Format > 180 Gram Jazz Vinyl

Another breathtaking set of recordings by the 'Sassy' one, this 1962 release, originally from the Roulette label boasts a dozen lush and lilting romantic tunes arranged by Quincy Jones. Featuring a mix of full band, strings and writing for additional brass and wood winds, each chart compliments Vaughan's vocal moods. Her interpretation of songs from Sondheim-Bernstein, Lerner- Loewe, Rodgers-Hart plus other standard ballads is enhanced by the superb recording captured by producer Teddy Reig and crew. Definitely one that audiophiles and jazz fans alike will play over and over. Songs include: The Best Is Yet To Come, Witchcraft, So Long, Second Time Around, I Could Write a Book, Maria, Baubles Bangles and Beads, In Other Words (Fly Me To The Moon), Moonglow, Invitation, On Green Dolphin Street and the title tune.

1. The Best Is Yet To Come
2. Witchcraft
3. So Long
4. Second Time Around
5. I Could Write a Book
6. Maria
7. Baubles Bangles and Beads
8. In Other Words (Fly Me To The Moon)
9. Moonglow
10. Invitation
11. On Green Dolphin Street
12. Your Mine You

Released as a second volume of recordings by Roulette Records from a 1961 summit between two jazz icons, after hearing this collaboration you'll wish they had recorded ten volumes. And wit the musical talent and knowledge between them, they could have! Using Armstrong's regulars plus Ellington at the piano (who performs exceptionally well, comping understatedly behind the vocals), the duo romps through seven of the Duke's most famous and popular compositions. And when Satchmo decides to blow, he leaves the Dixie clich? at home and shapes his solos perfectly into the tasteful arrangements. With Trummy Young on trombone and Barney Bigard on clarinet plus a rhythm section of Mort Herbert on bass and Danny Barcelona on drums, these recordings are a once-in-a-lifetime dream summit meeting that thank God producer Bob Thiele was brilliantly astute enough to arrange and capture on tape. Selections include It Don't Mean A Thing (If It Ain't Got That Swing), Solitude, Don't Get Around Much Anymore, I'm Beginning To See The Light, Just Squeeze Me, I Got It Bad (And That Ain't Good) and Azalea.

It Don't Mean A Thing (If It Ain't Got That Swing)
Solitude
Don't Get Around Much Anymore
I'm Beginning To See The Light
Just Squeeze Me
I Got It Bad (And That Ain't Good)
Azalea

Classic Records stereo edition reveals the First Lady of Song at her most intensely swinging and graceful level. John Tynan's 1962 Down Beat review calls this LP "...a superior representation of the singer as a jazz interpreter. This set is one of her best."

1. Night in Tunsia
2. You're My Thrill
3. My Reverie
4. Stella By Starlight
5. 'Round Midnight
6. Jersey Bounce
7. Signing Off
8. Cry Me a River
9. This Year's Kiss
10. Good Morning Heartache
11. (I Was) Born To Be Blue
12. Clap Hands, Here Comes Charlie!
13. Spring Can Really Hang You Up the Most
14. Music Goes 'Round and 'Round

One of the lesser-known Louis Armstrong sets, this album was recorded during the same day that resulted in his similar I've Got the World on a String. The great trumpeter/singer is backed by a string orchestra arranged and conducted by Russ Garcia. He performs eight veteran standards, only one of which ("Body and Soul") was associated with him in the past. Although the accompaniment is pretty straight and unadventurous, it is enjoyable to hear Satch's interpretations of such songs as "Have You Met Miss Jones," "I Only Have Eyes for You," "Home" and "East of the Sun." Many of his trumpet solos during the medium-tempo material are brief but dramatic, and his singing is typically expressive and good-humored.-Scott Yanow, AMG

1. Night in Tunsia
2. You're My Thrill
3. My Reverie
4. Stella By Starlight
5. 'Round Midnight
6. Jersey Bounce
7. Signing Off
8. Cry Me a River
9. This Year's Kiss
10. Good Morning Heartache
11. (I Was) Born To Be Blue
12. Clap Hands, Here Comes Charlie!
13. Spring Can Really Hang You Up the Most
14. Music Goes 'Round and 'Round

One of the lesser-known Louis Armstrong sets, this album was recorded during the same day that resulted in his similar I've Got the World on a String. The great trumpeter/singer is backed by a string orchestra arranged and conducted by Russ Garcia. He performs eight veteran standards, only one of which ("Body and Soul") was associated with him in the past. Although the accompaniment is pretty straight and unadventurous, it is enjoyable to hear Satch's interpretations of such songs as "Have You Met Miss Jones," "I Only Have Eyes for You," "Home" and "East of the Sun." Many of his trumpet solos during the medium-tempo material are brief but dramatic, and his singing is typically expressive and good-humored.-Scott Yanow, AMG

1. Night in Tunsia
2. You're My Thrill
3. My Reverie
4. Stella By Starlight
5. 'Round Midnight
6. Jersey Bounce
7. Signing Off
8. Cry Me a River
9. This Year's Kiss
10. Good Morning Heartache
11. (I Was) Born To Be Blue
12. Clap Hands, Here Comes Charlie!
13. Spring Can Really Hang You Up the Most
14. Music Goes 'Round and 'Round

Six Song (Side A) sampler of Anthony Ortega's highly regarded "A Man and his Horn" originally on Herald Records featuring Hank Jones, Ed Thigpen and Addison Farmer recorded by Rudy Van Gelder.

After a host of great albums for the Mercury label, Sassy signed with Roulette in 1960 and promptly picked up where she left off. Always surrounding herself with first rate arrangers and sidemen, the 1963 sessions that made up "The Lonely Hours" pairs her with the sensational multi-talented Benny Carter. His astute charts, especially the take on Ellington's "Solitude" enhance the feelings of longing, loneliness, heartache and lost love while Vaughan's patented phrasing and interpretations sell the mood. A bakers dozen of great selections including Lonely Hours, I'll Never Be The Same, If I Had You, Friendless, You're Driving Me Crazy, Always On My Mind, Look For Me, I'll Be Around, What'll I Do?, These Foolish Things Remind Me Of You, The Man I Love and So Long-My Love. Produced by Teddy Reig.

1. Lonely Hours
2. I'll Never Be The Same
3. If I Had You
4. Friendless
5. You're Driving Me Crazy
6. Always On My Mind
7. Look For Me
8. I'll Be Around
9. What'll I Do?
10. These Foolish Things Remind Me Of You
11. The Man I Love
12.So Long-My Love

Recorded by Rudy Van Gelder for Signal and released in 1957 (ah, you figured that out!), the sound on this set is highly indicative of the Blue Note stereo spread Van Gelder was developing. Ex-Parker alum trumpeter Rodney and his all-star support blow up a storm on the six varied selections. With Tommy Flanagan on piano, Ira Sullivan on tenor sax and second trumpet, Oscar Pettiford's bass, and Philly Joe Jones and Elvin Jones splitting time behind the drums.

Star Eyes
You Better Go Now
Stella By Starlight
Red Arrow
Box 2000
Ubas

A one-off recording for the Colpix label in 1963, this set by "Mr. Five-By-Five" further demonstrates the man could swing and sell a ballad, all with the same conviction and style. A veteran of the Blue Devils, Benny Moten's band and the early Count Basie ensembles, he became along with Big Joe Turner, one of the top "blues shouters" in the Kansas City mode. As with most of the now-collectable Colpix/Colgems recordings of the 1960s, the sound on this Rushing set is incredible, having been transferred directly from the original 3 track masters, capturing the intimacy of his phrasing while letting the backing musicians cut through in a crystal clear accompaniment. Highlights abound in jazz chestnuts and newer tunes alike: Just Because, 'Tain't Nobody's Biz-Ness If I Do, Heartaches, I'm Walkin' Through Heaven With You, Trouble In Mind, Please Come Home, You Always Hurt The One You Love, My Bucket's Got A Hole In It and more.

Like Ellington's "Piano in the Foreground", "Money Jungle" is a trio recording in this case featuring Charlie Mingus on bass and Max Roach on drums. Recorded in September of 1962, this United Artists original three track recording was transferred directly from the session master tapes to master lacquer using Bernie Grundman's all tube cutting system revealing nuance on this recording never before heard on previous pressings. Tunes include: "Money Jungle", "African Flowers", "Very Special", "Warm Valley", "Wig Wise", "Caravan" and "Solitude". Described by George Wein in the original liner notes as "Ellington! Mingus! Roach! A triumvirant, not a trio! Enough said.

1. Money Jungle
2. Le Fleurs Africaines (African Flower)
3. Very Special
4. Warm Valley
5. Wig Wise
6. Caravan
7. Solitude

Produced by the famous Jazz producer Irving Townshend, this Ellington trio recording done in one afternoon features the Duke out in front doing what he does best - play Piano! Transferred from the original 3 track analog master tapes directly to master lacquer using Bernie Grundman's all tube cutting system reveals nuance on this recording never before heard on previous pressings. Now on Classic's 200g Quiex Super Vinyl Profile this is a must have compendium to "Piano in the Background" also available from Classic Records.

1. I Can't Get Started
2. Cong-Go
3. Body In Soul
4. Blues For Jerry
5. Fontainebleau
6. Summertime
7. It's Bad To Be Forgotten
8. A Hundred Dreams Ago
9. So
10. Yearning For Love
11. Springtime In Africa

1. Three J's Blues
2. Smada
3. Pie Eye's Blues
4. Sweet and Pungent
5. C Jam Blues
6. In a Mellow Tone
7. Blues in Blueprint
8. The Swingers Get the Blues Too
9. The Swinger's Jump
10. Blues in Orbit
11. Villes Ville is the Place, Man

Another giant Van Gelder Blue Note Mono recording that is now part of the Classic Blue Note Signature Series. Cut from the original MONO masters on an all tube MONO cutting system and pressed on Classic's proprietary 200g Quiex Super Vinyl Profile. Griffin, on Tenor Sax is joined by Sonny Clark on piano, Paul Chambers on Bass, and Kenny Dennis on drums.

1. The Congregation
2. Latin Quarter
3. I'm Glad There Is You
4. Main Spring
5. It's Your or No One

This stunning mono set was recorded by Rudy Van Gelder and originally released on Blue Note Records in June of 1957. The original Jazz Messengers, who Mobley had help found, had just disbanded and the heavyweight tenor-man was splitting time between Horace Silver's new group and as an exclusive Blue Note recording artist. Calling on some of the cream of NYC's finest, Mobley opted for a sextet setting and the results became a classic. Including another sax player in Curtis Porter on alto and second tenor was a unique thought and added to the front-line punch of Bill Hardman's trumpet. The rhythm of Sonny Clark on piano, Paul Chambers at the bass and Art Taylor behind the drums is an all-star adhesive holding the group tightly together. Mobley's "dry and intimate" tone shines through in a subtle approach to the harmonies and cadence set in each selection. Mastered from the original first-generation monaural master tapes and cut with Classic Record's custom-built mono cutting head. Included are Falling In Love With Love, Mighty Moe and Joe, Bags' Groove, Double Exposure and News.

1. Mighty Moe & Joe

2. Falling In Love With Love

3. Bags' Groove

4. Double Exposure

5. News

Dial "S" for Sonny, Sonny Clark first session for Blue Note Records and his first session as a leader, is a terrific set of laidback bop, highlighted by Sonny Clark liquid, swinging solos. Sonny 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 Sonny Clark style, but he's beginning to come into his own, developing a style that's alternately edgy and charmingly relaxed. Hank Mobley, Art Farmer and Curtis Fuller have their moments, but Sonny Clark steals the show in this set of fine, straight-ahead bop.

1. Dial S For Sonny
2. Bootin' It
3. It Could Happen To You
4. Sonny's Mood
5. Shoutin' At A Riff
6. Love Walked In

This classic Blue Note session finds trumpeter Morgan not having to battle other horns, just front-and-center with an all-star trio behind him. It was his only quartet recording as a leader, for Blue Note. The exquisite Sonny Clark on piano, Doug Watkins' solid bass and the ever-tasteful Art Taylor behind the drums complete these sessions recorded in Hackensack by RVG in Nov. '57 and Feb. '58. Loaded with standards, it's a hard-bop masterpiece that both swings and shows the ballad side of one of the defining young trumpeters from the late 50s - early 60s. Not discounting the contributions from the rhythm section, the high-caliber interplay between just trumpet and piano is a rare treat and a marvel to behold. Selections include Since I Fell For You, C.T.A., All The Way, Who Do You Love, I Hope?, Personality, All At Once You Love Her and the title tune.

1. Candy

2. Since I Fell for You

3. C.T.A.

4. All the Way

5. Who Do You Love

This is a particularly strong set from trumpeter Kenny Dorham, for it has the debut versions of "Lotus Flower," "Minor Holiday," and "La Villa," three of his most rewarding compositions. The first half of the set is Afro-Cuban in nature due to the inclusion of Carlos "Potato" Valdes' conga; also on the album are trombonist J.J. Johnson, Hank Mobley on tenor, baritonist Cecil Payne, pianist Horace Silver, bassist Oscar Pettiford, and drummer Art Blakey. Dorham has an all-star group of young hard boppers eager to play his challenging and memorable originals. Transferred from the first-generation full track mono masters.

1. Afrodisia
2. Lotus Flower
3. Minor's Holiday
4. Basheer's Dream
5. K.D.'s Motion
6. The Villa
7. Venita's Dance

With a backing band comprised of GiGi Gryce, Benny Golson, Wynton Kelly, Paul Chambers and Charlie Persip, Lee Morgan trumpets his way through one of the famed and highly desirable 1500 series Blue Note records. As part of the Classic Blue Note Signature Series this LP was cut from the original full track mono master tapes on an all tube mono cutting system and pressed on Classic's 200g Super Vinyl Profile. Tracks include: "Nasaan's Dream", "Domino" "I remember Clifford", "Mesabi Chant" and "Tip-Toeing". Not to be missed!

1. Hasaan's Dream
2. Domingo
3. Tip-Toeing
4. I Remember Clifford
5. Mesabi Chant

Jutta Hipp, a talented German pianist, came to the United States in the mid-'50s and quickly gained some attention. Hipp's boppish music on the set is very enjoyable and swinging. Oddly enough, soon after this now impossible LP to find, she left the jazz world. Teamed up with great tenor Zoot Sims (who dominates the music), somewhat hesitant trumpeter Jerry Lloyd (who briefly came out of retirement), bassist Ahmed Abdul-Malik, and drummer Ed Thigpen, Hipp sounds excellent on a couple of basic originals and such standards as "Violets for Your Furs," "Almost Like Being in Love," and J.J. Johnson's "Wee Dot." This rare set is well worth picking up by straight-ahead jazz collectors. The Classic reissue was cut from the original full track mono master on our vintage "all tube" mono cutting system by Bernie "Bebop" Grundman.

1. Just Blues
2. Violets For Your Furs
3. Down Home
4. Almost Like Being in Love
5. Wee-Dot
6. Too Close for Comfort

With a backing band comprised of GiGi Gryce, Benny Golson, Wynton Kelly, Paul Chambers and Charlie Persip, Lee Morgan trumpets his way through one of the famed and highly desirable 1500 series Blue Note records. As part of the Classic Blue Note Signature Series this LP was cut from the original full track mono master tapes on an all tube mono cutting system and pressed on Classic's 200g Super Vinyl Profile. Tracks include: "Nasaan's Dream", "Domino" "I remember Clifford", "Mesabi Chant" and "Tip-Toeing". Not to be missed!

1. Hasaan's Dream
2. Domingo
3. Tip-Toeing
4. I Remember Clifford
5. Mesabi Chant

This is Miles Davis' first Blue Note recording released in 1952 as a 10" LP with the title apparently borrowed from a 1950 movie of the same name starring Kirk Douglas. The line up on the six song LP features Jay Jay Johnson, Jackie McLean, Gil Coggins, Oscar Pettiford and Kenny Clark backing up the Young Man with a Horn. This record swings and the playing is obviously from a more romantic Miles trying to find his way. The authentic "deep groove" non-groove guard pressing in an authentic tip on jacket will fool even the best collectors. Cut on the newly restored Classic Mono Cutting System at Bernie Grundman mastering by Mr Be Bop himself! Even if you don't own a record player you have to have this record if you want to be cool. Includes Mono 10" Disc 33.3rpms and 45rpms 12" QUIEX SV-P 200g double sided disc.

Recorded at Rudy Van Gelder's studio on March 6, 1954, this was the emerging trumpeter's third session recorded for Blue Note. Originally released on a 10" pressing (BLP-5040), Classic Records is proud to once again make this collectable available in this original format. With the assistance of EMI/Blue Note, Classic has been given access to recently discovered original source materials on the Blue Note sessions and along with the upgraded sound, has painstakingly worked to deliver a high-quality 10" pressing and also faithfully reproduce the original 10" jacket. Original 1954 first-pressings in mint condition have been known to bring a minimum of $300.00 on the collector's market. The set features the leader Miles with some of his finest playing. His support includes Horace Silver on piano, Percy Heath on bass and Art Blakey behind the drums. The original six selections include Take Off, Lazy Susan, The Leap, Well You Needn't, Weirdo and It Never Entered My Mind. Includes Mono 10" Disc 33.3rpms and 45rpms 12" QUIEX SV-P 200g double sided disc.

Recorded at Rudy Van Gelder's studio on March 6, 1954, this was the emerging trumpeter's third session recorded for Blue Note. Originally released on a 10" pressing (BLP-5040), Classic Records is proud to once again make this collectable available in this original format. With the assistance of EMI/Blue Note, Classic has been given access to recently discovered original source materials on the Blue Note sessions and along with the upgraded sound, has painstakingly worked to deliver a high-quality 10" pressing and also faithfully reproduce the original 10" jacket. Original 1954 first-pressings in mint condition have been known to bring a minimum of $300.00 on the collector's market. The set features the leader Miles with some of his finest playing. His support includes Horace Silver on piano, Percy Heath on bass and Art Blakey behind the drums. The original six selections include Take Off, Lazy Susan, The Leap, Well You Needn't, Weirdo and It Never Entered My Mind.

Dizzy Reese teams up with Hank Mobley, Wynton Kelly, Art Taylor and Paul Chambers to create a truly beautiful recording originally released in 1959. This is the lust Rudy Van Gelder Blue Note sound that makes this record $500 as an original pressing when they come on the market. If you are serious about Be Bop this is a must have on a Classic QUIEX SV-P pressing.

The Rake
I'll Close My Eyes
Groovesville
The Rebound
I Wished On The Moon
A Variation On Monk

A Blue Note catalog mainstay from it's debut in 1958, this was another early 12" originally released as "mono only." Now, transferred from the first-generation mono masters, the quintet sound is wide-open and spacious. The phrase "all star" does not begin to describe this recording collective. Complimenting Clark's piano are Art Farmer on trumpet. Jackie McLean handling alto, and a rhythm section consisting of Paul Chambers on bass and Phily Joe Jones behind the drums.

1. Coll Struttin'
2. Blue Minor
3. Sippin' at Bells
4. Deep Night

Originally released in 1955, The Voice is generally considered Sinatra's best full long-playing 12"disc from his Columbia years. Hear the styling that marked his transition from big-band singer to supplanting Bing as the male vocalist for the next 3 dec

I Don't Know Why
Try A Little Tenderness
A Ghost of A Chance
Laura
She's Funny That Way
Fools Rush In
That Old Black Magic
Spring is Here
Lover and Mo

1. Witchcraft
2. Here I Am
3. Devil Whip
4. Bronze Dance
5. Clarion Calls
6. The Injuns

Import

Keyboardist Herbie Hancock's remarkable career took a surprising turn with this funk album--one of the first jazz albums to be certified gold. Hancock's already-storied career had included an extended tenure with Miles Davis as a member of both the classic quintet of the '60s and the trumpeter's groundbreaking electric dates. As a leader, the pianist had followed a similar course, cutting both outstanding acoustic dates (Maiden Voyage, Empyrean Isles) and experimental electric sessions (Sextant, Crossings). Head Hunters, however, was something different: a stripped-down date featuring reedman Bennie Maupin as the only horn player, and a funk-oriented rhythm section made up of Paul Jackson, Harvey Mason, and Bill Summers. Hancock traded in his sophisticated piano performances and complex compositions for simple melodies, slow-burn funk grooves, and light electric keyboard splashes. The results, particularly on the tracks "Chameleon" and "Watermelon Man," had a profound impact on other musicians. The album has stood the test of time--something neither the wealth of Hancock's imitators nor his own subsequent albums in this vein have been able to do.

1. Chameleon
2. Watermelon Man
3. Sly
4. Vein Melter

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On paper, River sounds like a match made in several versions of heaven. Legendary pianist Herbie Hancock re-imagines Joni Mitchell with his hand-picked, star-studded band--including saxophonist Wayne Shorter--in tow. Luminary guests lend vocals to a song apiece: Norah Jones ("Court and Spark"), Tina Turner ("Edith and the Kingpin"), Corinne Bailey Rae ("River"), Luciana Souza ("Amelia"), Leonard Cohen (with an unsettlingly sanguine version of "The Jungle Line"), even Joni Mitchell herself ("Tea Leaf Prophecy"). The mix includes a continuum from intrepid classics to dusty, fans-only fare, but a distinct reverence for Joni Mitchell the Poet threads them together, and, in the end, this album works best as a sleepy window into one fan's giddy and particular love affair with his source material. Fans of Hancock win out.

1. Court and Spark featuring Norah Jones
2. Edith and the Kingpin featuring Tina Turner
3. Both Sides Now
4. River featuring Corinne Bailey Rae
5. Sweet Bird Listen Listen
6. Tea Leaf Prophecy featuring Joni Mitchell
7. Solitude
8. Amelia featuring Luciana Souza
9. Nefertiti
10. The Jungle Line featuring Leonard Cohen

The man from Philadelphia, who introduced himself to his public with the words »Missis Blakey’s only son, Arturo, that’s me», was a true ‘ambassador’ of jazz: he discovered and championed young talented musicians such as Clifford Brown, Lou Donaldson, Keith Jarrett and Wynton Marsalis, to name but a few. But he also delivered the ‘message’ of hard bop through thousands of performances at festivals right down to the smallest club. Lively, joyous performances, the very highest technical standards, and somnambulistic music-making characterise this recording. Right from the very start it is clear that this jazz ambassadors have a new message for us: the hard-beat recordings win in lyricism thanks to the gentle sound of Curtis Fuller’s trombone, something that was often missing in the powerful Blue Note sound.Four jazz evergreens give the musicians the time and opportunity to display their soloistic talents. The real climax, however, is to be found in the harmonic layering of the three winds which lend the themes new appeal. The message was broadcasted many times until the death of Art Blakey, but the history of jazz would have been a great deal poorer without these milestone recordings on the Impulse label. Art Blakey certainly knew how to delight his audience with fire, originality, a wealth of ideas and great humour. All these attributes are applicable to the six titles on this album which is now to be enjoyed as a re-release manufactured to the highest standards.

1. "À la Mode" (Fuller) — 6:40
2. "Invitation" (Kaper, Webster) — 7:25
3. "Circus" (Alter, Russell) — 5:12
4. "You Don't Know What Love Is" (DePaul, Raye) — 6:55
5. "I Hear a Rhapsody" (Baker, Fragos, Gasparre) — 6:30
6. "Gee Baby, Ain't I Good to You" (Razaf, Redman) — 5:00

This title is not eligible for further discount.

1. The Touch Of Your Lips
2. When Your Lover Has Gone
3. Bye, Bye, Blackbird
4. How Deep Is The Ocean?
5. In The Wee, Small Hours Of The Morning
6. Sunday
7. This Can't Be Love

This title is not eligible for further discount.

Featuring John Coltrane, Red Garland, Paul Chambers and Philly Joe Jones. The greatest small group in the history of jazz recorded at their peak in 1956. Featuring joyous, straight-ahead swinging and melodic improvisation, this is a near-perfect album. Contains 'If I Were A Bell,' 'It Could Happen To You,' 'I Could Write A Book' and several others.

1. If I Were A Bell
2. You're My Everything
3. I Could Write A Book
4. Oleo
5. It Could Happen To You
6. Woody'n You

Political, heartfelt and performed with real guts and gusto this album is not only great jazz but it also has a point of view. A testament to the credibility of her very honest music. Lincoln's sidemen include Coleman Hawkins, Eric Dolphy, Booker Little, Mal Waldron and Max Roach. Including 'Straight Ahead', 'When Malindy Sings The Blues' and 'Monkey Sings The Blues', yet another fantastic LP from Pure Pleasure!

1. Straight Ahead
2. When Malinda Sings
3. In the Red
4. Blue Monk
5. Left Alone
6. African Lady
7. Retribution

This title is not eligible for further discount.

Rich and rhythmic, sparkling and seductive, Felix Baloy's voice marks him as one of Cuba's very finest someros. This magnificent performance showcases a true artist at the peak of his profession, backed by the thrilling arrangements of Juan de Marcos and the peerless Afro Cuban All Stars.

1. Baila mi son
2. Mami te Gusto
3. Yo Soy el del sentimiento
4. Después de esta noche
5. El mal de la hipocresía
6. Ven a bailer cha cha cha
7. Cada vez que te veo
8. Lo es todo to amor
9. El son de Baloy
10. Misericordia, no aguanto

This title is not eligible for further discount.

Singer Annie Ross' first solo album after joining Lambert, Hendricks & Ross finds her at the peak of her powers. Annie Ross is joined by two versions of the Gerry Mulligan Quartet with either Chet Baker or Art Farmer on trumpet, Bill Crow or Henry Grimes on bass and drummer Dave Bailey. Annie Ross is at her best (and most appealing) on 'I've Grown Accustomed To Your Face,' 'Give Me The Simple Life,' 'How About You' and 'The Lady's In Love With You,' but all of the selections are quite rewarding and her interplay with baritonist Mulligan is consistently memorable.

1. I Feel Pretty
2. I've Grown Accustomed to Your Face
3. All of You
4. Give Me the Simple Life
5. This Is Always
6. My Old Flame
7. This Time the Dream's on Me
8. Let There Be Love
9. Between the Devil and the Deep Blue Sea - Gerry Mulligan, Annie Ross,
10. How About You?
11. I Guess I'll Have to Change My Plan
12. This Is Always [Alternate Version]
13. It Don't Mean a Thing (If It Ain't Got That Swing)
14. Lady's in Love with You
15. You Turned the Tables on Me
16. I've Grown Accustomed to Your Face [Alternate Version]

This title is not eligible for further discount.

Ben is still a whale of a tenor player, his approach for the ballads being as poignant and lyrical as ever. On such romantic tunes as 'My Romance' and 'What's New,' that breathy tone and broad-beamed phrasing are well in evidence, whilst the underlying humor and swing are more to the fore in the more muscular 'Easy to Love.'…Nothing ever drags, the pulse is always strong and the accompaniments well suited to Webster's lustrous, lusty blowing.

1. Blue Light
2. Stardust
3. What’s New
4. Autumn Leaves
5. Easy To Love
6. My Romance
7. Yesterdays
8. Days of Wine and Roses

This title is not eligible for further discount.

Booker Ervin, who always had a very unique sound on the tenor, is heard in prime form on this quartet set. In virtually all cases, the jazz and blues musicians who recorded for Candid in 1960-61 (during its original brief existence) were inspired and played more creatively than they did for other labels. That fact is true for Ervin, even if he never made an indifferent record. In addition to 'Poinciana' and 'Speak Low,' Ervin's quartet (which was a regular if short-lived group) performs four of the leader's originals; best known is 'Booker's Blues.'

1. Mojo
2. Uranus
3. Poinciana
4. Speak Low
5. Booker’s Blues
6. Boo

This title is not eligible for further discount.

The brilliant young post-bop trumpeter Booker Little is heard here accompanied by an all-star band, including the saxophonist Eric Dolphy, the bassist Ron Carter and the drummer Max Roach, on a set that combines elements of bop and cool jazz, as well as Little's own imaginative flourishes, which display an authority and potential far beyond his mere 23 years.

1. We Speak
2. Stength And Sanity
3. Quiet Please
4. Moods In Free Time
5. Man Of Words
6. Hazy Hues
7. A New Day

This title is not eligible for further discount.

The Buck Clayton LP How Hi The Fi was the first issue in 1954 from the famous Buck Clayton jam sessions. It was recorded at Columbia's 30th Street Studios, which was one of the greatest recording sites in the world (the studio has since been abandoned, which must be one of the most stupid decisions executed by the corporate record industry), with a sound that's still instantly recognizable. These Buck Clayton jam sessions were among the first large scale projects to utilize the potential of the new LP technology. The exciting music on this long-out-of-print LP is now available again on 180-gram vinyl, with the cuts 'How Hi The Fi' and 'Blue Moon' being the most memorable. Buck and fellow musicians are all in inspired form. The most memorable soloists are the rambunctious Trummy Young, the harmonically advanced chordings of Jimmy Jones and an exuberant Woody Herman who was rarely heard in this type of jam session setting. With Clayton having worked out some ensemble riffs for the horns beforehand and plenty of space left for spontaneity, this music is timeless magic.

Side 1:
How Hi The Fi and Blue Moon
recorded March 31st 1954
Buck Clayton
Joe Thomas : trumpet
Urbie Green
Trummy Young : trombone
Woody Herman : clarinet
Lem Davis : alto saxophone
Julian Dash
Al Cohn : tenor saxophone
Jimmy Jones : piano
Steve Jordan : guitar
Walter Page : bass
Jo Jones : drums

Side 2:
Sentimental Journey and Moten Swing
recorded December 14th 1953
Buck Clayton
Joe Newman : trumpet
Urbie Green
Benny Powell : trombone
Lem Davis : alto saxophone
Julian Dash : tenor saxophone
Charlie Fowlkes : baritone saxophone
Sir Charles Thompson : piano
Freddie Green : guitar
Walter Page : bass
Jo Jones : drums

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Saxophonist Budd Johnson didn't record much, which makes this 1974 set with the great Earl Hines all the more interesting. Of course, the real reason it's special is because of some damn-fine music by some outstanding jazzmen. Johnson and Hines are joined by drummer Panama Francis and bassist Jimmy Leary. The title tracks is an original tribute to the king of soprano saxophonists Sidney Bechet.

1. Blues For Sale
2. Gone With The Wind
3. If You were Mine
4. Am I Waisting My Time
5. The Dirty Old Man
6. Linger Awhile
7. Mr Bechet

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Over the years, they made many recordings together, but this one is unique. Recorded while on a 1981 tour of Europe, Guy and Wells took a break from their backing musicians and amps to cut this spontaneous, all acoustic set. The results stand in stark contrast to the steamy Chicago blues the duo is best known for. Instead, these recordings are relaxed and personal, with an intimate, back-porch feel. Guy switches between six and twelve string guitars and lays down rootsy acoustic rhythms for Wells' tasteful harmonica lines. The two share vocal duties on the performances as they pay homage to the rural, country blues roots these modern bluesmen share.

1. Boogie Chillen
2. I’m In The Mood
3. Don’t Leave Me
4. Give Me My Coat And Shoes
5. Medley:Baby What You Want Me To Do/That’s Allright
6. Big Boat(Buddy and Junior’s Thing)
7. High Heel Sneakers
8. My Home Is In The Delta
9. Wrong Doing Woman
10. Diggin’ My Potatoes

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'Charles Mingus has a fascinating way of offering music that is grounded in tradition while remaining startlingly original. The freshness of a piece like Charles Mingus Presents Charles Mingus has the effect of rendering much of what passes for jazz as tedious. The band is small for Mingus and includes Eric Dolphy on alto saxophone and bass clarinet, Ted Curson on trumpet and Dannie Richmond on drums. It would be one of Dolphy and Curson's last recording dates with the artist, and they seem determined to go all out for it. The leader's bass line kicks off 'Folk Forms No. 1,' followed by Dolphy outlining the melody, and then joined by Curson. A simple riff develops into a lively New Orleans funeral march that's developed for 12 minutes. 'Original Faubus Fables' is serious in intent - a political attack on segregation governor Faubus - but Mingus and Richmond's singing is difficult to listen to with a straight face. Still, this doesn't distract from the wonderful music. Again and again, the elasticity of the sound is fascinating, at once spacious with the bass and drums balanced against the brass and then noisy, with the horns wailing and crying. The last two pieces, 'What I Love?' and the outrageously titled 'All the Things Could Be by Now if Sigmund Freud's Wife Was Your Mother,' are much looser, bordering on free jazz. The album accomplishes what the best of Mingus accomplishes: the perfect tension between jazz played as an ensemble and jazz played as totally free.' - Review by Ronnie Lankford, Jr

1. Folk Forms, No. 1
2. Original Faubus Fables
3. What Love
4. All The Things You Could Be By Now If Sigmund Freud’s Wife Was Your Mother

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First released under the title “Playboys” in 1956 it was then re-released under the title “Picture Of Heath” in 1961 perhaps owing to the fact it carried the same name as a popular men’s magazine. This was the third session together of the dynamic duo of Chet Baker and Art Pepper the previous two having been unequivocal successes. Baker and Pepper have an instinctual rapport that yields outstanding interplay. These thoroughly enjoyable and often high-energy sides are perfect for bop connoisseurs as well as mainstream jazz listeners.

1. Picture Of Heath
2. For Miles And Miles
3. C.T.A.
4. For Minors Only
5. Minor Yours
6. Resonant Emotions
7. Tynan Time

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Christine Perfect is a British-born singer who worked with Spencer Davis in the early '60s and later fronted Chicken Shack before going off on her own with this solo album in 1970. By then, she had also contributed to recordings by Fleetwood Mac and became romantically involved with the group's bassist, John McVie. She then married McVie and officially joined the group, for which she served as vocalist/keyboardist/songwriter, contributing some of Fleetwood Mac's biggest hits. In 1976, Sire Records issued the first U.S. release of what had been a mega-import of the Blue Horizon 1970 U.K. release, and album called simply Christine Perfect, the maiden name of Christine McVie. You don't need a crystal ball to tell you the album is classic and tremendous – the big surprise is that it didn't go multi-platinum in the States. There are 12 tracks, and 'I'd Rather Go Blind,' the cover of an Etta James classic, went Top 10 in the U.K.

Crazy ‘Bout You Baby
I’m On My Way
Let Me Go (Leave Me Alone)
Wait And See
Close To Me
I’d Rather Go Blind
When You Say
And That’s Saying A Lot
No Road Is The Right Road
For You
I’m Too Far Gone (To Turn Around)
I Want You

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This is one of flugelhornist Clark Terry's finest albums. Terry had complete control over the music and, rather than have the usual jam session, he utilized an octet and arrangements by Yusef Lateef, Budd Johnson and Al Cohn. The lineup of musicians lives up to its potential, and the charts make good use of the sounds of these very individual stylists. The material, which consists of originals by Terry, Duke Jordan, Lateef and Bob Wilber, is both rare and fresh, and the interpretations always swing.

1. Blue Waltz (la Valse Bleue)
2. Brother Terry
3. Flutin’ and Fluglin’
4. No Problem
5. La Rive Gauche
6. Nahstye Blues
7. Chat Qui Peche (A Cat That Fishes)

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A linchpin release in 1967, this album defined the genre known as acid-rock. Led by former folk musician Joe McDonald, the quintet combines engaging melodies with sharp, satirical lyrics encompassing different facets of the counterculture – drugs ("Bass Strings"), sex ("Porpoise Mouth") and politics ("Superbird") – while the group contributes exquisite, subtle support.

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Recorded at Manchester, England's Free Trade Hall on November 26, 1969 (actually almost seven months after Duke Ellington's 70th birthday), this legendary concert captures one of the final lineups of Ellington's touring band performing a retrospective program that touches on all eras and styles of the composer's long and prolific career. Included here is everything from timeless early Cotton Club classics like 'Rockin' in Rhythm' to later, more complex compositions like 'Black Swan.'

Side one:
Rockin’ In Rhythm
B.P.
Take The “A” Train
Tootie For Cootie

Side Two:
4:30 Blues
El Gato
Black Butterfly
Things Ain’t What They Used To Be
Laying On Mellow

Side Three:
Satin Doll
Azure
In Triplicate
Perdido
Fifi

Side Four:
Medley:
---- Prelude To A Kiss
---- I’m Just A Lucky So And So
---- I Let A Song Go Out Of My Heart
---- Do Nothin’ Til You Hear From Me
---- Just Squeeze Me
---- Don’t Get Around Much Anymore
---- Mood Indigo
---- Sophisticated Lady
---- Caravan
Black Swan
Final Ellington Speech

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Here with Comin’ Through, Eddie Henderson, the ex-Herbie Hancock Sextet & Art Blakey's Jazz Messengers player has reached his creative peak with this spacey classic jazz/fusion album that gave us 'Say You Will'. This is a beautiful LP with lots of guests like Mtume, Patrice Rushen, Paul Jackson, Al McKay and Philip Bailey of Earth Wind and Fire. With incredible groove songs like “The Funk Surgeon” this LP is a must have for any lover of the funky side of jazz!!!

1. Say You Will
2. Open Eyes
3. Morning Song
4. Movin' On
5. Source
6. The Funk Surgeon
7. Beyond Forever
8. Connie

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With Painting Signs, Eric Bibb makes a fine case for blues as a music of introspection, warmth, and supreme nuance. Easily his most mature album to date, Painting Signs continues Bibb's formula of socially aware songs performed from an acutely personal point-of-view.

1. Kokomo
2. Hope In A Hopeless World
3. Five Miles Above
4. I Heard The Angels Singing
5. Delia's Gone
6. Got To Do Better
7. The Light Was Worth The Candle
8. Angel
9. Walkin' Home
10. To Know You
11. Honest I Do
12. Paintin' Signs
13. Don't Ever Let Nobody Drag Your Spirit Down

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Anyone got a serious case of the blues? In need of the anecdote? Here we get, quite possibly, the greatest blues album of the last forty years. Fleetwood Mac (of the Peter Green era variety) are in the studio with blues greats Otis Span, Willie Dixon, Honey Boy Edwards, Buddy Guy, Walter ‘Shakey’ Horton and many other artists too numerous to mention. Originally released on Mike Vernon's highly collectable and revered Blue Horizon label in 1969, this pressing will become a must own for all serious collectors. Remastered from the original master tapes on beautiful 180g German vinyl. The sound quality is awesome! Excellent pressing and all original art work included.

Side One
1. Watch Out
2. South Indiana - Take 1
3. South Indiana - Take 2
4. Last Night
5. Red Hot Jam

Side Two
6. I'm Worried
7. I Held My Baby Last Night
8. Madison Blues
9. I Can't Hold
10. I Need Your Love
11. I Got the Blues

Side Three
12. World's in a Tangle
13. Talk with You
14. Like it This Way
15. Someday Soon Baby
16. Hungry Country Girl

Side Four
17. Black Jack Blues
18. Everyday I Have the Blues
19. Rockin' Boogie
20. Sugar Mama
21. Homework

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Georgie Fame’s music mixes jazz with Rn’B and pop to make music that is at once credible with critics and jazz opinion formers and the general public. Playing piano and organ and singing he has good time feel to his jazz that puts one in mind of the likes of Mose Allison, Brooker T and Louis Jordon. On this album from 1968 he is backed by the likes of John Mc Laughlin, Gordon Beck, Tony Coe Ronnie Scott. Includes ‘The Ballad Of Bonny and Clyde. Excellent pressing.

1. The Ballad of Bonnie and Clyde
2. When I'm Sixty Four
3. Ask Me Nice
4. Exactly Like You
5. Someone to Watch Over Me
6. Blue Prelude
7. Bullets Laverne
8. This is Always
9. Side By Side
10. St. James Infirmary
11. Mellow Yellow

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If you have admired Gil Evans' arrangements on the Miles Davis recordings, you owe it to yourself to check this out. These recordings help make the case that Gil Evans was one of the great jazz arrangers of all time. Gil Evans always manages to communicate with sophistication and nuance, and on these sessions he manages to have fun as well. This is a LP of Gil Evans rearranging classic jazz standards like "St. Louis Blues," "King Porter Stomp" and "Lester Leaps." It's an LP you can enjoy as a peek into modern jazz of the late '50s, or as a set of very interesting big band orchestrations.

1. St Louis Blues
2. King Porter Stomp
3. Willow Tree
4. Struttin’ With Some Barbecue
5. Lester Leaps In
6. ‘Round Midnight
7. Manteca
8. Bird Feathers

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Recorded in NYC in 1971 this was BlueNote’s first venture into the world of the soundtrack, more specifically, a Blaxploitation soundtrack. Grant Green heads up a big band of top session guys like Cornell Dupree (organ) and Grady Tate(drums). The music is by definition episodic and varied in tempo and mood according to the dictates of the movie. Grant plays with his usual taste and economy adding a lot of jazz feeling to what is otherwise a pretty funky affair. ‘The Final Comedown’ is an inspired choice and an enjoyable one at that. Record cut at RTI and Germany making for a very high quality product indeed.

1. Past, Present And Future
2. The Final Comedown
3. Father's Lament
4. Fountain Scene
5. Soul Food - African Shop
6. Slight Fear And Terror
7. Afro Party
8. Luanna's Theme
9. Battle Scene
10. Traveling To Get To Doc
11. One Second After Death

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This 1978 meeting between pianist Earl Hines and trumpeter Harry "Sweets" Edison is a match of masters, covering tunes they had likely performed hundreds of times in their respective careers. Everything seems to gel right from the opening number, a strident take of "I Cover The Waterfront," with plenty of trills by Hines in support of Edison's brilliant open horn. There is nothing like two veterans at the top of their game joining forces for a record date.

1. I Cover the waterfront
2. Just squeeze me
3. But not for me
4. Just you just me
5. Mean to me
6. I surrender dear
7. The one I love belongs to somebody else

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The solo referred to in the title, God Bless My Solo, is that in the 80-second masterpiece "Flying Home" and it became one of the two or three most influential solos in all of jazz history. Nearly every tenor player who followed made it a priority to learn that solo, note for note. But "Flying Home" marked neither the beginning nor the end of Illinois Jacquet's seven-decade career. He was one of jazz's great survivors, thought of as an outrageous musician when he was young but hailed as a classic figure in old age. He was as effective with romantic jazz ballads as he was with the explosive performances with which he made his reputation. Tenor saxophonist Illinois Jacquet is heard in top form throughout this quartet set, recorded for the French Black & Blue label, while touring throughout Europe in the 1970s.

1. Jean-Marie’s Den
2. You left me all alone
3. Lean baby
4. God bless my solo
5. Things ain’t what they used to be
6. From Broussard

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Jim Hall's Concierto was arguably the greatest LP in the history of CTI and possibly a masterpiece. With two legendary players in the frontline, trumpeter Chet Baker and Paul Desmond, Hall interprets standards and engaging originals. A master of melody who never wastes notes, the centerpiece for this release is Hall's interpretation of one movement from Rodrigo's 'Guitar Concerto,' arranged by Don Sebesky. New tracks include alternate takes of 'You'd Be So Nice To Come Home To' and 'Rock Skippin',' plus 'Unfinished Business,' an incomplete track that fades following Desmond's solo just as Hall starts to play.

1. You'd Be So Nice To Come Home To
2. Two's Blues
3. The Answer Is Yes
4. Concierto de Aranjuez
5. Rock Skippin'
6. Unfinished Business

Bonus Tracks
7. You'd Be So Nice To Come Home To (alternate take)
8. The Answer Is Yes (alternate take)
9. Rock Skippin' (alternate take)

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Joan Baez's debut album, recorded in 1960 when she was just 19 years old, opened the world's eyes to a soprano so pure and beguiling that the mere act of listening to her – never mind that her music also packed a powerful message – was a pleasure. The recording quality of this record is so pure and perfect, making this a must own for any music lover or audiophile.

Silver Dagger
East Virginia
Fare Thee Well
House Of The Rising Sun
All My Trials
Wildwood Flower
Donna Donna
John Riley
Rake And Rambling Boy
Little Moses
Mary Hamilton
Henry Martin
El Preso Numero Nueve

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This particular John Fahey LP is a personal favorite of many of his devoted fans for several reasons. And although such a judgment is tough, if one were looking to own only one album by this unique guitarist, The Yellow Princess could be the one. The recording sound is among the best of his many releases; at the proper volume, the effect is as if one had taken up residency inside the sound hole of a giant acoustic guitar. The program of pieces is marvelously emotional and varied, with many moments of precisely stated harmonies moving at courageously slow tempos.

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Recorded when Hooker was well into his '60s 'comeback,' Get Back Home features the bluesman in a solo performance (a mode that best reveals the subtleties of his work). The session was recorded in France, and Hooker must have been feeling a bit homesick, as the first song is 'Get Back Home In The USA,' where he describes in detail, over his trademark boogie rhythm, his return to his homeland and the joy he knows he will feel. After this momentary ray of sunshine, though, things soon return to more familiar climes, with the bleakness of the slow blues 'T.B. Is Killing Me' and the unbridled despair of 'When My First Wife Left Me.' Hooker recorded this tune many times over the years, but this is one of the finest versions, plumbing the depths of shame and regret. Hooker's raw, biting guitar work is at its best here. Even the umpteenth recording of the Hooker chestnut 'Boogie Chillen' is invested with uncommon verve. With the addition of six powerful bonus cuts, Get Back Home is both an excellent introduction into the sultry, menacing world of Hooker and a vital addition to the collections of his hardcore fans.

1. Get Back Home In The USA
2. TB Is Killing Me
3. Cold Chills
4. I Had A Dream Last Night
5. Love Affair
6. Little Rain
7. When My First Wife Left Me
8. Big Boss Lady
9. Back To Your Mother
10. Boogie Chillen’
11. Sitting Here Thinking
12. I Wanna Ramble
13. Hi-Heel Sneakers
14. I’m So Worried Baby
15. I’m Going Upstairs
16. Crazy ‘Bout You

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So, just who is Johnny Shines? Johnny Shines (1915-1992) was a son of the Delta (Tennessee) who eventually from (1934-37) was a running buddy of Robert Johnson. He was a powerful slide guitarist and vocalist. Eventually he wound up in Chicago. Fame came late to Johnny and only then by the merest chance. In 1968 he recorded this album for Blue Horizon and surely represents some of his best material and performances that he managed to Get onto a platter. Mike Vernon (the man behind the early Fleetwood Mac) produced. Wiilie played bass, Otis Spann played piano, Clifton James was at the drum kit while Walter blew his lungs out on harmonica. This is a tough Chicago blues record that has good songs, thrilling performances and good recorded sound.

1. Solid Gold
2. From Dark 'Til Dawn
3. I Will Be Kind to You
4. Last Night's Dream
5. Baby Don't You Think I Know
6. Pipeline Blues
7. I Don't Know
8. Black Panther
9. I Had a Good Home
10. Mean Fisherman

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