Format > 180 Gram Jazz Vinyl

To a great many people, the name of Charlie Byrd and the updated samba beat known as bossa nova will always be intertwined. The guitarist did play a most important role in the introduction into this country of the compelling Brazilian rhythm-first on that major hit with Stan Getz and then on his own Bossa Nova Pelos Passaros. But before, during, and after the craze, Byrd was capable of much more-a remarkable impoviser and a richly versatile in-person performer. This 1963 "live" session at a celebrated New York club, the Village Gate, offers a little South American flavor and a lot of other jazz elements, including the guest appearance of trumpet great Clark Terry.

Track Listings:
1. Shiny Stockings
2. More (theme from Mondo Cane)
3. Blues For Night People
4. Butter and Egg Man
5. Ela Me Deixou
6. Broadway
7. I Left My Heart In San Francisco
8. Some Other Spring
9. Where Are The Hebrew Children?
10. Let's Do It
11. Jive at Five

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Here are four tunes from one of the classic sessions of all time when a combination of giants gathered in Rudy Van Gelder's studio for a historic meeting on Christmas Eve afternoon, 1954. With Thelonious Monk and three-quarters of the Modern Jazz Quartet (Jackson, Heath and Clarke) as his accomplices, Miles blends sophisticated harmonic knowledge with raw, spontaneous invention to produce extraordinary music. The two takes of "The Man I Love" are quite different within their basic similarity.

“The latest round of Acoustic Sounds’ ‘Fantasy 45 series’ – albums from Fantasy’s Original Jazz Classics catalogue, each reissued on two 180-gram LPs cut at 45rpm – includes two mid-‘50s masterworks…The Miles session, Christmas Eve ’54, was famously tense. Miles apparently yelled at Monk not to play during his solos…Every song, every bar, crackles with electricity. Miles’ solos, especially on ‘Bemsha Swing,’ are explosively creative…Jackson, freed from the MJQ chamber, storms the vibes with unmatched verve and precision. This was one of Rudy Van Gelder’s first recordings, and it already displays his hallmark traits…the trumpet blares and the vibes gleam with as much fidelity as on any modern recording. And listen to those juicy high-plucked bass strings during Heath’s solos. During his solo on ‘The Man I Love,’ Monk loses himself and stops playing; Miles assists by playing a few notes of the theme. He’s off-mike, and you can hear those notes bouncing off the studio walls. It’s a spooky, time-travel moment; you’re there!” – Fred Kaplan, The Absolute Sound, January 2006, Issue 158

Track Listing:
1. The Man I Love (Take 2)
2. Swing Spring
3. 'Round Midnight
4. Bemsha Swing
5. The Man I Love (Take 1)

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Although their styles were regions apart and they’d never performed together previously, Georgia harmonica ace Sonny Terry and Texas guitar titan Lightnin’ Hopkins fit like foot in sock when producer Kenneth S. Goldstein paired them at Rudy Van Gelder’s studio on October 26, 1960. As LeRoi Jones observed in the original album notes, “There is a meeting of ways, where the light and the sad seem to come together simply as blues.” Selections six through 10 were recorded the following year, and Terry was back in the more familiar company of another great guitarist, his longtime partner Brownie McGhee.

"…Terry was a remarkable mouth harp player, and these performances are first rate…What makes this a truly stand out record is the fine sound, which just jumps out of the speakers. Although this is a stereo recording with rather hard left and right separation (especially on the McGhee songs), that anomaly distracts little from the performance." Recording = 7/10; Music = 8/10 – Dennis Davis, Hi-Fi+, Issue 43

Track Listing:

One Monkey Don't Stop The Show
Changed The Lock On My Door
Tater Pie
She's So Sweet
Diggin' My Potatoes
Sonny's Coming
Ida Mae
Callin' My Mama
Bad Luck
Blues From The Bottom

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Despite the inherent modesty of its title, The Hawk Relaxes is far more than merely a tenor saxophonist – albeit one of the greatest who ever lived – at his ease. Recorded for Prestige's Moodsville subsidiary, the album presents Coleman Hawkins, paterfamilias of the tenor and one of its master balladeers. As he grew older, Hawkins often made it a point to perform with much younger musicians, in order to keep his work fresh. Pianist Ronnell Bright, 30 years old at the time of this recording, was the oldest of Hawkins' accompanists herein, while drummer Andrew Cyrille was, at just 21, the junior partner. With the multifaceted guitarist Kenny Burrell and bassist Ron Carter, at the dawn of what would be a ubiquitously brilliant career, rounding out a highly simpatico group, Hawkins adroitly weaves his way rhapsodically through seven timeless popular songs that lend themselves to his signature harmonic brilliance.

Track Listing:

1. I'll Never Be The Same
2. When Day Is Done
3. Under A Blanket of Blue
4. More Than You Know
5. Moonglow
6. Just A Gigolo
7. Speak Low

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Jazz impression of Black Orpheus. In the early 60s, the Brazilian import called bossa nova swept through jazz. The music's most prominent composer was Antoinio Carlos Jobim, and his score for the 1959 motion picture Black Orpheus was packed with songs adopted by jazz musicians. Vince Guaraldi was one of the earliest to grasp the possibilities of bossa nova and recorded four of the Black Orpheus pieces in this 1962 album. He also played two standards and two of his own compositions. One of those originals was a pleasantly rhythmic little melody called "Cast Your Fate to the Wind," which cut like a beam of sunshine through the pop music gloom of the day, beat the odds against quality music and illuminated the upper regions of the national sales charts for nearly half a year.

Track Listing:

Samba De Orpheus
Manha De Carnaval
Musso Amor
Generique
Cast Your Fate To The Wind
Moon River
Alma-ville
Since I Fell For You

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Red Garland and Miles Davis had a symbiotic relationship. Red was such an important cog in the Davis quintet as a soloist, interactive accompanist and keeper of the repertory. Being in Miles' group gave Garland the exposure he otherwise would not have gotten. Once Garland's talent as a pianist, with a boundless repository of material in his head, was established, Prestige's Bob Weinstock signed him to a contract as a recording leader in his own right. With his Davis section-mate, Paul Chambers, on bass, and New York drummer Arthur Taylor, Garland formed a trio that met quite often in Rudy Van Gelder's studio. Groovy was the third in Red's trio series for Prestige and it has the usual fine mix of jazz standards, ballad standards, blues ballads and just plain blues. It is an object lesson in finding and maintaining a groove.

Track Listing:

C-Jam Blues
Gone Again
Will You Still Be Mine?
Willow Weep For Me
What Can I Say Dear?
Hey Now

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Featuring musicians: Count Basie, piano & organ; Louie Bellson, drums; Ray Brown, bass; Irving Ashby, bass; J.J. Johnson, trombone; Harry Edison, trumpet; Eddie Davis, tenor sax; and Zoot Sims, tenor sax. This is one of Pablo's finest and the title says it all.

"So far, I have received everything available (same serial #) on the Fantasy 45 series and all the pressings have been outstanding…The Basie Jam album is possibly one of the best I've heard from the series." – Bill Koski, Acoustic Sounds customer

Track Listings:

1. Doubling Blues
2. Hanging Out
3. Red Bank Blues
4. One-Nighter
5. Freeport Blues

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Blue Mitchell possessed one of the truly individual trumpet sounds: richly melodic but always strong — clearly in the tradition of Clifford Brown, but very much his own voice. The series of Riverside albums that established him on the jazz scene, beginning at the end of the 1950s, usually presented him in at least three-horn ensembles; this was his only quartet set. Fully in the spotlight, Mitchell moves most effectively through a widely varied repertoire that covers standards, blues, originals and a Charlie Parker classic. There is flawless rhythm support from all-stars Wynton Kelly and Sam Jones and drummer Roy Brooks (Blue’s bandmate during part of his many years with the Horace Silver Quintet).

Track Listings:

1. I'll Close My Eyes
2. Avars
3. Scrapple From The Apple
4. Kinda Vague
5. Sir John
6. When I Fall In Love
7. Sweet Pumpkin
8. I Wish I Knew

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Sonny Rollins was only 26 years old when he recorded this, his first Riverside album, but he was an eight-year veteran of the jazz big leagues. He had worked with Thelonious Monk, Miles Davis and the Clifford Brown-Max Roach Group, among others. His style, personal and eccentric but deeply rooted in the jazz tradition and in American popular song, made him the most talked-about young tenor saxophonist in the mid-1950s. Like all great jazz improvisers, he communicated through his instrument in a way that made listeners feel he was speaking to them. The stories he told were delivered with energy, swing and wry good humor. He gave the layman a frame of reference by using familiar material like the standard songs here for explorations full of excitement and adventure. Supported by a blue-ribbon rhythm section, this is young Sonny Rollins at his best.

Track Listings:
1. The Last Time I Saw Paris
2. Just in Time
3. Toot, Toot, Tootsie, Goodbye
4. What Is There to Say?
5. Dearly Beloved
6. Ev'ry Time We Say Goodbye
7. Cutie
8. It Could Happen to You
9. Mangos
10. Funky Hotel Blues

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This was a forerunner of the Miles Davis Quintet as it was his first session with Red Garland and Philly Joe Jones. Up to then, his Prestige dates had been of the "all star" variety. By the fall, John Coltrane and Paul Chambers would come aboard to help form the first of a continuum of great Davis working groups.

Track Listing:

I Didn't
Will You Still Be Mine?
Green Haze
I See Your Face Before Me
A Night In Tunisia
A Gal In Calico

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Another of Cobb's great Prestige sessions, this one from late 1960. Cobb and his tenor sax are joined by Red Garland on piano, J.C. Heard on drums and George Tucker on bass. The quartet cruises through six tunes – including two Cobb originals and a couple of old standards in "The Way You Look Tonight" and "Georgia On My Mind."

Track Listings:

1. Sweet Georgia Brown
2. Black Velvet
3. Blue Sermon
4. Georgia On My Mind
5. Sizzlin'
6. The Way You Look Tonight

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In the 1950s, the Curtis Counce Group was the West Coast answer to the East Coast hard bop, epitomized by groups such as Art Blakey and the Jazz Messengers and the Horace Silver Quintet. The brilliant pianist Carl Perkins, an early casualty of the jazz life, and who Miles Davis once identified as his favorite pianist, was at the core of this exceptional band. Harold Land, who was fresh from the Clifford Brown/ Max Roach band, and who has gone on in the nearly forty years since this album was recorded to international acclaim, and the vastly underrated trumpeter Jack Sheldon round out the front line. The fiery Frank Butler (who the legendary Count Basie drummer Jo Jones once called the greatest living jazz drummer) and Kansas City native, Curtis Counce, who had had recent stints with Stan Kenton, Maynard Ferguson, Art Pepper and Gerald Wilson formed the rock-solid rhythmic underpinnings that propelled the band. Characterized by the solid musical concept and sound quality normally associated with Contemporary, this album is sonically, musically, and historically outstanding.

Track Listings:
1. Complete
2. How Deep Is The Ocean
3. Too Close For Comfort
4. Mean To Me
5. Stranger In Paradise
6. Counceltation
7. Big Foot

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Rarely has a singer and a songwriter been so perfectly matched. Johnny Adams possesses one of the most remarkable and expressive voices in popular music today, while the late Doc Pomus wrote some of the most succinctly elegant and enduring songs of the rhythm and blues era. Johnny's interpretations of Doc's lyrics are as deep and true as the songs themselves. While this album may be regarded as a retrospective of Doc's work, many of the songs are new, written expressively for this project. The supporting musicians comprise a New Orleans dream band, with outstanding contributions from arranger/ saxophonist Alvin Red Tyler, guitarist Duke Robillard and pianist/ co-producer Mac Dr. John Rebennack.

Track Listings:

1. Imitation of Love
2. Still In Love
3. There Is Always One More Time
4. My Baby's Quit Me
5. She's Everything To Me
6. I Underestimated You
7. Blinded By Love
8. Prisoner Of Life
9. The Night Is A Hunter
10. No One
11. The Real Me

1955's 'Round Midnight was Miles Davis' debut release for the jazz powerhouse Columbia Records. Featuring a phenomenal supporting cast that included alto and tenor saxophonists Cannonball Adderley and John Coltrane, drummer Philly Joe Jones, bassist Paul Chambers and pianist Red Garland, 'Round About Midnight marked the origins of what would become known as post-bop modern jazz. The music here ranges from the sublime Cole Porter standard "All Of You" with Davis employing the Harmon mute sound, to the restrained bop of "Ah-Leu-Cha" which features a Dixieland counterpoint at beginning and end, to the Paul Chambers bass showcase of "Dear Old Stockholm" and the universally loved "'Round Midnight."

Miles Davis 'Round About Midnight Track Listing:

1. ‘Round Midnight
2. Ah-Leu-Cha
3. All Of You
4. Bye Bye Blackbird
5. Tadd’s Delight
6. Dear Old Stockholm

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The Definitive 45RPM Blue Note Reissue Series!

Jackie McLean's slightly acidic tone on alto can be instantly identified. He perfectly symbolizes the intensity, passion, excitement and urgency of New York in the 1960s. Born in 1932 and part of the musical generation that matured in the shadow of Charlie Parker, McLean served his apprenticeship at the very top, recording with the likes of Miles Davis, Charles Mingus and Art Blakey. However, Jackie McLean is best known for a brilliant series of Blue Note albums recorded from 1959-67. Bluesnik is, on the surface, one of McLean's most accessible recordings, since the six songs are all blues-based. However, McLean remains quite explorative here, clearly inspired by his excellent sidemen (trumpeter Freddie Hubbard, pianist Kenny Drew, bassist Doug Watkins, and drummer Pete La Roca). McLean stretches himself, showing every side of the blues. The results are exceptional to say the least. One listen to Bluesnik tells you that this is one of Jackie McLean's masterpiece recordings. Engineer Rudy Van Gelder was up to the challenge of this fine session, getting all of this passionate soul on tape with exceptional fidelity. Bluesnik is essential! Here on Limited Edition 180g 45RPM Double Vinyl!

Track Listing:

1. Bluesnik
2. Goin Way Blues
3. Drew's Blues
4. Cool Green
5. Blues Function
6. Torchin

Art Pepper The Way It Was! On Numbered Limited Edition 180g Vinyl LP

Art Pepper’s The Way it Was! was recorded for Contemporary between 1956-60 and the album is built around four previously un-released tunes pairing Pepper with the tenor of Warne Marsh. Filling out the program are three incredible tracks from Pepper's 1960 masterpieces Gettin' Together and Intensity as well as a cut from his 1957 release Meets the Rhythm Section. Supported by the likes of Paul Chambers, Philly Joe Jones, Wynton Kelly, Jimmy Cobb and Red Garland, their workouts on the standards “The Man I Love,” “Autumn Leaves” and especially “The Way You Look Tonight” establish a brilliant east-coast meets west-coast summit. Art's creamy alto more than holds it's own with some of New York's bop-elite, resulting in a masterpiece in its own right. Now here on Mobile Fidelity Numbered Limited Edition 180g Vinyl!

Track Listing:

1. I Can't Believe You're In Love With Me
2. All The Things You Are
3. What's New
4. Tickle Toe
5. The Man I Love
6. Autumn Leaves
7. The Way You Look Tonight

Arguably Mingus' greatest recording! Features performances by John Handy, Booker Ervin, Jimmy Knepper, Horace Parlan, Dannie Richmond and many others. Compositions include "Goodbye Pork Pie Hat," "Better Git It In Your Soul," "Fables Of Faubus," "Jelly Roll" and other classics.

Track Listing:

1. Better Git It in Your Soul

2. Goodbye Pork Pie Hat

3. Boogie Stop Shuffle

4. Self Portrait in Three Colors

5. Open Letter To Duke

6. Bird Calls

7. Fables of Faubus

8. Pussy Cat Dues

9. Jelly Roll

Seventeen years after the release of her multiplatinum, award winning album Unforgettable: With Love, eight-time Grammy-winning vocalist Natalie Cole delves back into the great American Songbook to recreate the feel and flow of that landmark title with Still Unforgettable. The album marks Cole's first producer credit and features fourteen all-new recordings on which the singer lends her voice to classic songs such as “The Best Is Yet To Come,” “Nice 'N' Easy” and “Something's Gotta Give” among others. Also featured is another memorable duet with her late father, the legendary Nat King Cole, on “Walkin' My Baby Back Home.”

Track Listing:

1. Walkin’ My Baby Back Home – Duet with Nat King Cole
2. Come Rain Or Come Shine Coffee Time
3. Somewhere Along The Way
4. You Go To My Head
5. Nice ’N’ Easy
6. Why Don’t You Do Right?
7. Here’s That Rainy Day
8. But Beautiful
9. Lollipops And Roses
10. The Best Is Yet To Come
11. Something’s Gotta Give
12. Until The Real Thing Comes Along
13. It’s All Right With Me

Acoustic guitarist Antonio Forcione is joined by Zap Mama's Sabina Kabongo, saxophonist Julian Arguelles, bassist Malcom Crease, and percussionist Bosco de Oliveira.

This is the recording that prompted Martin Taylor to write 'Antonio possesses all the qualities of a great artist - a complete command of his instrument, a vast knowledge and respect for all musical traditions, the charisma to communicate his music to an audience, and the ability never to allow the above fine qualities to get in the way of his creative processes. Antonio is a virtuoso who plays from the heart.'

Track Listing:

1. Tiramisu
2. Twilight
3. Maya's Song
4. Dedicato
5. I heard it through the grapevine
6. Tango Nights
7. Attempo
8. Come Together
9. Folk Song
10. Nocturne

Track Listing:

1. ROOTS (4:09)
2. HERE COMES THE WHISTLEMAN (4:53)
3. I WISHED ON THE MOON (4:48)
4. MAKING LOVE AFTER HOURS (4:20)
5. YESTERDAYS (3:54)
6. ALUMINUM BABY (6:06)
7. STEP RIGHT UP (4:41)

Track Listing:

Hello Young Lovers
Besame Mucho
Willow Weep For Me
One Note Samba
Wee Dot
Autumn Leaves

The mercurial Bitches Brew is thought by many to be one of the most revolutionary albums in jazz history, having virtually created the genre known as jazz-rock fusion. Miles adds to his In A Silent Way concept here with soprano saxophone, bass clarinet, additional drums and percussion, plus African, Indian and Brazilian instruments. The result was unlike any music heard before or since. A complete rejection of traditional songs, chord progressions, or even melodic conventions, the album signified that music could be just layers of texture and sound. Bitches Brew is not just an important recording, it's an essential one!

Miles Davis Bitches Brew Track Listing

1. Pharaoh's Dance
2. Bitches Brew
3. Spanish Key
4. John McLaughlin
5. Miles Runs The Voodoo Down
6. Sanctuary
7. Feio

After hearing a classical version of Rodrigo’s “Concierto de Aranjeuz,” Miles Davis and British arranger Gil Evans decided to use it as the centerpiece to make their new album around. With its emphasis on flamenco, rich orchestration and relaxed tempos Sketches of Spain is undoubtedly one of the smoothest and most accessible albums of Davis’ brilliant career.

Miles Davis Sketches of Spain Track Listing

1. Concierto De Aranjuez
2. Will O' The Wisp
3. The Pan Piper
4. Saeta
5. Solea

Verve's legendary songbook editions are among Ella Fitzgerald's very best repertoire. The singer, who was stylistically at home in every genre, from jazz, to the evergreens of the Great American Songbooks, to pop songs, is to this day one of the most versatile interpreters of the American vocal scene. Her recording of the Harold Arlen Songbook, made in 1960 and '61, is, along with similar projects with songs by Rodgers and Hart, Cole Porter, George Gershwin and Duke Ellington, the very best of its kind. Harold Arlen discovered his propensity for jazz as a pianist, orchestrator and musical producer of the Cotton Club shows over many years. So it is not surprising that much of what flowed from his pen had a distinct jazz leaning. "Ella is the only vocalist who manages to sing even the most complicated phrases of my songs with poise and lightness," he stated upon completion of the production. The musical quality of the 26 refurbished audiophile tracks, including two bonus tracks, make this re-release a timeless work of reference of American easy listening. The superb big band, along with the brilliant arrangements and conducting of Billy May, provides the perfect backing.

Track Listing:

1. Blues In The Night
2. Let's Fall In Love
3. Stormy Weather
4. Between The Devil And The Deep Blue Sea
5. My Shining Hour
6. Hooray For Love
7. Sing My Heart
8. This Time The Dream's On Me
9. That Old Black Magic
10. I've Got The World On A String
11. Let's Take A Walk Around The Block
12. Ill Wind (You're Blowin' Me No Good)
13. Ac-Cent-Tchu-Ate The Positive
14. When The Sun Comes Out
15. Come Rain Or Come Shine
16. As Long As I Live
17. Happiness Is A Thing Called Joe
18. It's Only A Paper Moon
19. The Man That Got Away
20. One For My Baby (And One More For The Road)
21. It Was Written In The Stars
22. Get Happy
23. I Gotta Right To Sing The Blues
24. Out Of This World
25. Over The Rainbow
26. Ding-Dong! The Witch Is Dead

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Sassy's years on the Roulette label (1960-64) have been called the legendary singer's finest hour, a time when her musicality merged exquisitely with her unbridled vocal ardor to achieve the sublime. Sarah Sings Soulfully, recorded at the close of that period, stands as a stunning testament to this claim, a divine collection of tracks that reveals an artist staking her soul on the rendering of each and every note, as well as the silences between them. Seductively spare, luxuriously poignant, and achingly honest all at the same time, Vaughan's vocals careen incandescently through the 12 standards presented here, swooping, sighing and soaring with an intensity that remains unparalleled to this day.

Track Listing:

1. A Taste of Honey
2. What Kind of Fool Am I?
3. Guess I'll Hang My Tears Out to Dry
4. Sermonette
5. In Love in Vain
6. Gravy Waltz
7. The Good Life
8. Moanin'
9. 'Round Midnight
10. Easy Street
11. Baby, Won't You Please Come Home
12. Midnight Sun

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Between March 1956 and November 1957, Sonny Rollins recorded two albums that would cement forever his rightful place as a jazz icon. Saxophone Colossus for Prestige in ’56 would become a jazz masterpiece while the live ‘trio’ recordings for Blue Note in late 1957 at the Village Vanguard would show another side of Rollins altogether. His some-what daring use of basically replacing the piano with his tenor, was not new for him nor, would it be the last time; his Way Out West in early 1957 was a breakthrough landmark and later, Freedom Suite in 1958 would be his return to the triad. Operating at his creative peak, Rollins was making the art of extended soloing his own and was able to both focus and stretch each song out in extemporaneous thoughts and whims. From an! aftern oon set he locked horn with bassist Don Bailey and drummer Pete LaRoca on the famous rendition of “A Night In Tunisia”. The evening set found the highly underrated Wilbur Ware on bass and the great Elvin Jones behind the skins, resulting in “The Ol’ Devil Moon”, “Softly, As In A Morning Sunrise”, “Sonnymoon For Two”, “I Can’t Get Started”, and “Striver’s Row”. Simply one of the greatest and most powerful live dates in the history of recorded jazz. Mastered and cut by Bernie Grundman on Classic's "ALL TUBE PURE MONO" cutting system (not like others who use a stereo cutting head which imparts "crosstalk" onto the groove cut) and pressed onto 200 gram QUIEX Super Vinyl Profile for maximum fidelity. Jackets are authentic "tip-on" and laminated (front only) as were the originals - and the labels have the desirable "deep groove". Another installment in the Classic Blue Note Signature Mono LP Series.

1. Old Devil Moon
2. Softly As in a Morning Sunrise
3. Striver's Row
4. Sonnymoon For Two
5. A Night In Tunisia
6. I Can't Get Started

Signed to the label when he only eighteen years old, this jazz prodigy, who cut his teeth as a Jazz Messengers with the great Art Blakey, proceeded to record a stream of impressive records as a leader for Blue Note. At the ripe old age nineteen, Morgan helmed the City Lights sessions in August of 1957 at Rudy Van Gelder’s Hackensack site. The all-star sextet tackles arrangements provided by the likes of Benny Golson and Gigi Gryce that are a perfect fit to their collective playing. Curtis Fuller on trombone, George Coleman blowing both alto and tenor, Ray Bryant at the piano, Paul Chambers on bass and Art Taylor’s drumming add to Morgan’s trumpet that produced a classic of 50’s modern jazz. Cut on Classic's all tube pure mono cutting system by Bernie "be-bop" Grundman from the original full track mono master tapes and pressed on Classic's proprietary 200g Super Vinyl Profile. Another "must have" installment in Classic Blue Note Signature Mono LP Series.

1. A Night In Tunisia
2. Heavy Dipper
3. Just One of Those Things
4. Lover Man
5. New Ma

The third and quite possibly the best, of a trio of recordings for Blue Note that are considered a triumph for this tortured artist. One of the true architects of be-bop, Powell’s recording history, like his personal life, experienced extreme highs and lows. Before moving to Europe, Blue Note was able to capture him in variety of groupings. This August 3, 1957 date from Rudy Van Gelder’s Hackensack studio is damn near sheer perfection. Trio-mates Art Taylor on drums and Paul Chamber’s bass offer the perfect compliment to Powell’s five original compositions, with an outpouring of swing, blues and improvisation. A unique choice of a complimenting horn finds a quite young Curtis Fuller on trombone on three standards. Powell adds a fun break in the action with his s! olo, ba roque-bop Bud On Bach. Cut on Classic's all tube pure mono cutting system by Bernie "be-bop" Grundman from the original full track mono master tapes and pressed on Classic's proprietary 200g Super Vinyl Profile. Another "must have" installment in Classic Blue Note Signature Mono LP Series.

1. Some Soul
2. Blue Pearl
3. Frantic Fancies
4. Bud On Bach
5. Keepin' in the Groove
6. Idaho
7. Don't Blame Me
8. Moose the Mooche

Transistion was a very small and obscure Jazz label for about two seconds in the mid - Fifties but they did a couple of great Jazz records and Watkins at Large is one of them. This is Watkins on bass as leader of a band consisting of Duke Jordan on piano, Arthur Taylor on drums, Kenny Burrell on Guitar, Donald Byrd on trumpet, and Hank Mobley on tenor sax. Watkins plays a seven foot Italian bass on tunes including his own "Panonica" and a 13 minute version of Tiomkin's "Return to Paradise". According to Tom Wilson who produced the session and wrote the notes, " Watkins at Large is one of those rare sessions where everyone falls immediately into the groove from the opening minute. The result of such a 'hang-upless' date is freely constructed, intensely personal jazz without pretention or frills." As always, this "True MONO" recording was transferred from the original full track Mono master tapes on Classic's ALL TUBE, MONO cutting system - no Mono cut on a stereo lathe here. Pressed on Classic's 200g Super Vinyl Profile and presented with original artwork and eight page booklet provided by Jeff Barr of Jeff Barr Rare records. This is a record that is so impossibly rare that if we didn't reissue it then most people would never know of its existence. We got the tip on this gem from Ron Rambach who has helped Classic over the years to consistently choose winning Jazz titles - Roe Baby this one's for you!

1. Return to Paradise
2. Phinupi
3. Phil T. McNasty's Blues
4. More of the Same
5. Panonica

Kenny Dorham on trumpet, Hank Mobley on tenor Sax, Doug Watkins on bass and Art Blakey on Drums are the jazz Messengers supporting Horace Silver playing piano on tunes like "Creepin' In", "To Whom it May Concern" and "Doodlin'" to name three of seven tunes written by Silver for this the first Jazz Messengers Sessions recorded by Rudy Van Gelder. Another incredibly rare record that is worth hearing as a "True MONO" transferred from the original full track Mono master tapes on Classic's ALL TUBE, MONO cutting system - no Mono cut on a stereo lathe here. Another in the Classic Blue Note Signature Mono LP reissue series pressed with the authentic "deep groove" on Classic's proprietary 200g Super Vinyl Profile.

1. Room 608
2. Creepin' In
3. Stop Time
4. To Whom It May Concern
5. Hippy
6. The Preacher
7. Hankerin'
8. Doodlin'

What is so grand about the Carnegie tapes is that those tunes Trane was struggling with (the first couple of weeks he was near-pitiful, with the heads, but Monk pounded away at the chords) - say, "Evidence," "Monk's Mood," "Epistrophy" which grew steadily more finished and exquisite during that Summer of wonder - by time of the concert a few months later, not only was Trane peerless with the heads, but now sailed off into his own furtherness and the band itself was tight as Dick's hat band. Of even more curious delight is that one can see now how Trane's residency with that great band influenced the teacher as well. Check Monk's expansive backup arpeggio's on "Monk's Mood," matching Trane's multi-noted zoom. "Epistrophy" shows the exactness the well-honed match that playing together over an extended period can produce. - Amiri Baraka, liner notes Jazz has had its share of great archival discoveries, not the least of which were Dean Benedetti's recordings of Charlie Parker. But the discovery of more music from the Thelonious Monk quartet with John Coltrane is made all the more extraordinary because so few knew it existed and the only official recordings by this band were made in its first weeks of existence. Now a forgotten November 1957 Carnegie Hall concert taped by Voice Of America radio has been discovered by the Library of Congress with two appearances by the quartet. These two 25-minute, five-tune sets feature the quartet in great fidelity and unbelievable form. The empathy and invention of the group here far surpasses the Riverside session, made months earlier. Playing together every night for 18 weeks sharpened the skills and interaction of these brilliant musicians. Monk's piano playing has never sound like this; his arpeggios are virtuosic and each note rings with clarity on the Carnegie Hall piano. Coltrane had fully mastered Monk's music by this time. In the confines of short playing times (most tunes are 4 to 6 minutes in duration), he plays with a fervid intensity trying to cram all his ideas into a brief amount of time. Ahmed Abdul-Malik and Shadow Wilson play the intricate arrangements with fluidity and push the soloists to great heights. Thanks to the clarity and presence of Wilson's drums on this recording, his work will be a revelation to anyone who had not had the fortune to see him live. This LP was mastered from the original 15 ips mono analog tapes by Kevin Hodge at the Master Cutting Room and pressed on Classic Records proprietary 200 gram Quiex Super Vinyl Profile virgin vinyl. Production notes: Produced for release by T. S. Monk and Michael Cuscuna Executive producer: Bruce Lundvall Recorded on November 29, 1957 by Voice of America at Carnegie Hall, New York City This concert was produced by Kenneth Lee Karpe for the benefit of the Morningside Community Center. Tape preserved and provided from the collections of the Library of Congress Mastered from the original 15 ips mono analog tape by Kevin Hodge at the Master Cutting Room, NYC

Early Show
1. Monk's Mood 7:52 (Thelonious Monk) Embassy Music Corp ((BMI))
2. Evidence 4:41 (Thelonious Monk) Thelonious Music Corp (BMI)
3. Crepescule with Nellie 4:28 (Thelonious Monk) Thelonious Music Corp (BMI)
4. Nutty 5:03 (Thelonious Monk) Thelonious Music Corp (BMI)
5. Epistrophy 4:28 (T. Monk-K. Clarke) Embassy Music Corp (BMI)/Music Sales Corp (ASCAP)
Late Show 6. Bye-Ya 6:31 (Thelonious Monk) Thelonious Music Corp (BMI)
7. Sweet and Lovely 9:34 (Arnheim-Daniels-Tobias) Anne Rachel Music/Harry Tobias Music/Jerry Leiber Music/Mike Stoller Music/Range Road Music (ASCAP)
8. Blue Monk 6:30 (Thelonious Monk) Thelonious Music Corp (BMI)
9. Epistrophy 2:24 (T. Monk-K. Clarke) Embassy Music Corp (BMI)/Music Sales Corp (ASCAP)

LSP 1993 Chet Atkins: In Hollywood Recorded in Hollywood California adjacent to the current Classic Records Location (ex - RCA records warehouse) this album is widely recognized as one of Chet Atkins best efforts. Transferred from the original 15 ips, 2-track 1/4"master tapes this album sings tunes from Fats Waller among others and features orchestral accompaniment. The sound is great on 200g SV-P for the first time and so is the second "girl cover" that replaced the original.

1. Armen's Theme
2. Let It Be Me
3. Theme From "Picnic"
4. Theme from A Dream
5. Estrellita
6. Jitterbug Waltz
7. Little Old Lady
8. Limelight
9. The Three Bells
10. Santa Lucia
11. Greensleeves
12. Meet Mr. Callaghan

Yes, that's right, "Kind of Blue", the most successful Jazz album in history is back in print from Classic Records. To commemorate the official introduction of Classic Quiex SV - Super Vinyl, we thought it appropriate that "Kind of Blue" should be one of the titles to debut on the new vinyl formulation. We have also taken the opportunity to reissue "Kind of Blue", as it should have been in 1959 - completely at the proper speed!

1. So What
2. Freddie The Freeloader
3. Blue In Green, All Blues
4. Flamenco Sketches

When Cannonball Adderley scheduled the 1958 recording of what was to be his only Blue Note LP, he called on his old employer from their days as quintet members on Columbia, Miles Davis. The reunion resulted in one of the greatest and most revered Jazz LPs ever: "Somethin' Else." The quintet delivers beautiful strong renditions of Autumn Leaves, Love For Sale, One For Daddy-O, Dancing In The Dark, and the title tune. Cut from the original first generation analog masters, it sizzles. Now Available in STEREO.

1. Autumn Leaves
2. Love For Sale
3. Somethin' Else
4. One For Daddy-O
5. Dancing In The Dark

This John Jenkins sessions as a leader features the altoist in a quintet with guitarist Kenny Burrell, pianist Sonny Clark, bassist Paul Chambers, and drummer Dannie Richmond. Sounding at times like Charlie Parker (with touches of Phil Woods and Jackie McLean), Jenkins easily keeps up with his better-known sidemen and plays the boppish music with plenty of creativity, emotion, and excitement. As part of The Classic Blue Note Signature Series, this release features authentic artwork, labels and non-groove guard 200g pressing. The lacquers were cut from the original full track, Rudy Van Gelder mono master tape by Bernie Grundman on Classic's all tube Mono cutting system which includes a custom full track mono tape head, mono cutting amp and specially modified and rebuilt lateral cutting only Westrex 3A cutting head. As Ron Rambach of Music Matters, our Blue Note Consultant would say - It doesn't get any better than this.

1. From This Moment On
2. Motif
3. Everything I Have Is Yours
4. Sharon
5. Chalumeau
6. Blues For Two

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

Arguably one of the most influential titles from Coltrane and one of the greatest Blue Note releases ever. In 1957, right at the very start of his prestige recording period, 'Trane did this one-off set in New Jersey with Rudy Van Gelder with historic results. The recent reissue abundance of the title, re-packaged and enhanced in many ways, reveals the reverence put upon these sides. Transferred from the first-generation full track mono masters.

1. Blue Train
2. Moment's Notice
3. Locomotion
4. I'm Old Fashioned
5. Lazy Bird

Just a glance at the original cover is enough – the ‘King of the Trumpet’ and the ‘King of the Keyboard’ must have thoroughly enjoyed making this album back in 1957. Musical sparks obviously flashed right from the very first title. Well, that’s not really surprising since the two musicians were the ‘dream team’ of the Fifties, and only the producer Norman Granz, who had both artists under contract, could make that dream come true. Louis Armstrong is at the centre of most titles as singer, but his crystal-clear, brilliant trumpet sound had lost nothing of its fascination in the Fifties. Naturally Oscar Peterson does not let himself be restricted to the mere role of accompanist – he’s far too genial, too full of imagination and technically accomplished for that. “You Go To My Head”, in the version as sung by Billie Holiday, can match hers any day, filled as it is with unspent freshness and clarity. This title provides a good example of how Armstrong and the Peterson Quartet breathed new life into the old war horses of the “American Songbook” and set new standards for the art of improvisation. ‘There’s No You’, in which Louis is joined by Herb Ellis, is a jewel of a performance and deserves special mention. The old MGM/Verve pressings often had the drawback that the high notes tended to hiss, which of course spoiled listening to Armstrong’s voice. Luckily this defect has been ironed out in this new pressing.

1. That Old Feeling
2. Let's Fall in Love
3. I'll Never Be the Same
4. Blues in the Night (My Mama Done Tol' Me)
5. How Long Has This Been Going On?
6. I Was Doing All Right
7. What's New?
8. Moon Song
9. Just One of Those Things
10. There's No You
11. You Go To My Head
12. Sweet Lorraine

This title is not eligible for further discount.

Mastered from the original mono analog master tapes by Ray Staff and pressed on 180-gram vinyl by Pallas. Clooney's long experience as a band singer, her admiration for Ellington and his music, and the special sort of supercharged satin in her voice all qualified her to be the perfect choice to make this unusual album.

1. Hey Baby
2. Sophisticated Lady
3. Me and You
4. Passion Flower
5. I Let A Song Go Out Of My Heart
6. Grievin’
7. Blue Rose
8. I’m Checkin’ Out—Goombye
9. I Got It Bad
10. Mood Indigo

This title is not eligible for further discount.

This 1960 trio date was pianist Parlan’s first of many great releases for Blue Note. The Pittsburgh native, who overcame polio as a child that left his right hand crippled, had gained some serious props with his contributions on two of Charles Mingus’ best albums the year prior (Mingus Ah Um, Blues And Roots), and was now ready to step out on his own. Choosing to tackle mostly standards, Parlan channels his idol Bud Powell’s classic trio dates with the able assistance of Blue Note regulars Sam Jones, bass, and drummer Al Harewood. The result is an eclectic mix, interpreting the works of Tadd Dameron, Duke Ellington, Milt Jackson, and Burke-Van Heusen plus a Parlan original, “Up In Cynthia’s Room�, which became one of his signature pieces. This Classic Blue Note Signature LP Reissue Series release was mastered and cut on Classic’s ALL TUBE MONO cutting system allowing the listener to hear the music as Rudy Van Gelder mixed and intended it to be heard – in PURE MONO with no “faux stereo� artifacts from using a stereo cutter head! As always this release features authentic tip on jackets with film laminate front covers. Try and find an original that looks and sounds this good at any price!

1. On The Spur of The Moment
2. Skoo Chee
3. And That I Am So In Love
4. Al's Tune
5. Ray C.
6. Pyramid

Maybe not exactly the first ‘Dizzy’ that comes to mind when discussing jazz, this Jamaican-born, British-raised trumpeter overcame whatever burdens that nickname may have wrought, to become a highly respected player in the New York scene. He enhanced that rep by recording some truly excellent albums for the Savoy, Blue Note and Prestige labels among others. Christened Alphonso Son Reece, his robust and passionate playing styles always seemed to inspire other musicians in his company. The contributions by the esteemed trio invited; pianist Walter Bishop, Jr., bassist Doug Watkins and drummer Art Taylor unilaterally match the front-man’s fire and bold approach to each tune. Straight-ahead bop versions of American Song Book greats “Our Love Is Here To Stay”, “Once In A While” and “(I Don’t Stand A) Ghost Of A Chance” standout, as does the Reece’s original composition, “ Blue Streak”. Another installment in the Classic Blue Note Signature LP reissue Series featuring authentic tip on jackets with film laminate front covers. Mastered and cut on Classic’s ALL TUBE MONO cutting system and cutter head makes this the definitive version of this LP and possibly better than impossible to find original copies!

1. I Don't Stand a Ghost of a Chance With You
2. Blue Streak
3. Once in a While
4. Eb- Pop
5. Yesterdays
6. Love Is Here to Stay

Absolute Sound Recommended Stereophile Records 2 Die 4 E-Newsletter Archive Preowned LPs Michael Fremer Picks His Favorite In-Print LPs Browse Genre Blues Christmas Classical Female Vocalists Folk Jazz New Age Pop Rock Soundtracks World more Acoustic Sounds Spring Catalog 45 RPM Fantasy Jazz Series Link Exchange Music Music Vinyl Vinyl 45 RPM Vinyl LP Milt Jackson and Wes Montgomery - Bags Meets Wes! click on image to enlarge Bags Meets Wes! Milt Jackson and Wes Montgomery Label: Analogue Productions Genre: Jazz Product No.: AJAZ 9407 Availability: In Stock Format: 45 RPM Vinyl LP Note: Stereo 45 RPM $50.00 Also available on: Hybrid Stereo SACD $18.99 Vinyl Test Pressing $75.00 People who purchased Bags Meets Wes! also bought: Portrait in Jazz Bill Evans Trio + Eleven Art Pepper Blue Gene Gene Ammons Milt Jackson and Wes Montgomery were made to play together. Each had redefined the technical and expressive capacities of their respective instruments, displayed limitless melodic invention and rhythmic resourcefulness, and provided models of honest, unaffected soul. Their pairing occurred when Jackson joined Montgomery as a Riverside recording artist in 1961 and placed them amidst what amounted to the label’s house rhythm section of Wynton Kelly, Sam Jones and Philly Joe Jones. Included in the program of standards and originals is a classic line by each leader, Montgomery’s “Jingles” (one of three tracks also heard in alternate takes) and Jackson’s saucy blues “S.K.J.” The entire session is a model of relaxed, conversational blowing by five masters.

Track Listings
1. S.K.J.
2. Stablemates
3. Stairway To The Stars
4. Blue Roz
5. Sam Sack
6. Jingles
7. Delilah

This title is not eligible for further discount.

Three decades ago, when Riverside paired Thelonious Monk and Gerry Mulligan on this album, it seemed a daring move. These two appeared to represent opposite ends of the jazz spectrum, separated by geography (East Coast and West) as much as by style (bop vs. cool). Actually, it was a rather safe project: producer Orrin Keepnews had learned that the two men were friends; even more importantly, it is now clear that both were the kind of revolutionaries who had substantial (and not dissimilar) respect for jazz tradition. The album was, as advertised, a meeting of giants, but its most lasting value may be as proof that there was a strong bond connecting theoretically opposing forms of early modern jazz.

'Round Midnight
Rhythm-a-ning
Sweet And Lovely
Decidedly
Straight, No Chaser
I Mean You

This title is not eligible for further discount.

One of those rare combinations that occur only in the recording studio happened between John Coltrane and Kenny Burrell in 1958. The rhythm team of Paul Chambers and Jimmy Cobb, who were with the Miles Davis quintet, was enhanced by the suave, swinging piano of Tommy Flanagan, at that time solidifying his growing reputation on the New York scene.

This is the one-time chemistry of Burrell and Coltrane, the blend of guitar and tenor saxophone in a mix of originals and standards; one of the latter, “Why Was I Born,” is a duet for the two principals.

Freight Trane
I Never Knew
Lyresto
Why Was I Born?
Big Paul

This title is not eligible for further discount.

The recordings John Coltrane made for Prestige, both with and without Miles Davis, helped establish his first substantial foothold in the jazz world. He showed that he could play the blues; and whether he was treating a ballad at the usual tempo or taking one upstairs, he combined thought and emotion in a completely individual manner. The Garland trio, itself a recording entity for the label, was a strong unit that was sensitive to Trane's musical attitudes.

Track Listings:

1. Traneing In
2. Slow Dance
3. Bass Blues
4. You Leave Me Breathless
5. Soft Lights And Sweet Music

This title is not eligible for further discount.

Barney Kessel, Shelly Manne, and Ray Brown did not record together simply because they all happened to have won first place on their respective instruments in the Down Beat, Playboy, and Metronome polls. Their collaboration was due to mutual respect, and their sensitivity to one another's musical requirements. Here, in a set composed mainly of pop and jazz standards, they represent the ultimate in their fields, constituting a rhythm section that also provides brilliant solo interludes by all three members. Collectively, Kessel, Manne, and Brown won dozens of polls over the years; this record eloquently tells you why.

Track Listings:

1. Jordu
2. Satin Doll
3. It Could Happen to You
4. Mean to Me
5. Don''t Worry ''bout Me
6. On Green Dolphin Street
7. You Go to My Head
8. Minor Mood
9. Nagasaki

This title is not eligible for further discount.

This session is a model of the emotionally intense ballad programs featured on Prestige's Moodsville subsidiary. The great Kenny Burrell receives a major assist from saxophone patriarch Coleman Hawkins (who is in exemplary early-Sixties form), Hawkins' rhythm section of the time (made up exclusively of natives of Burrell's hometown Detroit) and conga drummer Ray Barretto. The choice of material and variety of settings are inspired, with Burrell heard solo on "No More," over just bass and drums on "Guilty," in two different settings and on three titles by the full sextet. Each soloist is fully engaged throughout, with things shifting into even higher gear when Burrell and Hawkins converse on "Montono Blues" and "I Thought About You."

Track Listings:

Tres Palabras
No More
Guilty
Montono Blues
I Thought About You
Out of this World
It's Getting Dark

This title is not eligible for further discount.

From the moment he exploded from Florida onto the New York scene in 1955, Cannonball Adderley was accepted by musicians, critics and listeners as a welcome arrival. By the time he and Milt Jackson teamed up for Things Are Getting Better, Adderley was becoming a major figure, due in part to his membership in the Miles Davis Sextet, but primarily because of the expansive joyousness of his playing. Jackson’s role in modern jazz went back to the early days of bebop when Dizzy Gillespie sent for him in 1945 to come from Detroit and join his sextet. Adderley and Jackson had in common superb skills in all aspects of music, a broad understanding and deep appreciation of jazz history and styles, and the earthiness bred by immersion in the blues. With the superlative rhythm section of Wynton Kelly, Percy Heath and Art Blakey, they produced one of the most exhilarating albums of the twentieth century.

1. Blues Oriental
2. Things Are Getting Better
3. Serves Me Right
4. Groovin' High
5. The Sidewalks Of New York
6. Sounds Of Sid
7. Just One Of Those Things

This title is not eligible for further discount.

Act fast, this LP is Out of Print and will go quickly!!!

The irony of this Album title is hard to miss. Holly Cole's confident, smoky alto might convey dark humor or cautious optimism, painful regret or self-aware neurosis, but definitely not helplessness. Ms. Cole combines the modern, post-feminist attitude of the Lilith Fair crowd with the sophistication of a pre-rock interpretative singer.

Holly Cole has always been difficult to categorize. Jazz purists have never been taken with Ms. Cole's eagerness to embrace contemporary music forms or her tendency to subvert material from the standard repertoire. Unlike Cassandra Wilson, who transposes rock and pop material into her own unique form of acoustic jazz, Ms. Cole frequently crosses the line that separates jazz and pop. In that respect, Ms. Cole's artistic sensibility is surprisingly close to that of Peggy Lee's. Although their styles and voices are very different, Ms. Cole shares Ms. Lee's affinity for creating deeply personal interpretations out of a wide range of pop material. And like Ms. Lee, Ms. Cole uses jazz as simply one of many interpretive devices for every performance.

Romantically Helpless, the Canadian singer's sixth full-length studio album, brings together the different facets of Ms. Cole's music. Two thirds of the recording mark a return to her early, more jazz-oriented roots. Ms. Cole's highly idiosyncratic interpretations, often set to a stark, minimalist accompaniment, tend to bring out the dark undercurrents of a lyric. She gives envy an edge in a slinky version of Paul Simon's 'One Trick Pony' and transforms 'Dedicated to the One I Love' into a stalker's love song. Ms. Cole extracts bitterness and hurt from Randy Newman's 'Ghosts' and 'The Same Girl' rather than the detached sarcasm usually associated with that composer's songs. In contrast, her respectful, straightforward reading of Stephen Sondheim's 'Loving You' seems oddly stilted and unexpressive.

The three decidedly more upbeat standards offer a welcome respite from the album's melancholy tone. The brassy swing arrangement of 'That Old Black Magic' does not suit Ms. Cole. She is simply not that kind of jazz singer. She is far more appealing on 'Come Fly With Me' where she relaxes the tempo giving this usually hard driving song a feeling of affectionate romanticism. Ms. Cole also has a grand time on a version of 'Don't Fence Me In' that isn't really any more tongue-in-cheek than Bing Crosby's original recording of the song.

The remainder of the album features radio-friendly pop arrangements of songs by both of Ms. Cole's long time collaborators, Aaron Davis and David Piltch. As far as pop music goes, most of these tracks are fine with 'Make It Go Away' the standout.

1. One Trick Pony
2. Romantically Helpless
3. I'll Be Here
4. Ghosts
5. Come Fly With Me
6. Dedicated To The One I Love
7. That Old Black Magic
8. If I Start To Cry
9. Loving You
10. Make It Go Away
11. Don't Fence Me In
12. Same Girl

The fourth album by Miles Davis' second classic quintet finds the group settling into a low-key, exploratory groove, offering music with recognizable themes that were deliberately dissonant. The provocative mood music and its unpredictable, evocative soundscapes serve as a virtual blueprint for the countless changes jazz would undergo in the decades that would follow.

Miles Davis Nefertiti Track Listing

1. Nefertiti
2. Fall
3. Hand Jive
4. Madness
5. Riot
6. Pinocchio
7. Hand Jive (Alternative Take)
8. Hand Jive (Second Alternative Take)
9. Madness (Alternative Take)
10. Pinocchio (Alternative Take)

1. Fuego
2. Bup A Loup
3. Funky Mama
4. Low Life
5. Lament
6. Amen

This classic session is the ultimate in cool jazz. Bill Perkins' mellow tone matches quite well with the quiet but inwardly passionate playing of pianist John Lewis, guitarist Jim Hall, bassist Percy Heath and drummer Chico Hamilton. Lewis is featured with the rhythm section on "I Can't Get Started," Hall is added for "Skylark," and the full group plays three standards plus Lewis' memorable and atmospheric "2 Degrees East, 3 Degrees West."

1. Love Me Or Leave Me
2. I Can’t Get Started
3. Easy Living
4. 2 Degrees East – 3 Degrees West
5. Skylark
6. Almost Like Being In Love

This title is not eligible for further discount.

It's no surprise that Thrust is right on par with Herbie Hancock's legendary Headhunters release as it happens to feature almost the exact same line up of musicians. Its jumping, multi-rhythmic, deep groove music remains some of Hancock's finest and it sounds as invigorating and fresh as it did over 30 years ago.

Herbie Hancock Thrust Track Listing

1. Palm Grease
2. Actual Proof
3. Butterfly
4. Spank-a-Lee

November 1960 at the Newport Jazz Festival, this is a highly collectable album was born. Given the personnel involved it is hard to imagine a less then inspiring album and as the collective talents of Roy Eldridge, Charles Mingus, Jo Jones, Brooker Little, Eric Dolphy and Abby Lincoln demonstrate this is an album that lives up to it's billing.

1. Mysterious Blues
2. Cliff Walk
3. Wrap Your Troubles In Dreams (And Dream Your Troubles Away)
4. ‘Tain’t Nobody’s Bizness If I Do
5. Me and You

This title is not eligible for further discount.

Full Specifications: Audio-Technica AT-LP2D-USB

Turntable Features Drive Type Belt drive
Speeds 33.3rpm, 45rpm
Turntable Operation Full Automatic
Cartridge Type Dual Magnet
Features Hinged Detachable Dust Cover, Built-in Usb Audio Adapter
Signal To Noise Ratio 50 dB
Wow & Flutter 0.25 % WRMS

General Product Info Weight 7.5 lbs
Manufacturer Part No. AT-LP2D-USB
UPC 042005150076
Dimension 3.8 in x 14.2 in x 14.1 in (HxWxD)

-Portable turntable with protective dustcover and integrated carrying handle
-Fits inside a standard 12" record case
-Battery powered by 6 "D" cells (not included) or AC wall adapter (included)
-Built-in speaker
-33, 45, and 78 RPM settings w/ +/- 10% pitch control, ton and volume controls
-Plays all standard sized records up to 12"
-Line outputs and 1/4" and 1/8" headphone outputs
-Removable stylus
-45 RPM adapter included

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 reissue of MoodSwing is Joshua Redman’s third recording as a band leader and his first featuring all-original compositions. The young saxophonist sought to change what he believed to be the public perception of jazz, a largely academic and overly intellectualized form of music devoid of the emotional themes that drive many other genres. As he explains in the original liner notes, jazz was seen as, “an elite art form, reserved for a sophisticated intelligentsia who rendezvous in secret.” With MoodSwing, Redman makes the case that jazz can be an accessible musical medium that could evoke basic and visceral emotional reactions.

From the playfully coy “Chill” to the urgent energy of “Rejoice,” Redman offers up a communicative and inspired record of emotional diversity. Joining him in this task was a young band of his peers, all of whom have since become established and esteemed figures in jazz. MoodSwing was one of the first exposures the jazz community had to young pianist Brad Mehldau, then beginning his career in Redman’s quartet. Mehldau anchors these compositions behind Redman’s lyrical playing, occasionally stepping out front to show his talents in “The Oneness of Two” and “Past in the Present.” The band’s rhythm section has since been recognized as one of jazz’s best, with Christian McBride on bass, and then little-known Brian Blade on the drums. As the follow-up to his breakout Wish, MoodSwing was universally praised by critics and enjoyed commercial success and many of these compositions are still featured in the saxophonist’s live sets today.

Track Listing:

1. Sweet Sorrow
2. Chill
3. Rejoice
4. Faith
5. Alone in the Morning
6. Mischief
7. Dialogue
8. The Oneness of Two
9. Past in the Present
10. Obsession
11. Headin’ Home

You Won't Believe Your Ears: Half-Speed Mastered Sound from Original Master Tapes is Remarkably Lifelike

Brecker's Last Work: Saxophone Legend's Grammy-Winning 2007 Album is an Acknowledged Masterpiece

Jazz Doesn't Get Better Than This: Limited Edition Pressing Will Test the Limits of Your System

Pilgrimage is the last album saxophone colossus Michael Brecker ever recorded. Released just months after he succumbed to leukemia in January 2007, it’s also the late instrumentalist’s hands-down best work—and truly, one of the finest jazz records made during the past 30 years. Winner of two Grammy Awards (Best Jazz Instrumental Album and Best Jazz Instrumental Solo for “Anagram”), Pilgrimage ranked #2 on the DownBeat critic’s poll and topped many year-end lists. And for good reason.

Nothing short of transcendent, the music soars on the resplendent playing of an astonishing quintet of jazz’s heaviest hitters: pianists Herbie Hancock and Brad Mehldau, drummer Jack DeJohnette, guitarist Pat Metheny, and bassist John Patitucci. No, it doesn’t get better than this. Mobile Fidelity is honored to offer this glorious statement on a sonically spectacular half-speed mastered 180-gram 2-LP set that, like Brecker’s swan song, is without equal. You will not believe your ears.

Devoid of melancholic emotion and self-pitying moods, Pilgrimage is a joyous affirmation of life—an invitation to embrace possibilities rather than a sad farewell. The performances are mesmerizing. None of the musicians here can do wrong, particularly the leader, whose solos both weave melodic yarns (“The Mean Time”) and create harmonic contrasts (“Five Months From Midnight”).

Realizing that these sessions would be his last, Brecker's mates match his passion and soul. Absolutely essential listening, Pilgrimage is the energetic sound of John Coltrane’s legacy, the culmination of a visionary talent high on the upbeat rhythms of life. You will feel better about everything in your world after hearing this album.

“On its own terms, Pilgrimage is a stunning achievement: 77 minutes of compelling original music that never loses its edge, solos that soar, dynamic group interplay that communicates wonderfully in the universal language.” –Steve Greenlee, Boston Globe, May 2007

Half-speed mastered from the original tapes and lovingly pressed onto supremely quiet 180-gram vinyl, Mobile Fidelity’s numbered limited-edition 2-LP set of Pilgrimage presents the entire tonal spectrum of the music amidst a wide, deep, natural soundstage. This is one of the best-sounding albums you'll ever hear. High and low frequencies are free of limiting ceilings. Instrumental separation and imaging are stunningly lifelike. Natural dynamics and details abound. Waiting for a truly great and great-sounding modern jazz album? This is it. Pilgrimage gets our highest recommendation.

DO NOT WAIT ON THESE. Once these numbered limited-edition copies are gone, they are gone forever.

Track Listing:

1. The Mean Time
2. Five Months from Midnight
3. Anagram
4. Tumbleweed
5. When Can I Kiss You Again?
6. Cardinal Rule
7. Half Moon Lane
8. Loose Threads
9. Pilgrimage