Psicomagia sounds like a thing of the past, it's simply because they have inherited a unique quality lost in music today: grabbing onto a wide array of genres, and permuting them into their own distinct musical landscape. "
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  • Tripped out album from South American guitarist Alfonso Lovo. Recorded in 1976, this only existed as an unreleased acetate.  With Santana percussionist Jose "Chepito" Areas on board, you can hear the obvious influences but there is a definite psychedelic vibe - this isn't straight up latin rock.  Synthesisers waft through the air with a lysergic randomness that reminds of some stoned out Jamaican session.  Snakey wah-wah'ed out guitar leads add to the fun and the horns and percussion treat the whole thing like some weird out take from Abraxas.  Highly recommended.
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  • The Japanese East Wind label was active in the 70s and into the early 80s.  This was a jazz label that focused on Japanese artists but also covered many popular US players.  While not as overtly audiophile as Three Blind Mice, the East Wind label was always noted for immaculate reference quality production.Universal Japan has released 72 titles from the East Wind catalog in extremely limited editions.  We've cherry picked those titles that we think are of interest to our customer base.This monumental modal jazz set from 1975 features Masabumi Kikuchi (piano), Terumasa Hino (trumpet), Kohsuke Mine (tenor sax), Juni Booth (bass), and Eric Gravatt (drums).  The album consists of two side long pieces that showed the world that Japanese jazz was not merely aping US musicians.  This is as soulful and spiritual as you can get.  A dynamo performance enhanced with superior production.  After this Kikuchi started to explore fusion realms leading up to Kochi.  Highly recommended.
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  • Grey area live recording at a blow out price!"This historically important performance from March 22nd, 1973, was taped for broadcast on WBCN-FM, and captures visionary keyboardist and composer Herbie Hancock at a vital point in his musical trajectory, as he closed the Mwandishi (1971) chapter and embarked on his Head Hunters (1973) trip. Fearlessly creative and experimental, it's presented here in its entirety and in digitally remastered sound, together with background notes and images."Track Listing:01. Hornets 42:5502. You'll Know When You Get There 20:08
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  • The Japanese jazz scene is finally getting the attention it deserves.  Long written off as just a scene filled with copycats of American and European artists, jazz fans around the world are now discovering that there was some amazing music being created there.  Some of the musicians like Terumasa Hino and Masabumi Kikuchi crossed over into the world jazz scene but for the most part many of the musicians there only gained popularity in Japan.  One of the most important Japanese jazz labels from the 70s was Three Blind Mice.  It was started in 1970 by producer Takeshi "Tee" Fuji.  The label adhered to strict audiophile standards and all of the releases on the label featured exemplary sonics.  The music of Three Blind Mice tended to fall into three facets of jazz (they would crossover from time to time).  Some of the artists play very traditional straight ahead jazz.  Frankly while this stuff appeals to audiophiles its not that appealing beyond the sonics.  There was also an experimental side to the label featuring a lot of free jazz blowing.  The third aspect, which to my ears is the most interesting, is the area where the label explored modal jazz, often with an electric element.  Very little of it would be hardly be called fusion, but a rock element would sometimes be present.  This falls into the realm that has been broadly tagged as "kosmigroov".The label only existed in the 70s and the rights to the catalog has now passed over to Sony Music.  Think Records in Japan has started a limited ediiton reissue campaign of the Three Blind Mice label.  They arrive in mini-LP sleeves and are manufactured using Sony's proprietary Blu-Spec process.  We are cherry picking titles we think should have your attention.  More will follow in the near future.White hot set from this quartet led by flautist/saxophonist Kenji Mori.  Kazumi Watanabe stars on guitar, and the rhythm section consists of Nobuyoshi Ino on bass and Steve Jackson on drums.  The album consists of 3 blazing tracks including the sidelong, two part "Firebird".  Mori and Watanabe trade furious solos back and forth.  While firmly entrenched in jazz, this set takes on a rock energy level.  When you see the cover of "A Time For Us" (Theme from "Romeo And Juliet") you might wince, but it turns out to be a killer interpretation with gorgeous flute/guitar interplay.  A total smoker of an album - one of my favorites from Three Blind Mice.  Highly recommended.
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