thanks for looking.
brisk and beautiful fall weather begets brisk and beautiful fall music… check it out: great new psychedelic compilation on the now-again label (long standing taste makers in the realms of rare groove and funky breaks, they lend new ears to some tried and true psych rarities –damon, d.r. hooker, ofege, etc- but also throw in some new and/or oft overlooked nuggets –t. zchiew and the johnny, jang hyun and shin jung, etc- … fun stuff all around… beautiful and exceptionally well notated gatefold sleeve to boot. get one for yourself AND a friend!); new boredoms super roots vinyl (volume 10, 2x12!); gnod lp (having previously shared digital space with white hills –new ep by them on tuesday, btw-, this is their first lp. manc import. excellent); d.r. hooker restock; new and back catalog kohoutek vinyl; more new blues reissues from monk (!) and to round out this weeks list, a ton of new and restocked blue note lp reissues, needless to say, apex stuff! come on by and check em out! as always check the tequila sunrise records facebook page and/or twitter feed for up-to-the-minute new arrivals and restocks.
new fall hours (note thursday 12-8 and friday 12-6)!
as always, many of these titles are in very limited quantity, so if you're interested in anything listed below and can’t make it to the shop you can make a purchase via paypal or over the phone with a credit card and pick them up later or have them shipped (see more information below). i will no longer hold records. sorry.
prices are subject to change without notice.
prices do not include shipping and handling. for those of you shipping within the continental united states I offer a 5.00usd flat shipping rate for any amount of records and/or compact discs. shipping cost for international orders are calculated on an order by order basis. payments for orders can be made via paypal or with a credit card by telephone between 12-6pm/est.
i also offer bike messanger service via timecycle couriers. for the low cost of 10.00usd i can deliver any amount of records and/or cds you wish to purchase to your center city philadelphia location (this includes some parts of south, west and north philadelphia) within two hours (and for those of you who need your records even faster, we also offer ‘rush’ service for the low flat rate of 20.00usd for any amount of records/cds delivered to you within one hour). of course, we are still more than happy to ship records via the usps within philadelphia. orders placed before 5pm/est will ship out that evening and should reach their destination by the following day.
PICK OF THE WEEK
V/A- FORGE YOUR OWN CHAINS: HEAVY PSYCHEDELIC BALLADS AND DIRGES 1968-1974 2LP (now-again, usa)
*Now-Again’s Foray Into Funky Psychedelia: American gospel, paranoiac soul, loner folk, East-Nigerian fuzz, Thai rock, Iranian ballads and more… This compilation introduces a new direction for Now-Again Records and its owner, Stones Throw Records GM, A&R and producer Egon. With the same detailed, no-stone-unturned approach he used for Deep Funk (The Funky 16 Corners, Cold Heat ), he tackles beat-heavy global psychedelia with Forge Your Own Chains. Forge Your Own Chains showcases music from all corners of the world: Colombia, Nigeria, Sweden, South Korea, Thailand and Iran. The focus – in keeping with Now-Again’s tradition – is on melody, driving rhythms and accessibility. Not one song is included on this compilation because it is from a “rare” album. Certainly, many of these songs do spring from albums that exchange hands for many thousands of dollars. Certainly, many of these songs have never seen reissue. But these songs are all beautiful in their own right and work to form a coherent album. Psychedelic records, long the mainstay of older, grizzled collectors and seemingly quaint, are, in the hands of Egon and those of his generation, giving up new ghosts. And, with comps like Forge Your Own Chains, inspiring new investigations into our not so distant (and still very much alive) musical past.
BOREDOMS- SUPER ROOTS 10 2X12” (thrill jockey, usa)
*Long regarded as musical pioneers, Boredoms have continually pushed sonic boundaries and inspired musicians for over 20 years. Their albums and their performances defy categorization, each one a completely unique event. The one commonality is that the members of the Boredoms have amazing technical skills as musicians, limitless imagination and the ability to combine the two -- as no others have. After only being released on CD in Japan, Thrill Jockey is proud to bring Super Roots 10 to the US. The album will only be available as a limited 2 x 12" release. The album is produced by EYE and all the artwork was created and designed by EYE as well. Super Roots 10 features a remix from Norwegian artist Lindstrøm who has released music on the label Smalltown Supersound and has also done remixes for artists as varied as Franz Ferdinand, LCD Soundsystem, and The Juan MacLean. Also featured is a remix from Japanese artist Altz who has recorded albums for Bear Funk and Jet Set Records Japan and previously done remixes for the Boredoms in addition to Tal M. Klein, Cro-Magnon, and Harp On Mouth Sextet. Includes poster.
ROCK AND PSYCHEDELIC
GNOD- GNOD LP (pariah child, usa)
*since early 2007 manchester based cosmic collective gnod have been building a hell of a reputation as a 'must see' live band. supports to the likes of the sun ra arkestra under direction of marshall allen, acid mothers temple and sonic boom, and their recent european tour, have gained them a marc riley session and also resulted in a forthcoming collaborative release with new york's white hills (thrill jockey/ rocket). the record comprises two sides of free-sprawling jams and psyched-out space rock, captured live and raw, then fucked with, just a little, before being cut to wax for good measure. previously available only at gigs, there are limited copies available of this release, so act accordingly - fans of sunburned hand of the man, the skaters, no neck blues band, taurpis tula, hawkwind, and amon duul won't be disappointed. their self-titled lp01 follows a spate of cd-r releases to date, and is their first full length vinyl release. –rough trade
KOHOUTEK- LOSSLESS LOSS LP (prophase music, usa)
*Lossless Loss, the second studio album from Mid-Atlantic improv collective Kohoutek, covers most of the dynamic stylistic range Kohoutek is known for: abstract and textural sound, atmospheric rock, harsh noise freakouts, clattering percussion, guitar heroics, and alien electronics congealing to form a multihued psychedelic extravaganza. Recorded deep in the Blue Ridge Mountains of Virginia in September 2007, the five members embarked on a psilocybic twilight journey, and this 44-minute aural excursion is the result. No overdubs and minimal editing create an experience as close as possible to a Kohoutek performance. With longtime core members Scott Verrastro (percussion, flute), Craig Garrett (bass) and Scott Allison (electronics) augmented by Vic Salazar (electric guitar) and Damian Languell (vocals, harmonica, clarinet, didgeridoo, Space Echo), Kohoutek forge their own path in the improv universe, and Lossless Loss is another burning fragment of this fleeting sonic comet.
D.R. HOOKER- THE TRUTH LP (subliminal sounds, sweden)
*shop favorite restocked… One of the rarest U.S. psych albums, previously issued on CD by Subliminal Sounds, now in a beautiful and legit 180 gram vinyl LP reissue. The Truth, recorded in Connecticut in 1972, might very well be the ultimate North American acid rock album, ever. No hype here -- just incredible music. Tempting as it is to exaggerate the worth of such obscurities, The Truth deserves every plaudit that comes its way, making it astonishing that there was no real band to speak of. Instead, ten musicians are credited alongside the mysterious Donald Hooker, who wrote, sang and played lead on the album. Culled from the local music scene, they rehearsed only briefly before entering the studio. Tom Kobela, who played dobro on this record, remembers that Hooker "was a very likable, long-haired fellow" who "wore robes, which was pushing the dress code conventions even then." Despite his wasted appearance, though, he knew exactly what he wanted in the studio. Heralded by an eerie hoosh, the first track exemplifies the album's sound: a strong melody, funky drumming and percussion and piercing guitar, underpinning oddly philosophical, quasi-Christian lyrics. Some songs are mellow, while others rock hard. Other highlights include the irresistibly funky "A Stranger's Smile" and the beautifully structured "This Thing." But the album's masterpiece is the unforgettable "Forge Your Own Chains," whose smoldering groove, enlivened by delicate synth and atmospheric brass, provides the backing for Hooker's admonitory lyrics about the iniquities of substance abuse. This is one of those albums that keeps revealing new depths even when you've played it a hundred times. Connecticut hippie-philosopher concocts homemade lounge-psych masterpiece. True psychedelia! Includes a poster in a limited edition of 500 copies.
SOFT ROCK AND LIGHT PSYCHEDELIC HARMONY
ELECTRONIC CONCEPT ORCHESTRA- MOOG GROOVE LP (limelight, usa)
*nice looking/sounding repro of “The First Album of Electronic Rock"; w/Eddie Higgins, Phil Upchurch, etc!; hip tunes and nice jacket art; Aquarius, Oh Happy Day, Grazing in the Grass, Atlantis, Rock Me, Feelin' All Right, Windmills of Your Mind, Hey Jude, etc… "The Electronic Concept Orchestra was formed to create a musical approach to pop and rock music that is as fresh as Walter Carlos' efforts in the classical area with 'Switched on Bach'. Relax, loosen up, and get into the 'Moog Groove'."
BLUES AND ROOTS
MISSISSIPPI SHEIKS- SITTING ON TOP OF THE WORLD LP (monk, italy)
*Formed in 1930 as a trio of guitar and fiddle music, the original lineup was composed of Lonnie, Sam and Armenter Chatmon, the latter best known as Bo Carter, who was also a solo star of the period. The Mississippi Sheiks took their name from Rudolph Valentino's movie The Sheik and became extremely popular in the 1930s despite the fact that the famous country music artists of the day were almost all solo artists. Their first single, 'Sittin' On Top of The World,' was also their biggest success. It went on to become a standard country blues song covered by many artists of the caliber of Frank Sinatra, Harry Belafonte, Bob Dylan and Cream.
FRANK STOKES- DOWNTOWN BLUES LP (monk, italy)
*African American singer and guitar player who got his start playing on the streets of Memphis around the turn of the century. His enormous repertoire of early folk, blues, old time country and popular music, along with his influence on local musicians has made many point to him as the true father of Memphis blues. He began touring the South with a black face Medicine Show comedian in the 1910s where it is said he met and influenced Jimmie Rodgers, among others. He then moved to Tennessee where he began playing with musician Dan Sane with whom he made his first recordings as the 'Beale Street Sheiks' for Paramount in 1927. Throughout this period Stokes recorded a number of sides for Paramount and Victor until his old time style began to lose popularity with the record buying public.
ELIZABETH COTTON- WHEN I'M GONE LP (smithsonian/folkways, usa)
*This is the third volume of work for Folkways by one of the most important acoustic guitarists of the 20th Century, originally released in 1965. Produced by musician Alice Gerrard and recorded by folklorist/musician Mike Seeger, When I'm Gone is the perfect introduction to the queen of folk-blues. An absolute classic lovingly reissued in a perfect replica of the original Folkways jacket and including a reproduction of the original information booklet.
ART BLAKEY AND THE JAZZ MESSENGERS- AFRICAINE LP (blue note, usa)
*shop favorite restocked… exact repro reissue, featuring Art Blakey (drums), Wayne Shorter (tenor saxophone), Lee Morgan (trumpet), Walter Davis (piano) and Jymie Merritt (bass). "The sessions for Africaine -- recorded in 1959 but not released until 1979 -- saw innovative young tenorist Shorter linked with the equally forward-looking trumpet of Lee Morgan for the first time on record, set against the efforts of producer Alfred Lion to shape another commercial hit to match Blakey's breakthrough with Moanin'. What he got instead was a showcase for two hot young horn players and composers burning ideas and talent over the uniquely wide-screen Blakey percussion style, all anchored by Walter Davis' s low-key, self-effacing and supportive blues piano." -- All About Jazz
DONALD BYRD- ELECTRIC BYRD LP (blue note, usa)
*shop favorite restocked… exact repro reissue, originally released on Blue Note in 1970. "Donald Byrd's transitional sessions from 1969-1971 are actually some of the trumpeter's most intriguing work, balancing accessible, funky, Davis-style fusion with legitimate jazz improvisation. Electric Byrd, from 1970, is the best of the bunch, as Byrd absorbs the innovations of Bitches Brew and comes up with one of his most consistent fusion sets of any flavor. Byrd leads his largest fusion group yet (ten to 11 pieces), featuring many of his cohorts of the time (including Jerry Dodgion, Lew Tabackin, and Frank Foster on various woodwinds). Most important are electric pianist Duke Pearson, who once again dominates the arrangements, and percussionist Airto Moreira, who in places lends a strong Brazilian feel that predates Return to Forever. Moreira also contributes one of the four compositions, 'Xibaba,' which starts out as an airy Brazilian tune but morphs into a free-form effects extravaganza; the rest are Byrd originals that prove equally imaginative and diverse." -- All Music Guide
DONALD BYRD- ETHIOPIAN KNIGHTS LP (blue note, usa)
*shop favorite restocked… exact repro reissue, originally released on Blue Note in 1971. "Right from the stop-start bass groove that opens 'The Emperor,' it's immediately clear that Ethiopian Knights is more indebted to funk -- not just funky jazz, but the straight-up James Brown/Sly Stone variety -- than any previous Donald Byrd project. And, like a true funk band, Byrd and his group work the same driving, polyrhythmic grooves over and over, making rhythm the focal point of the music." -- All Music Guide
DONALD BYRD- SLOW DRAG LP (blue note, usa)
*shop favorite restocked… gatefold exact repro reissue, originally released in 1967. Featuring Sonny Red, Cedar Walton, Walter Booker and Billy Higgins. "Slow Drag was one of trumpeter Donald Byrd's final hard bop dates. Teamed with altoist Sonny Red, pianist Cedar Walton, bassist Walter Booker and drummer Billy Higgins (who takes a surprise vocal on the title cut), this quintet outing features originals by Byrd, Walton and Red along with the standards 'Secret Love' and 'My Ideal.' The music in general finds Byrd looking both backwards toward the blues and forwards toward modal music and hints of the avant-garde. A fine effort." --All Music
CANDIDO- BEAUTIFUL LP (blue note, usa)
*exact repro reissue of Candido's Blue Note debut, a rare groove essential, originally released in 1970. Candido plays conga & bongos with Bernie Glow (trumpet), Pat Russo (trumpet), Joe Grimm (saxes & flute), Alan Raph (trombone & bass trombone), Frank Anderson (piano & organ), Dave Spinozza (guitar), Richard Davis (fender bass), Gerald Jemmott (fender bass) and Herbie Lovelle (drums). Magnetic, hypnotic, dance-oriented funk from the "Man With A Thousand Fingers."
SONNY CLARK- DIAL "S" FOR SONNY LP (blue note, usa)
*shop favorite restocked… Exact repro reissue of Sonny's 1957 album. "Dial "S" for Sonny, Sonny Clark's first session for Blue Note Records and his first session as a leader, is a terrific set of laidback bop, highlighted by Clark's liquid, swinging solos. Clark leads a first-rate group -- Art Farmer (trumpet), Curtis Fuller (trombone), Hank Mobley (tenor sax), Wilbur Ware (bass), Louis Hayes (drums) -- through four originals and two standards, balancing the selections between swinging bop and reflective ballads. There are traces of Bud Powell in Clark's style, but he's beginning to come into his own, developing a style that's alternately edgy and charmingly relaxed. Mobley, Farmer and Fuller have their moments, but Clark steals the show in this set of fine, straight-ahead bop." -- All Music Guide
SONNY CLARK- SONNY'S CRIB LP (blue note, usa)
*exact repro reissue, originally released in 1959. Featuring Donald Byrd (trumpet), Curtis Fuller (trombone), John Coltrane (tenor sax), Sonny Clark (piano), Paul Chambers (bass) and Art Taylor (drums). "Recorded in 1957, Sonny's Crib features a front line of Curtis Fuller, Donald Byrd, and John Coltrane with Sonny Clark on piano, Art Taylor on drums, and Paul Chambers on bass. Truly still a bebop recording, done a full year before the landmark Cool Struttin' session, nonetheless the set produced some awesome readings of classic tunes, like the opener, 'With a Song in My Heart,' with one of the knottiest Byrd solos ever. As Chambers and Taylor up the rhythmic ante and Clark comps with enormous chords in the background, the entire line solos, but it is Byrd's that is stunning in its complexity -- though Coltrane could play bebop as well as anybody. The most notable tracks on the session are the classic readings of Kurt Weill's 'Speak Low' and 'News for Lulu,' the latter of which has been adopted by John Zorn as his theme. On the former, Clark's rearrangement, with Coltrane leading the front line, is truly revelatory. Using a Latin rhythm in cut time, Clark sets up a long, 22-note melody line that moves right into Trane's solo. He moves the key around and harmonically shifts gears as Clark follows and stays in the pocket for him while Trane uses the middle register for legato pyrotechnics. Fuller's next and covers over the blues inherent in the tune with pure swing, before Byrd brings it back into the fold with a gorgeous counterpoint of the melody. Clark taps his way into extended harmonics on the sixths and sharpens the accents as he trounces the original key and plays double trills to get back. The latter is a smokin' Latin take on the hard bop blues, with a staggered melodic line and a large tonal palette that gives the horn players room to explore the timbral possibilities of Clark's colors -- which are revealed in the loosest, skittering skein of bluesy phrasing this side of Horace Silver in his solo. In all, Sonny's Crib is a phenomenal recording, one that opened the door to hard bop becoming the norm in the late '50s, and one that drew deft, imaginative performances from all its players." -- All Music
ORNETTE COLEMAN- LOVE CALL LP (blue note, usa)
*shop favorite restocked… exact repro reissue, originally released in 1968. Featuring Ornette Coleman (alto sax & trumpet), Dewey Redman (tenor sax), Jimmy Garrison (bass) and Elvin Jones (drums). "'Love Call,' with Coleman on trumpet, maintains a blistering intensity as the two horns are not merely supported but engulfed in the rhythmic pressure furnished by Garrison and Jones. Note particularly the passage, beginning about two thirds of the way through the track, when the two horns engage in a rapier-like exchange, each seemingly feeding on the other's insatiable energy."
LOU DONALDSON- MIDNIGHT CREEPER LP (blue note, usa)
*gatefold exact repro reissue, originally released in 1968. Featuring the sexiest album art Blue Note could fathom. "As he delved deeper into commercial soul-jazz and jazz-funk, Lou Donaldson became better at it. While lacking the bite of his hard bop improvisations or the hard-swinging funk of Alligator Bogaloo, Midnight Creeper succeeds where its predecessor, Mr. Shing-A-Ling failed: it offers a thoroughly enjoyable set of grooving, funky soul-jazz. The five songs -- including two originals by Donaldson and one each by Lonnie Smith (who also plays organ on the record), Teddy Vann, and Harold Ousley -- aren't particularly distinguished, but the vibe is important, not the material. And the band -- Donaldson, Smith, trumpeter Blue Mitchell, guitarist George Benson, and drummer Leo Morris -- strikes the right note, turning in a fluid, friendly collection of bluesy funk vamps. Donaldson could frequently sound stilted on his commercial soul-jazz dates, but that's not the case with Midnight Creeper. He rarely was quite as loose on his late-'60s/early-'70s records as he is here, and that's what makes Midnight Creeper a keeper." -- All Music
LOU DONALDSON- SAY IT LOUD! LP (blue note, usa)
*shop favorite restocked… Gatefold exact repro reissue, originally released in 1968. Featuring Blue Mitchell (trumpet), Lou Donaldson (alto sax), Jimmy Ponder (guitar), Charles Earland (organ) and Leo Morris (drums). Includes the James Brown cover "Say It Loud I'm Black And I'm Proud.
KENNY DORHAM- TROMPETA TOCCATA LP (blue note, usa)
*exact repro reissue, originally released in 1964. "It seems strange and somewhat tragic that this was trumpeter Kenny Dorham's last full album as a leader for he was only 40 at the time and still in his prime. Dorham contributed three of the four selections to the session (Joe Henderson's catchy 'Mamacita' also receives its debut), and his very underrated abilities as a writer, trumpeter, and talent scout are very much in evidence. This modern hard bop quintet set with Henderson on tenor, pianist Tommy Flanagan, bassist Richard Davis, and drummer Albert 'Tootie' Heath served as a strong (if premature) ending to Dorham's impressive career as a solo artist." -- All Music Guide
GRANT GREEN- IDLE MOMENTS LP (blue note, usa)
*shop favorite restocked… Exact repro reissue, originally released in 1963. Featuring Joe Henderson (tenor sax), Bobby Hutcherson (vibes), Grant Green (guitar), Duke Pearson (piano), Bob Cranshaw (bass) and Al Harewood (drums). "This languid, seductive gem may well be Grant Green's greatest moment on record. Right from the opening bars of the classic title cut, Idle Moments is immediately ingratiating and accessible, featuring some of Green's most stylish straight jazz playing. Whether he's running warm (pianist Duke Pearson's 'Idle Moments'), cool (the Modern Jazz Quartet's 'Django'), or a bit more up-tempo (Pearson's 'Nomad,' his own 'Jean de Fleur'), Green treats the material with the graceful elegance that was the hallmark of his best hard bop sessions, and that quality achieves its fullest expression here." -- All Music Guide
CLIFF JORDAN- CLIFF JORDAN LP (blue note, usa)
*exact repro reissue of Clifford Jordan's second solo album for Blue Note, originally released in 1959. Featuring Lee Morgan (trumpet), Curtis Fuller (trombone), John Jenkins (alto sax), Cliff Jordan (tenor sax), Ray Bryant (piano), Paul Chambers (bass) and Art Taylor (drums). "Cliff has a strong, virile tone that is similar in essence to Sonny Rollins (a mighty influence on so many of today's young tenor men) but he is by no means an ersatz Rollins. His conception is personal, fresh and exciting and he will, no doubt, rank high..."
JACKIE MCLEAN- A FICKLE SONANCE LP (blue note, usa)
*exact repro reissue, originally released in 1961. "Alto saxophonist Jackie McLean was one of the few jazz players to come up through bebop and incorporate free jazz into his style. Even though A Fickle Sonance preceded McLean's intense 1962 album Let Freedom Ring, the playing remained in a swinging blues-oriented style, showing no hint of the direction his music was about to take. The sidemen on the date (Tommy Turrentine [trumpet], Sonny Clark [piano], and Butch Warren [bass]) prove to be an invigorating combination of musicians, however not as involved in the burgeoning free music as drummer Billy Higgins. At the time of these sessions, Higgins had already played with Ornette Coleman, providing a link to the avant-garde, but nevertheless his playing follows the hard bop pace of the others. McLean provides two original compositions, 'Subdued' and the title track, while Clark, Turrentine, and Warren fill the remaining tracks." -- All Music Guide
BLUE MITCHELL- THE THING TO DO LP (blue note, usa)
*exact repro reissue of one of the truly legendary Blue Note sessions, originally released in 1964. Featuring Blue Mitchell (trumpet), Junior Cook (tenor sax), Chick Corea (piano -- his second recorded appearance and debut for Blue Note), Gene Taylor (bass), and Aloysius Foster (drums). "This Blue Mitchell date is a classic, particularly the opening 'Fungii Mama,' which is really catchy. The trumpeter's quintet of the period (which includes tenor saxophonist Junior Cook, the young pianist Chick Corea, bassist Gene Taylor, and drummer Al Foster) also performs two Jimmy Heath tunes and a song apiece by Joe Henderson ('Step Lightly') and Corea. The record is prime Blue Note hard bop, containing inventive tunes, meaningful solos, and an enthusiastic but tight feel. Highly recommended." -- All Music Guide
HANK MOBLEY- WORKOUT LP (blue note, usa)
*exact repro reissue; originally issued on Blue Note in 1961. Featuring Grant Green (guitar), Wynton Kelly (piano), Paul Chambers (bass), Philly Joe Jones (drums) and Hank Mobley (tenor sax). "Mobley in some of his best company: guitarist Grant Green, pianist Wynton Kelly, bassist Paul Chambers, and drummer Philly Joe Jones. Each of these men made dozens of recordings like this one, and in their day they were little noted except as a payday for the musicians and a momentary showcase for their fans to enjoy. But from the standpoint of forty years in the future we can see the high level of mastery these musicians had achieved. Mobley is his mellow-toned self, and he finds a perfect partner in Green, whose electrically-charged lines take Mobley's quiet fire and run with it. Green glows particularly brightly on 'Workout,' while on the jaunty 'Uh Huh' Mobley takes chorus after chorus with a subtle buildup of intensity that reveals him to be a past master of architectonics. And the rhythm section! Philly Joe hasn't lost a step here, and indeed commands more attention than on his dates with Miles. This one was all in a day's work, but what a day! A tour de force. A masterpiece." -- All About Jazz
LEE MORGAN- THE SIXTH SENSE LP (blue note, usa)
*shop favorite restocked… recorded 1967. "For this lesser-known Lee Morgan LP, the trumpeter was starting to stretch beyond hard bop into more modal areas while retaining his easily recognizable sound. None of Morgan's originals (which are performed along with pianist Cedar Walton's 'Afreaka' and Cal Massey's 'The Cry of My People') caught on, but the music is creatively performed by the trumpeter, altoist Jackie McLean (who was always a perfect musical partner), the obscure tenor Frank Mitchell, Walton, bassist Victor Sproles, and drummer Billy Higgins." --All Music Guide
LEE MORGAN- TARU LP (blue note, usa)
*shop favorite restocked… Recorded 1968. "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." --All Music Guide
BIG JOHN PATTON- OH BABY! LP (blue note, usa)
*shop favorite restocked… exact repro reissue, originally released on Blue Note in 1965. Featuring Blue Mitchell (trumpet), Harold Vick (tenor sax), Grant Green (guitar), John Patton (organ) and Ben Dixon (drums). Exact repro reissue, originally released on Blue Note in 1965. Featuring Blue Mitchell (trumpet), Harold Vick (tenor sax), Grant Green (guitar), John Patton (organ) and Ben Dixon (drums). "This is 'Big' John's fourth album for Blue Note Records. In his appraisal of the album, he said, 'I feel this album moves me closer to interpreting music my way.' And he added, 'I want to go on studying. A musician cannot stand still. The mechanical power of the organ can easily delude you into projecting strength as opposed to blending it with other instruments. Control is very important and so is direction.'"
DUKE PEARSON- SWEET HONEY BEE LP (blue note, usa)
*shop favorite restocked… exact repro reissue; originally issued on Blue Note in 1966. "Fortunately for music, as for all other manifestations of life, it has so far been impossible to homogenize temperament. Even, for example, in a time of unusual tension, such as the present, there are those who somehow sustain an open, lyrical, non-competitive approach to being alive. Although Duke's music has always been airy and spring-like, perhaps a particular reason for the sense of well-being in this album is the attractive young lady on the cover who, by the time you hear the music, will have become Mrs. Betty Pearson. There was something of her in Duke's thoughts when he wrote Sweet Honey Bee. Its sunny melody and resiliently infectious beat do communicate, as Duke puts it, 'a bit of happiness.' Considerably more than a bit. There is a dance-like buoyancy in Duke's own piano solo, and James Spaulding's flute also emphasizes the light-hearted mood of expectancy that makes Sweet Honey Bee a spirit-energizer." -- Nat Hentoff
WAYNE SHORTER- THE SOOTHSAYER LP (blue note, usa)
*exact repro reissue. Recorded 3/4/67. Featuring Wayne Shorter (tenor sax), James Spaulding (alto sax), Freddie Hubbard (trumpet), McCoy Tyner (piano), Ron Carter (bass) and Tony Williams (drums). "Although the melody line of 'The Big Push' is rhythmically unusual, the solos by Shorter, Hubbard, Spaulding and McCoy flow in straight four. Wayne's solo entrance is arresting and wry as he playfully and creatively juggles a simple two note motif and weaves into a full blown solo. 'The Soothsayer' is a burning, delightfully descending line that engenders the kind of fire that makes Spaulding fly. He and Wayne steal the show here. Shorter launches his flight with those fragmented, punctuated lines that were a trademark of his playing in the sixties. Shorter has always been a master composer of ballads. And his tribute to Billy Holiday's 'Lady Day' is no exception. He gives an unbelievable reading that is set off by a lovely, lyrical piano solo from Tyner. A year and a half before this session, Wayne had recorded his own 'Dance Cadaverous' (on Speak No Evil) and credited the Finnish composer Jean Sibelius' 'Valse Triste' as an inspirational source point. Here he arranges Sibelius' own music for the sextet with solos from all except Williams. Coincidentally, this ensemble is VSOP with McCoy in place of Hancock and with Spaulding added. But this was no planned all-star reunion. This was merely the music of the period played unselfconsciously by the musicians who were playing it best." -- Michael Cuscuna, from the liner notes.
WAYNE SHORTER- SPEAK NO EVIL LP (blue note, usa)
*shop favorite restocked… exact repro reissue, originally released in 1964. "On his third date for Blue Note within a year, Wayne Shorter changed the bands that played on both Night Dreamer and Juju and came up with not only another winner, but also managed to give critics and jazz fans a different look at him as a saxophonist. Because of his previous associations with McCoy Tyner, Elvin Jones, and Reggie Workman on those recordings, Shorter had been unfairly branded with the 'just-another-Coltrane-disciple' tag, despite his highly original and unusual compositions. Here, with only Jones remaining and his bandmates from the Miles Davis Quintet, Herbie Hancock and Ron Carter on board (with Freddie Hubbard filling out the horn section), Shorter at last came into his own and caused a major reappraisal of his earlier work. The odd harmonic frameworks used to erect 'Fee-Fi-Fo-Fum,' with its balladic structure augmented with a bluesy regimen of hard bop and open-toned modalism, create the illusion of a much larger band managing all that timbral space. Likewise on the title track, with its post-bop-oriented melodic line strewn across a wide chromatic palette of minors and Hancock's piano pushing through a contrapuntal set of semi-quavers, the avant-garde meets the hard bop of the '50s head on and everybody wins. The loping lyric of the horns and Hancock's vamping in the middle section during Shorter's solo reveals a broad sense of humor in the saxophonist's linguistics and a deep, more regimented sense of time and thematic coloration. The set ends with the beautiful 'Wild Flower,' a lilting ballad with angular accents by Hancock who takes the lyric and inverts it, finding a chromatic counterpoint that segues into the front line instead of playing in opposition. The swing is gentle but pronounced and full of Shorter's singular lyricism as a saxophonist as well as a composer." -- All Music Guide
WAYNE SHORTER- NIGHT DREAMER LP (blue note, usa)
*shop favorite restocked… Recorded 1964. "Tenor-saxophonist Wayne Shorter's Blue Note debut found him well prepared to enter the big time. With an impressive quintet that includes trumpeter Lee Morgan, pianist McCoy Tyner, bassist Reggie Workman and drummer Elvin Jones, Shorter performed a well-rounded program consisting of five of his originals plus an adaptation of an 'Oriental Folk Song.' Whether it be the brooding title cut, the Coltranish ballad 'Virgo' or the jams on 'Black Nile' and 'Charcoal Blues,' this is a memorable set of high-quality and still fresh music." --All Music Guide
REUBEN WILSON- BLUE MODE LP (blue note, usa)
*shop favorite restocked… exact repro reissue; originally issued on Blue Note in 1969. "If Love Bug skirted the edges of free jazz and black power, Blue Mode embraces soul-jazz and Memphis funk in no uncertain terms. Opening with the cinematic, stuttering 'Bambu' and running through a set of relaxed, funky grooves -- including covers of Eddie Floyd's 'Knock On Wood' and Edwin Starr's 'Twenty-Five Miles' -- Blue Mode isn't strictly a jazz album, but its gritty, jazzy vamps and urban soul-blues make it highly enjoyable. Reuben Wilson has a laid-back, friendly style and his supporting band -- tenor saxophonist John Manning, guitarist Melvin Sparks, and drummer Tommy Derrick -- demonstrate a similarly warm sense of tone. While none of them break through with any improvisations that would satiate hardcore jazz purists, they know how to work a groove, and that's what makes Blue Mode a winner."
LARRY YOUNG- CONTRASTS LP (blue note, usa)
*shop favorite restocked… exact repro reissue, originally released in 1967. "For this interesting set, organist Larry Young (the first musician on his instrument to really move beyond Jimmy Smith's soul-jazz into the avant-garde) mostly utilized lesser-known musicians from the Newark, NJ, area: Tyrone Washington and Herbert Morgan on tenors, flugelhornist Hank White, guitarist Eddie Wright, drummer Eddie Gladden, and Stacey Edwards on congas. 'Major Affair' is an organ-drums duet and Larry's wife Althea Young does a haunting version of 'Wild Is the Wind,' while the other four selections use all of the horns. The adventurous music is sometimes quite intense but also grooves in its own eccentric way, offering listeners a very fresh sound on organ." -- All Music Guide
REGGAE AND DANCEHALL
V/A- MAX GLAZER PRESENTS DANCEHALL CLASSICS 2LP (sequence, usa)
*warehouse find, essential dancehall selections from a few years back… Action / Terror Fabulous (featuring Nadine Sutherland) -- Murder she wrote / Chaka Demus & Pliers -- A who seh me dun / Cutty Banks -- Tour (Lil Jon & Paul's mix) / Capleton -- Freaks / Doug E. Fresh -- Flex / Mad Cobra -- You don't love me (No, no, no) / Dawn Penn -- Ting a ling / Shabba Ranks -- Ghetto red hot (hip-hop mix) / Super Cat -- Take it easy / Mad Lion -- Hot this year / Dirtsman -- Big up / Shaggy featuring Rayvon -- Twice my age / Shabba Ranks -- One blood / Junior Reid -- Here I come / Barrington Levy -- Wicked in bed / Shabba Ranks.
V/A- CIPHA SOUNDS PRESENTS DANCEHALL CLASSICS VOL.2 2LP (sequence, usa)
*warehouse find, essential dancehall selections from a few years back… Who am I (Beenie Man) -- Here comes the hotstepper (heartical mix) (Ini Kamoze) -- Limb by limb (Cutty Ranks) -- Rich gal (Michie One) -- Bam bam (Chaka Demus & Pliers) -- Everybody (Capleton) --Dolly my baby (extended hip hop mix) (Super Cat) -- Murder dem (Ninja Man) -- Sorry (Foxy Brown) -- Boom shak a-tack (Born Jamericans) -- House call (your body can't lie to me) (Shabba Ranks) -- Boombastic (Shaggy) -- Number 2 (Terror Fabulous) -- Heads high (Mr. Vegas) -- Dancehall queen (bonzai mix) (Beenie Man feat. Chevelle Franklyn) -- Pass the dutchie (original 7" version) (Musical Youth).
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