Format > 180 Gram Vinyl

These two giants of American show business got together in the studio in late 1964. Although they had appeared together many times on the stage, it was Quincy Jones’s brilliant arrangements that really brought them to the Verve Studio.

A few assertive notes on the keyboard and the band begins to swing; a snap of the fingers and Sammy Davis’s whole body begins to swing. Just listen to the ''New York City Blues'' for a wonderful example. In ''You’re Nobody…'' listen to the voice melting with the band as though it were a musical instrument. ''She’s A Woman'' is first-class entertainment and the tap dancing in ''Bill Basie’s…'' is unsurpassed.

1. My Shining Hour - 2:10
2. Teach Me Tonight - 3:05
3. Work Song - 2:12
4. Why Try to Change Me Now? - 3:24
5. Blues for Mr. Charlie - 3:43
6. April in Paris - 2:45
7. New York City Blues - 2:51
8. You're Nobody 'Til Somebody Loves You - 2:58
9. She's a Woman (W-O-M-A-N) - 2:21
10. The Girl from Ipanema - 4:07
11. Keepin' Out of Mischief Now - 2:51
12. Bill Basie Won't You Please Come Home - 2:38

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To attempt to categorize Carlos Santana’s music is, for the prophets of rock music, rather like dancing on the edge of a volcano. While the New York Times acclaimed the band as a "reincarnation of Dizzy Gillespie’s Cuban-jazz big band from the end of the Forties," Rolling Stone spoke of a "methadrine trip without visions." Organ-player Gregg Rolie offered a very simple explanation of the origins of the highly differentiated sound colouring and the throb and chirp of the Afro-Cuban polyrhythms: he succinctly remarked that, "each member of the multi-cultural band just played the music which he had grown up with."

It's already evident from the first number on Caravanserai, with its sounds of nature, twisted rhythms, and little snatches of melody, which as in several other titles remains spellbinding even without the fascinating drive of Santana’s lead-sound. Of course there is plenty of solo material on the guitar which manifests itself in exuberant improvisations with a fusion of rock, salsa and jazz elements. When listening to this well-oiled rhythm machine, one gets the impression that this unique band has stretched itself to its limits, and it is not by mere coincidence that they split up shortly afterwards. What has remained is one of the most powerful Santana records ever made.

Santana Caravanserai Track Listing

1. Eternal Caravan Of Reincarnation
2. Waves Within
3. Look Up (To See What's Coming Down)
4. Just In Time To See The Sun
5. Song Of The Wind
6. All The Love Of The Universe
7. Future Primitive
8. Stone Flower
9. La Fuente Del Ritmo
10. Every Step Of The Way

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This studio recording from 1954, a self-titled album recorded for EmArcy, was later reissued as Sarah Vaughan With Clifford Brown to denote the involvement of one of the top trumpeters of the day. Vaughan 'played' her voice with a musical creativity, as if it were a 'real' instrument, and on this album, she is matched with musicians of equally high quality. The band includes Brown on trumpet, Herbie Mann on flute, and Paul Quinichette on tenor, each of whom have plenty of space for solos (most of the songs are close to the five-minute mark). Vocally, the singer is arguably at the zenith of her career here, pausing and lingering over notes on the standards 'April In Paris', 'Jim', and 'Lullaby Of Birdland'.

1. Lullaby of Birdland
2. April in Paris
3. He's My Guy
4. Jim
5. You're Not the Kind
6. Embraceable You
7. I'm Glad There Is You
8. September Song
9. It's Crazy

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Ella Fitzgerald and Billy Holiday are rightly considered today as two of the most influential jazz singers – and the third in this famous line-up is Sarah Lois Vaughan (*1924), fondly known as “Sassy”. Right at the beginning of her career, Sassy sang (and also played the piano!) in the orchestras led by Earl Hines and Billy Eckstein, but in 1945 she started on a career as a soloist in the main. Her recordings of predominantly slow, popular ballads – made over the five years (1949-1954) that she recorded for Columbia Records – resulted in her breakthrough. Sarah Vaughan had reached stardom. During her Mercury years (1954-1959), her fame grew and she had well and truly “arrived”. But she was a woman with two souls: on the one hand she worked with such full-blooded jazz musicians as Clifford Brown and Cannonball Adderley, and on the other hand she continued to record highly successful albums with “easy-listening” orchestras, such as Sassy, recorded in 1956 with Hal Mooney and his orchestra. Easy listening, however, certainly is not to be put on a par with shallowness, as is well proved by Mooney’s laid-back, tasteful arrangements which allow Sarah Vaughan once more to demonstrate just how capable she is of expressing the contrasting moods and varying atmospheres of each and every song. The range of her now fully mature voice, with its truly instrumental flexibility and versatility, will never cease to amaze.

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SCHUBERT/SYMPHONY 9/JOSEF KRIPS - LONDON SYMPHONY ORCHESTRA

This is Schubert’s longest symphony, and its music has been described as heavenly. The symphony is typically and specifically Schubertian in its form, occupying a position in the history of music between Beethoven, Bruckner and Mahler – right on the threshold which separates classicism from romanticism. It is hard to say if Josef Krips ever succeeded in making a finer recording. The presentation has a direct, unforced spontaneity, confirming that Krips had an intuitive understanding of Schubert’s compositions. The orchestra plays with dynamic vivacity without ever sounding aggressive. The interpretation of the two final movements is delightful in its airy exhilaration: swaying in a dance-like rhythm, tripping lightly through virtually every key there is, and in between, in the Scherzo, the gravity of the trio. The Finale, again, is merry in character with triplets rushing past, and the listener revels in every single repetition as the magnificence of this work reveals itself. The inspired orchestra does full justice to the music and renders an interpretation in the Viennese tradition at its very best. This recording simply cannot be surpassed in terms of performance or sound quality – it is a must not only for the lover of Schubert’s music.

1. First Movement: Andante
2. First Movement: Allegro Ma Non Troppo
3. Second Movement: Andante Conmoto
4. Third Movement: Scherzo
5. Fourth Movement: Allegro Vivace

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SCHUBERT/PIANO QUINTET IN A MAJOR: TROUT QUINTET/CLIFFORD CURZON with members of the VIENNA OCTET

In the summer of 1819, Franz Schubert stayed in the Austrian town of Steyr where he began work on the composition of the five-movement Piano Quintet in A major, op. 114 (D 667) which was commissioned by the cellist Sylvester Paumgartner. The work was completed in the autumn and soon achieved great popularity under the name of Trout Quintet, which it owes to the Andantino fourth movement – a set of variations on the song of the same name. The work has remained highly popular right up to the present day and so it comes as no surprise to find this highly praised recording, made with such renowned artists as the pianist Clifford Curzon, the violinist Willi Boskovsky and other members of the Vienna Octet, being released once again. The ensembles refreshing performance reflects the sparkling lightness and virtuosity of the work. The well-balanced recording with its full tone certainly deserves a place in every music lovers collection.

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“How about a Sergio Mendes Brasil ‘66?” Whoever greets this tempting offer with the words “No thank you, I don't smoke” is quite on the wrong track for we’re not talking about a select brand of cigar here. Imported from Latin America, this music is certainly black and powerful; and it exercises a strong impact on the nervous system and extremities when inhaled deeply. An addict’s symptoms are triggered off by a pleasantly mild and fragrant vocal fine cut grown in the tablelands; even when breathed in deeply, the rich bouquet given off by the rhythmic fermentation of the background is never pungent or overbearing. On the contrary: the mellowness will bring your day to a perfect end.

Needless to say, this quality blend, delivered in its natural cover(ing), really ought to be covered by the Drug Offences Act, for the longer one listens to the music, the greater the danger of becoming hopelessly addicted to it. Perhaps it would be wise to consult your physician – or dancing tutor or record dealer! Full enjoyment is however guaranteed.

1. Mais Que Nada (Ma-sh Kay Nada)
2. One Note Samba, Spanish Flea
3. The Joker
4. Going Out Of My Head
5. Tim Dom Dom (Chim Dome Dome)
6. Daytripper
7. Agua De Beber (Agwa Gee Beberr)
8. Slow Hot Wind
9. O Pato
10. Berimbau (Ber-im-bough)

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One of the best and most significant piano jazz trios is at last available once again on vinyl! What a cause for celebration - just put the LP on the turntable of your high-end altar, give the tube-amplifier time to warm up, lower the 12”- tone arm, settle yourself in your favourite armchair and have a feast with Bill Evans, Monty Budwig and Shelly Manne.

Naturally one can get an idea of sorts of the musical quality of this recording on a compact hi-fi set, but to enjoy to the full the wonderfully sure performance of these three jazz greats, the sensitively placed chords of Bill Evans, the swish of the Shelly Manne’s rhythm brush and the wonderfully solid bass playing of Monty Budwig, one really ought to resort to the very best equipment.

An opportunity to hear these three musicians playing together is extremely rare since they were each contractually bound to three different recording companies. It is thanks to producer Creed Taylor that this fascinating recording by the trio (all of whom are no longer among us) came about. Full of concentration and dedication, the three musicians delve deep into the themes of these evergreens (ranging from Gordon Jenkins’s “Goodbye” to the Irish ballad “Danny Boy”), taking up the musical ideas and developing them with complete assuredness, as though in their sleep.

This LP re-release has an extremely attractive gatefold cover, making it a real feast for both eyes and ears!

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SHOSTAKOVICH/SYM NO 5/SKROWACZEWSKI/MINNEAPOLIS SYM (180g IMPORT LP)

Shostakovich Symphony #5 from the Original Mercury Living Presence Master Tapes!

One of the most fascinating aspects of Dmitri Shostakovich's music was and still remains his aesthetic ambiguity, the likes of which is almost impossible to find in modern music. The Fifth Symphony in particular is regarded as an excellent example of how, during Stalin's regime, Shostakovich outwardly remained true to the regulations concerning art while still managing not to forfeit his own artistic freedom and identity. Conceived in a classical vein, the work is filled with powerful motion and Russian song, even going almost as far as late-Romantic transfiguration. But this idyll is deceptive. Again and again the apparent harmony is disrupted by biting sarcasm: the spirited main theme of the first movement soon stiffens into a march-like farce, while in the untroubled second movement a shrill motif in the winds tears apart the cheerful mood. Skorwacziewski amalgamates the contrasting tender sweetness of the violins and the violence of the attacking wind instruments in his precise and sparing interpretation, which is free of sugary expression and forced dynamics. This Speakers Corner pressing, from the original Mercury Living Presence analog master tapes will blow you away!

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SIBELIUS/VIOLIN CONCERTO IN D MINOR, OP. 47/TCHAIKOSKY/SERENADE MELANCOLIQUE, OP. 26/RUGGIERO RICCI/FJELSTAD-LSO

The violin had got me completely under its spell; for ten years it was my greatest wish to become a great violin virtuoso …«, confessed Finland’s national composer Jean Sibelius in later years. Although he began a career as a violin virtuoso too late, as a composer he profited enormously from his intimate knowledge of the instrument and the possibilities it offered. This is particularly apparent in his Violin Concerto with its wonderful synthesis of virtuosic expression and technical bravura, its classical symphonic form, its outward effects and inner substance. This late-Romantic, brilliantly coloured work is certainly one of the most rewarding for every soloist. A specialist in the field of 19th-century bravura pieces and master of an effortless technique and suppleness, the great American violinist Ruggiero Ricci certainly possessed all the requirements for a brilliant performance of this concerto. And Øivin Fjeldstad is the perfect partner for Ricci in more ways than one in this wonderfully lively recording: thanks to his training as both a conductor and a violinist, he ensures a perfect balance between soloist and orchestra; and as a Norwegian he is, of course, completely au fait with Scandinavian repertoire, and guarantees – both here and in other recordings with the London Symphony Orchestra – a truly nordic touch.

1. Sibelius-Violin Concerto in D Minor, Op. 47
2. Tchaikovsky-Serenade Melancolique Op. 26
3. Scherzo from Souvenir d'm lieu cher, Op. 42

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Listen and it’s not hard to hear why a generation or two of blues-smitten rockers held him especially dear, be it the Allman Brothers (the original 'One Way Out', with longtime partner Robert Lockwood Jr. supplying the familiar guitar licks) or Led Zeppelin (a lugubrious, boogied-up take of Willie Dixon’s 'Bring It On Home'). Punctuated by harp blasts that could turn from sharply staccato to lyrically wrenching, Williamson’s leathery voice muses over his being 'Too Young To Die' or 'Too Old To Think' with the self-deprecating indifference that became a trademark. Though these tracks are the cream of his last years, they’re more boozy celebration than elegy.

1. One Way Out
2. Too Young to Die
3. Trust My Baby
4. Checkin' Up on My Baby
5. Sad to Be Alone
6. Got to Move
7. Bring It on Home
8. Down Child
9. Peach Tree
10. Dissatisfied
11. That's All I Want
12. Too Old to Think

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Produced by Bob Thiele in 1966 at Rudy Van Gelder's famed studios in New Jersey (Coltrane's favorite studio hang-out), this Sonny Rollins recording is known not only for Rollins' tenor saxophone work but the studio players who supported his performances. The roster includes Elvin Jones, drums; Jimmy Garrison, bass and Freddie Hubbard, trumpet – coincidentally, John Coltrane's rhythm section.

Sonny Rollins East Broadway Run Down Track Listing

1. East Broadway Run Down
2. Blessing In Disguise
3. We Kiss In A Shadow

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The Stan Getz LPs “Jazz Samba” for small ensemble and the classic Focus for big band were surprisingly big sellers - so it is no wonder that Verve producer Creed Taylor, himself an arranger and fan of light, airy strings, put the two components together.The young Gary McFarland took melancholy Brazilian themes by Antonio Carlos Jobim, Joao Gilberto and Luiz Bonfa, wrote four songs himself and combined the lightfootedness of the bossa nova with the cool, toned-down emotions so typical for Stan Getz’s sound in the Sixties.Verve gathered together the best musicians for the studio recording: Clark Terry, Bob Brookmeyer and Jim Hall were there to produce a carpet of sound over which Stan Getz could float. At the beginning of the Sixties Stan was, of course, at the very top of his form as far as sound perfection goes. After ‘apprenticeship’ with swing bands in the mid-Forties and ‘further training’ with classical small ensembles in the Fifties, he found his ideal source of the art of improvisation: Brazilian music with its songlike, simple themes, Latin-American rhythms, and melodic intervals. And these brought him acclaim, fame and money.

The original gatefold sleeve with a drawing by Olga Albizu was the object of many a collector’s desire. Now, 40 years later, both LP and cover are available once again in excellent sound and print quality.

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When Stan Getz and Charlie Byrd surprised the Americans with their first samba recording they did not imagine that this was to be their biggest success together. With such titles such as “Desafinado“ and “One Note Samba“, Brazilian pop music stormed the borders. So popular was the music that voices cried for more – and the VERVE producers satisfied the fans with Jazz Samba Encore. The music contained in this album delved somewhat deeper into the heart of Brazilian melodies. Bonfa and Jobim, the composers and famous guitarists, picked up their instruments and both they and their soloists, – Maria Toledo in particular proves herself a maestra of her country‘s music –, proceeded to delight their fans with their seemingly effortless music-making. Although he was not Brazilian and only later became a samba expert, Stan Getz fits amazingly well into this ensemble. His full tenor voice even in the upper regions and his rippling legato are wholly characteristic of his art. A delightful sound and natural rhythm – above all, rhythm! – make this record a “must” for every party.

1. Aambalero
2. So Dance Samba
3. Insensatez
4. O Morro Nao Tem Vez
5. Samba De Duas Notas (Two Note Samba)
6. Menina Flor
7. Mania De Maria
8. Saudade Vem Correndo
9. Um Abraco No Getz ( A Tribute To Getz)
10. Ebony Samba

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A certain measure of scepticism is generally advisable whenever one hears a record being hailed as a “milestone in music history”. But with the present album, Jazz Samba, an exception should – indeed must – be made. This recording by the tenor saxophonist Stan Getz and the guitarist Charlie Byrd with his classical leanings not only rocketed straight to the very top of the American charts but also triggered off the craze for “bossa-nova” jazz.

The fascination of this musical style lies primarily in its amalgamation of Latin America’s hot-blooded folk music with the “cool” jazz of the late Fifties. This album contains a wealth of pieces, each one full of pulsating rhythm, and opens with the smash hit Desafinado which, once heard, is never to be forgotten. But the other numbers too, from the dashing O pato to the melancholy and Spanish “Samba triste”, have long become classics. The recording engineers have taken care to capture the remarkable brilliance of these hits and it only remains to be said that this disc guarantees the very best sound quality and is an invaluable addition to the repertoire.

1. Desafinado
2. Samba Dees Days
3. O Pato
4. Samba Triste
5. Samba de Uma Nota So
6. E Luxo S6
7. Behia (aka 'Baia')
8. Desafinado

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Janos Starker, whose elegant style and impeccable musicianship are the delight of audiences the world over, performs the Schumann, Lalo and Saint-Saens Cello Concertos on 35mm film. This LP was pressed on the world's quietest vinyl at Pallas in Germany. Any Starker fan or fan of the cello needs this record!

Track Listing:

1. Robert Schumann: Concerto for cello and orchestra in A minor, op. 129
2. Édouard Lalo: Concerto for cello and orchestra in D minor

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Two names in particular spring to mind in connection with Steely Dan: Donald Fagen and Walter Becker. The two men discovered while at college at the end of the Sixties that they shared musical tastes, although they played in different bands. They subsequently formed a songwriter duo before making their breakthrough in 1972 under the name Steely Dan (a name which came from William Burrough’s novel The Naked Lunch) with their debut album Can’t Buy A Thrill. This LP remained for over a year in the Billboard charts, and the single taken from the album, Do It Again, leapt into the Top Ten. This was just the beginning of an extraordinarily successful career which lasted until the temporary disbandment of the group in 1981 (a brand new album entitled Two Against Nature has appeared since then). Every one of their seven studio albums was crowned with a Gold or Platinum Disc. Can’t Buy A Thrill is not as “polished” as later albums, such as Aja or Gaucho for example, but their inimitable mixture of melodic rock, shot through with soul, jazzy rhythms and ambitious instrumental solos made Fagen and Becker stand out from all the others right from the very start (just compare them with the Eagles or the Doobie Brothers!). Apart from the now “classical” songs such as Dirty Work, Midnight Cruiser, Reelin’ The Years and of course the unforgettable Do It Again, it goes without saying that all the others titles are endowed with all those qualities which make Steely Dan so unique.

1. Do It Again
2. Dirty Work
3. Kings
4. Midnight Cruiser
5. Only A Fool Would Say That
6. Reelin' In The Years
7. Fire In The Hole
8. Brooklyn (Owes The Charmer Under Me)
9. Change Of The Guard
10. Turn That Heartbeat Over Again

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During Richard Strauss' life Herbert von Karajan was one of the pioneers who championed with great enthusiasm the oeuvre of the composer from Garmisch. Strauss listened with great satisfaction to a performance by Karajan and afterwards, with a twinkle in his eye, called him a rascal. Karajan's continued devotedness to Strauss' works knows no comparison. He has left us with a wealth of first-class recordings made over the decades – from crackling shellac right up to the introduction of digital technology. The Fantastic Variations on a Theme of Knightly Character, or just Don Quixote for short, bring together highly varied contrasts in a complex score. Ten variations, brimming over with pictorial music, relate the dramatic experiences of the Knight of mournful countenance and his rustic squire: their ambling departure into the world, bitter combat and heroic triumph over the giant windmills, and finally understanding and a return homewards from the journey within himself.

Teil:Introduction
Thema
Variations I-III
Variations IV-X
Finale

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Ernest Ansermet’s long friendship with Igor Stravinsky enabled him to witness the birth of some of the composer’s most important creations. This proved to be of incalculable worth in his interpretation of the works he premiered for Stravinsksy.Here Ansermet directs the OSR in a performance of Stravinsky’s The Firebird. It is the composer’s first major ballet, brought him world fame and continues to gain in popularity to this day. The story – which combines the motifs of several Russian fairy tales with a magic Firebird, a vanishing castle, an evil magician, and a hero who saves the maiden – inspired Stravinsky to write some of his most fascinating and mysterious music.

The OSR is fully equal to its fine reputation. Ernest Ansermet’s competence as an interpreter is evident throughout. Acoustically, this pressing offers advantages over the original. Here the orchestra resonates with a full, natural and mellow sound that blossoms into a veritable garden of tonality extending around and behind the loudspeakers. This new edition of Stravinsky’s The Firebird is a true stereophonic delight.

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That art cannot be mechanized, but demands freedom and belongs to all mankind is a lesson that had to be learned by the emperor of China in Hans Christian Andersen's fairytale. The emperor imprisoned a nightingale in a golden cage so that he alone could enjoy its song. An inventor's attempt to imitate the nightingale's song by means of a mechanical bird brought the emperor only a short-lived pleasure: the cogwheels wore down, and the bird's music became a farce. But it was not only the birdsong, which suffered. The emperor became ill and took to his bed. Only the song of the real nightingale can bring him back from death's door. Stravinsky set the fairytale to music in a symphonic poem which is filled with colorful sound of the Far East. Characteristic for the powerful musical language of this early work are reminiscences of stylistic elements from The Rite Of Spring and The Firebird. The repertoire on this LP is enhanced by a sonorous Scherzo, the mock tango, and the dramatic and far too rarely performed Etudes for Orchestra.

1. Scherzo a la Russe
2. Fireworks
3. Tango
4. Four Etudes fro Orchestra
5. The Song Of The Nightingale (Symphonic Poem)

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Deutsche Grammophon is celebrating its 100th birthday. And while corks are popping, what better occasion is there to go into the archive, search out a few of the precious magnetic tapes and commit the recording to black, shiny vinyl. Having satisfied CD buyers with an extensive special edition at the turn of the year, attention is now being turned towards the LP buyer. The choice certainly wasn't easy, but this release is now part of three outstanding LPs from three decades of stereo recordings on the unsurpassed Yellow Label. The recording of the symphonic poem Ein Heldenleben with the Berlin Philharmonic has made history: it was Herbert von Karajan's very first stereo recording for Deutsche Grammophon. Insiders know that the extraordinary quality of this production was responsible for the artist's lifelong commitment to the company.

Ein Heldenleben Op. 40

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Even before Pink Floyd’s thrust their musical message of protest, the mechano-hit The Wall, under the noses of the establishment and the established, the melancholic songs of the group Supertramp had long found their way into the hearts of the young who had been shaken by one crisis after the other.

The LP with its surrealistic, chilling cover and eye-raising title was a success all over the world and even the sternest critics showered it with praise. “Their music just floods the senses; it is as though someone has put on all the good pop records of the 60s and 70s at the same time”, lamented the music magazine SOUNDS helplessly – totally fascinated by their sound.Crime Of The Century provided plenty of fodder for the hit charts and radio DJs. And even today, the balladesque collage School with its bloodcurdling harmonica introduction, the pearl-like Rhodes piano chords in the rocking Bloody well right, and the childlike, mocking Dreamer are the epitome of the pop cult of the Seventies.

The recording quality of this disc is excellent, and what is more – it has been judged the very best album that the English quintet ever produced.

Celebrate the record’s 25th birthday with a fantastic vinyl re-release fresh from the press.

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TARENTULE-TARENTELLE/LATE MEDIEVAL FOLK MELODIES AND DANCES/PANIAGUA (180g LP)

Long before modern science established the fact, it was recognized that music had the power to heal. The present album is dedicated to the tarantella, a dance form whereby a couple was surrounded by a circle of others and which was supposed to cure the long-term effects of a toxic spider bite. 'Concocted' by Italian and Spanish musicians whose names have long faded into oblivion, the musical antidotes (so the title of the first piece) were rediscovered by scholars in the 17th century and brought together in book form. Gregorio Paniagua, director of the Atrium Musicae de Madrid, shows great craftsmanship in the Baroque arrangements of the melodies. He creates his historical sound-world with impeccably played gamba parts, the purest of harp tones and gentle cloudlike chords on the positive organ. At times cacophonous percussion adds a little spice to the sound, and here and there a flute makes itself heard. These sharp accents, although melodious and pleasing to the ear, conjures up a vision of rustic, frenzied dancing.

1. Antidotum Tarentulae (Anonyme)
2. Chorea (Anonyme)
3. Primus modus Tarentella (Anonyme) - Secundus modus Tarentella - Tertius modus Tarentella
4. Les Barricades mystérieuses (F. Couperin)
5. Tarentella Neapoli Tonum Phrygium (Anonyme)
6. D'après une basse obstinée de Buxtehude (G. Paniagua)
7. Ritornello Tarentella Neapoli (Anonyme)
8. Laetatus sum. Psalmus 121 (C. Monteverdi)
9. Tarentela (Anonyme)
10. Tarentella. Alia clausula (Anonyme)
11. Tarentelas 1a, 2a & 3a (Anonyme)
12. Tarentella. Tono hypodorico (Anonyme)
13. La Tarentela (G. Sanz)
14. Scotish Gigg (Anonyme)
15. Tarentela (Anonyme)
16. Tarentelas (S. de Murcia)
17. Country Dance: Running Footman (Anonyme)
18. La Tarentela (D. Fernandez de Huete)
19. Ballet des sorciers (M. Praetorius)
20. Tarentela I (Anonymes)
21. Tarentela II (Anonymes)
22. Tarentela III (Anonymes)
23. Tarentela IV (Anonymes)
24. Tarentela V (Anonymes)
25. Tarentela VI (Anonymes)
26. Nana Andaluza (Anonyme)
27. Taranto d'Almeria (G. Paniagua)

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TCHAIKOVSKY/1812/CAPRICIO/ALWYN-LONDON SYMPHONY ORCHESTRA

The 1812 Overture, Tchaikovsky's musical tribute to celebrate victory over Napoleon's army, is one of those 19th-century works which is seldom performed in the concert hall due to the enormous number of instruments it requires. This programmatic symphonic work with its battlefield participants; male-voice choir, bell chimes, percussion, and cannon-fire; requires the utmost from everyone involved, from the tutti strings right up to the balance engineer. The gratifying result of a production made with only the very best ingredients can now be enjoyed once again with this re-release of a DECCA recording. The London Symphony Orchestra, led by Kenneth Alwyn, has achieved a remarkable feat, their rich timbre enhancing every nuance of this closely-knit score. Sonorous strings and polished brass wind passages ensure that the listener's attention will be riveted right to the very last bar. Less nerve-racking but certainly no less riveting in its beauty and lightness are the well-known Capriccio italien and the popular Marche slave. The purchaser of this LP can congratulate himself that he now possesses three of Tchaikovsky's greatest showpieces

1. 1812 Overture
2. Capriccio Italien
3. Marche Slave

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TCHAIKOVSKY - MENDELSSOHN - CONCERTO FOR VIOLIN AND ORCH - MILSTEIN - ABBADO - VIENNA (180g IMP LP)

Although he has lived in the USA since 1929 and even took on American citizenship in 1942, Nathan Milstein is often referred to as perhaps the last Russian among all Russian violinists due to his art of playing - which is governed wholly by intellect. This does not mean that Milstein plays in an academic or cool manner, his art is thoughtful and controlled - in the very best sense of the meaning. And this should certainly not be equated with deliberateness. On the contrary. Milstein’s tremendous virtuosity, particularly in the fiendishly difficult final movements of Tchaikovsky’s and Mendelssohn’s concertos, takes both works to new heights. Although never a forceful presence since he employs relatively little vibrato and thus achieves a slender tone, Milstein’s playing is filled with amazing assertion and luminance, and is quite fascinating for its extraordinary purity. And this is precisely what enhances his interpretation of these two great classical concertos, lending them a legendary grace, a feeling of rightness - that there is no other way. The Vienna Philharmonic, with their great tradition, provide support of the first order, and Claudio Abbado proves once again that he is a more than circumspect master of the baton.

Concerto for Violin and Orchestra in D major, Op. 35
Allegro Moderato
Canzonetta Andante
Finale Allegro Vivacissimo

Concerto for Violin and Orchestra in E Minor, Op. 64
Allegro molto Apassionato
Andante
Allegretto non troppo - allegro molto vivace

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When the evenings grow longer, the autumn leaves begin to fall and Jack Frost calls during the night, then it is time to conjure up the magic world of Tchaikovsky’s Nutcracker while relaxing in front of a crackling fire. In this double album you will hear the delightfully varied ballet music in its entirety and not just the usual highlights. Each and every one of the highly individual numbers, be it a dance, a march or a waltz, is enchanting with its ever varying orchestral colouring, here merry and impudent and tripping along lightly without a care in the world, there sturdy and vigourous, even coarse.

The Orchestre de la Suisse Romande, led by its conductor of many years standing, Ernest Ansermet, is very much at home in Russian repertoire and masters the occasional immense difficulties of the score with bravado. The DECCA team has once again proved its worth and leaves any nuts which still need to be cracked to the hi-fi equipment – the airy strings, the delicate triangles, the thrill of cymbals clashing, and the wooden clack of the castanets. And if, by an amazing coincidence, the heating should fail when you are listening to this record, there is no reason to worry – this music is guaranteed to warm the cockels of your heart and keep Jack Frost from the door.

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Made during the pioneering days of stereo technology when everyone was vying for a piece of the cake, it is hard to believe that this absolutely top-notch recording of Tchaikovsky’s Pathetique has never been brought to the ears of music lovers until today. And it is even more unbelievable since it was made by a first-class orchestra, the Berlin Radio Symphony Orchestra, and conducted by one of the greatest conductors of the 20th century, Ferenc Fricsay. The reasons for the non-release are a matter of speculation because those responsible have kept them under their hat.

Not even the man behind the microphone, Werner Wolf, can recall making this recording - although a yellowed recording protocol discloses carefully noted details about the recording venue and date. No wonder that the tapes never got made into records. It is not with a little pride and much joyful anticipation that the announcement can be made: the record is spinning on the turntable at last.

And at long last a gap in Fricsay’s repertoire can be closed. Specially recommended: listen to the wonderful clarity of the upper strings which is preserved even in the softest passages.

Symphony No. 6 in B minor, Op. 74 (Pathetique)
Satz: Adagio - Allegro non troppo
Satz: Allegro con grazia
Satz: Allegro molto vivace
Satz: Finale. Adagio lamentoso

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Here is a true delight for all ballet fans and music-lovers. This recording of what is probably Tchaikovsky’s most popular ballet, Swan Lake, by Ernest Ansermet and his orchestra in a masterly performance is now available as a new pressing in vinyl. The Russian composer’s first ballet is offered here on a double LP and although not a complete recording, this compilation (with a minimum of cuts) certainly comprises the most beautiful and expressive scenes, losing nothing in the process. “Ballet specialist“ Ansermet and his wonderfully balanced Orchestre de la Suisse Romande offer here a recording which you’ll want to hear again and again for it captures both the tragic moments of the fairy tale and the festive dance scenes. The precise winds in, for example No. 4, provide a marked contrast to the lively and exciting tutti (No. 5), while the gentle woodwinds blend charmingly with the dreamlike cantilena of the strings (No. 11). The various characteristics of the festive national dances (Polkas, Mazurkas, Hungarian Dance etc.) are performed with temperament, verve and rhythm, but it is the waltzes with their sweet dreaminess which invite the listener most of all to put on their dancing shoes and join in the dance.

1. Swan Lake

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Recordings of Tchaikovsky’s late symphonies with the Leningrad Philharmonic under Mravinskij were a legend even in the days of mono recording technique. It comes as no surprise therefore to learn that Tchaikovsky fans were overjoyed when these three great symphonies were released at last on the Yellow Label in top hi-fi quality at the beginning of the Sixties. Masterful performances, as thrilling as live recordings, now became available – recordings which were far superior to all others on the market. Even when the purported ‘miracle’ of digital recording technique began to take over and industrial record production had become a matter of course, Mravinsky’s recordings were still available in a 2CD set. There are reasons enough to re-release the Fifth Symphony as an individual LP, without going into lengthy discussions about which of Tchaikovsky’s late symphonies is the most important. Those who treasure a mono version or a Mravinsky recording from an unknown source in their collection are now given the opportunity to compare their version with the present re-release. All others can congratulate themselves on possessing a milestone recording, a true work of reference, for no other Mravinskij sounds better than this one.

1. Satz: Andante - Allegro Con anima
2. Satz: Andante cantabile, con alcuna licenza
3. Satz: Allegro moderato
4. Satz: Finale: Andante maestoso - Allegro vivace

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Simon and Garfunkel and Dave Grusin On the Graduate Original Motion Picture Soundtrack On 180 Gram import German Vinyl From Speakers Corner

The soundtrack to Mike Nichols' 1967 masterpiece, The Graduate, alternates between Paul Simon's songs and pieces of Dave Grusin's deliberately naff Swingin' Sixties score. All of the former, with the exception of Mrs. Robinson and a negligible solo acoustic guitar rendition of Scarborough Fair/Canticle, are available on Simon and Garfunkel's earlier albums. Similar to Nelson Riddle's self-parodic work on Stanley Kubrick's Lolita, Grusin's instrumentals have a satiric edge that comments on the film's action.

The Graduate Track Listing

1.The Sound Of Silence - Simon And Garfunkel
2. The Singleman Party Foxtrot - David Grusin
3. Mrs. Robinson - Simon And Garfunkel
4. Sunporch Cha-Cha-Cha - David Grusin
5. Scarborough Fair / Canticle (Inerlude) - Simon And Garfunkel
6. On The Strip - David Grusin
7. April Come She Will - Simon And Garfunkel
8. The Folks - David Grusin
9. Scarborough Fair / Canticle - Simon And Garfunkel
10. A Great Effect - David Grusin
11. The Big Bright Green Pleasure Machine - Simon And Garfunkel
12. Whew - David Grusin
13. Mrs. Robinson - Simon And Garfunkel
14. The Sound Of Silence - Simon And Garfunkel

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This title is not eligible for further discount.

In the mid-Sixties the Lovin' Spoonful had a smash hit which today would make every clever manager or wannabe pop star turn green with envy. The New York Times described their music as timeless; traditional yet modern; lively and attractive to all generations. This is good-time music that reached the masses, music that combined the best of blues, jazz, country and folk.

The Loovin' Spoonful Do You believe In Magic? Track Listing

1. Do You Believe In Magic
2. Blues In The Bottle
3. Sportin’ Life
4. My Gal
5. You Baby
6. Fishin’ Blues
7. Did You Ever Have To Make Up Your Mind
8. Wild About My Lovin’
9. Other Side Of This Life
10. Younger Girl
11. On The Road Again
12. Night Owl Blues

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That's A Plenty is bound to be a great discovery for all jazz fans and for the rhythm 'n' blues fans, and maybe for those who love a high gloss mix with a touch of rock. This LP has something for everyone. And the top-notch recording technique and sound reproduction will even satisfy demanding hi-fi freaks.

Bangin' On the Pipes/Steam Heat
Salt Peanuts
Grinning in Your Face
Shaky Flat Blues
That's A-Plenty/Surfeit, U.S.A.
Little Pony
Fairytale
Black Coffee
Love in Them There Hills

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2-LP Set of the Best Recorded, Best Performed Flemnco Guitar Music from the Mercury Vaults!

The Royal Family of the Guitar…The Romeros are a veritable institution in the world of classical music, a group that has dazzled countless audiences and won the raves of reviewers worldwide. World of Flemenco is an audiophile and a music lover's favorite! Celedonio Romero, founder and creator of The Romeros guitar dynasty, died in 1996. As the family says, the spirit of the quartet is him; his sons and grandsons continue Celedonio's legacy. This Mercury Living Presence record captures the quartet in its prime.

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Roy Haynes – despite his 80 years still an active drummer and bandleader – can look back upon an extraordinary career. Almost more than any other drummer, he defined the rhythm of modern playing 'behind the drums'. A role in the background gave him no satisfaction, so it is no wonder that he has more than 30 LPs to his name.

The present recording, which his Quartet made together with the blind multi-instrumentalist Roland Kirk in Rudy Van Gelder’s studio in 1962, is certainly one of his very best. The seven numbers not only offer astounding moments of 'drum talk', and of syncopation carried out with absolute precision, they also offer the main soloist Roland Kirk the opportunity to display his amazing technique of simultaneous performance on some unusual instruments, in "Moon Ray" for example, or his use of various types of flute in "Snap Crackle" (see the cover text for further details), and his wealth of ideas in the ballads ("If I Should Lose You").

Perfect recording technique, brilliant arrangements of standard numbers, highly original evergreens, all played by true giants of their respective instruments – what better reasons are there to obtain this fantastic LP with its lavish gatefold sleeve?

Roy Haynes Out Of The Afternoon Track Listing

1. Moon Ray
2. Fly Me To The Moon
3. Raoul
4. Snap Crackle
5. If I Should Lose You
6. Long Wharf
7. Some Other Spring

It was due or die for Toto on the group's fourth album, and they rose to the challenge. Largely dispensing with anonymous studio rock that had characterized their first three releases, the band worked harder on its melodies, made sure its simple lyrics treated romantic subjects, augmented Bobby Kimball's vocals by having other group members sing, brought in ringers like Timothy B. Schmit, and slowed down the tempo to what came to be known as 'power ballad' pace. Most of all, they wrote some hit songs.

Toto IV Track Listing

1. Rosanna
2. Make Believe
3. I Won't Hold You Back
4. Good For You
5. It's a Feeling
6. Afraid Of Love
7. Lovers In The Night
8. We Made It
9. Waiting For Your Love
10. Africa

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This album contains all the Bang singles and Bert Burns’ produced classics including his first U.S. smash “Brown Eyed Girl”, “Goodbye Baby”, “Midnight Special”, “Ro Ro Rosey” and “Spanish Rose”. The Bang recordings capture Van at his rawest and most soulful and are a must for all Van aficionados.

1. Brown Eyed Girl
2. He Ain't Give You None
3. T.B. Sheets
4. Spanish Rose
5. Goodbye Baby (Baby Goodbye)
6. Ro Ro Rosey
7. Who Drove the Red Sports Car?
8. Midnight Special

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This title is not eligible for further discount.

This title is not eligible for further discount.

Sales figures of the first two LPs for World Pacific Records were minimal at the time when Wes Montgomery’s first band was a purely family affair called “The Montgomery Brothers”. From California, Wes travelled eastwards, and the Riverside label produced his first jazz recordings. But it was with the label Verve and Creed Taylor, who had risen to the position of producer, with whom he made his true success story.

Let’s talk money! Creed Taylor left Verve and took several musicians with him, including Montgomery. The CTI-Concept with strings, flutes and oboes led to ‘easy-listening jazz’ - but in Wes Montgomery’s case it was sheer delight. Film themes, bossa nova and themes from the world of pop created a mixture that forced one to concentrate on the fine nuances and rhythmic detail of this new concept. Flights of double octaves, finely chiselled rhythms, blockchords, and a highly individual sound which has yet to be equalled are especially effective in well-known pop songs such as “I Say A Little Prayer” (just try this number to whet your appetite!) and in the blues composition “Goin’ On To Detroit”.

Pecunia non olet! Let’s hope that Wes Montgomery, maestro of the strong thumb (so called because he played without the use of a plectrum), was able to thoroughly enjoy spending his advance payment for his last official release before his untimely death after a heart attack in his home town of Indianapolis on 15 June1968 at the age of only 43.

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Three big bands remained true to swing in the Sixties: those of Duke Ellington, Count Basie and Woody Herman. Although the Count ventured into the spheres of James Bond and the Beatles, and despite the Duke's musical hits, it was Woody Herman who best made the transition into the world of new sounds and compositions. The 'Herds' (as Woody called his various bands, with himself as shepherd) galloped through the second half of the 20th century, leaving giant footprints in the history of jazz. In October 1962, several top-notch soloists joined Woody Herman in the New York Studio: Bill Chase, the highly individual trumpeter, Sal Nistico, the excellent arranger and tenor sax soloist; and Phil Wilson, the trombonist who battled against the elemental forces of the 'Herd' saxophonists. Most impressive of all, however, is the big band sound, the fierce vitality, with which the almost fully newly-assembled band canters through originals and new arrangements like 'Sister Sadie' by Horace Silver or Joe Newman's 'Molasses.'

1. Mo-Lasses
2. Blues for J.P.
3. Don’t Get Around Much Anymore
4. Tunin’ In
5. Sister Sadie
6. Sig Ep
7. It’s A Lonesome Old Town (When You’re Not Around)
8. Camel Walk

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This title is not eligible for further discount.

If you are a blues fan, you know Howlin' Wolf. And if you know Wolf, you already know Hubert Sumlin. Over a span of almost 25 years together, Hubert and Wolf recorded a slew of acknowledged blues classics (in addition to knocking each other's teach out!) That's Hubert's hair-raising guitar behind the original versions of Spoonful, Back Door Man, and Killing Floor. Along the way, Hubert became an acknowledged guitar hero too, among others, Jimi Hendrix, Keith Richards and Eric Clapton, who proclaimed Hubert's style as "just the weirdest."

Yet as influential as he has been, Hubert Sumlin has recorded relative few solo albums. And when he has, he has often been obscured by a mountain of production. On I Know You, surrounded by old friends such a fellow Wolf bandmate Sam Lay on drums and the great Carey Bell on harmonica, Hubert felt free to create in an intimate setting that captured the spirit of the great Chess recordings from the '50's. APO is proud to present Hubert Sumlin's I Know You. It's 100 percent pure unadultered wild and wooly Hubert!

"The Guitarists' Guitarist!" - Living Blues

1. I'm Coming Home
2. Howlin' For My Darling
3. That's Why I'm Gonna Leave You
4. How Many More Years
5. Don't Judge A Book By The Cover
6. I Got It Where I Want It
7. ''Smokestack''
8. I've Been Hurt
9. You My Best
10. Good Bye

1. Orgasm Addict
2. What Do I Get?
3. I Don't Mind
4. Love You More
5. Ever Fallen In Love (With Someone You Shouldn't've)?
6. Promises
7. Everybody's Happy Nowadays
8. Harmony In My Head
9. Whatever Happened To...?
10. Oh Shit
11. Autonomy
12. Noise Annoys
13. Just Lust
14. Lipstick
15. Why Can't I Touch It?
16. Something's Gone Wrong Again

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This 1958 recording of what would become Cannonball Adderley's only Blue Note LP reunited him with his former band mate Miles Davis and it resulted in one of the greatest and most revered jazz albums ever cut. The chemistry betweem Adderley, Davis, Hank Jones, Sam Jones and Art Blakey is amazing and their reconstruction of "Autumn Leaves" and "Love for Sale" is absolutely brilliant. Now available here on Limited Edition 180g Japanese Import LP!

Cannonball Adderley Somethin' Else Track Listing

1. Autumn Leaves
2. Love For Sale
3. Somthin' Else
4. One For Daddy-o
5. Dancing In The Dark
6. Bangoon

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Sonny Clark was ubiquitous at Blue Note sessions and led a handful of great albums of his own along the way. Cool Struttin' has a wonderful after-hours feel, especially on the extended title blues and it is undoubtedly the highlight of Clark's prolific career. The recording opens with the aptly named title cut, as Clark's jaunty, forward-leaning piano drives the tune with crisp precision. The rest of the album is a sterling example of a late-50s, finger-poppin' bop session featuring a virtual who's who of Blue Note's then-rising young crop of hard-bop stars including trumpeter Art Farmer, saxophonist Jackie McClean, bassist Paul Chambers, and drummer Philly Joe Jones. Now here on Limited Edition 180g Japanese Import LP!

Sonny Clark Cool Struttin' Track Listing

1. Cool Struttin'
2. Blue Minor
3. Sippin' At Bells
4. Deep Night
5. Royal Flush
6. Lover

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Art Blakey's most successful album gave us Bobby Timmons' "Moanin'" and Benny Golson's "Along Came Betty" and "Blues March," tunes so powerful that Blakey played them almost every night for the next 30 years. This beautifully performed and recorded session made the Jazz Messengers a jazz institution and put Golson, Timmons and Morgan at the forefront of jazz. Now here on Limited Edition 180g Japanese Import LP!

Art Blakey And The Jazz Messengers Moanin' Track Listing

1. Warm-Up And Dialogue Between Lee And Rudy
2. Moanin'
3. Are You Real?
4. Along Came Betty
5. The Drum Thunder Suite: First Theme - Drum Thunder/Second Theme - Cry A Blue Tear/Third Theme - Harlem's Disciples
6. Blues March
7. Come Rain Or Come Shine

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Bud Powell's last Blue Note album is a gem with great compositions and perfect accompaniment from Paul Chambers and Art Taylor. The Scene Changes is a classic jazz trio album by one of the great jazz pianists of all time. Anyone interested in great piano trio jazz should be thankful that The Scene Changes is back here on Limited Edition 180g Japanese Import LP!

Bud Powell The Scene Changes Track Listing

1. Cleopatra's Dream
2. Duid Deed
3. Down With It
4. Danceland
5. Borderick
6. Crossin' The Channel
7. Comin' Up
8. Gettin' There
9. The Scene Changes

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Blue Train is the culmination of Coltrane's career as a saxophonist and it's hands down one the most influential and greatest Blue Note albums ever released! Accompanying Coltrane on this pure classic was a very young Lee Morgan on trumpet, Kenny Drew on keys, Curtis Fuller on trombone, Philly Joe Jones on drums and Paul Chambers on bass. Blue Train is absolutely sensational from start to finish and it sounds right at home here on Limited Edition 180g Japanese Import LP!

John Coltrane Blue Train Track Listing

1. Blue Train
2. Moment's Notice
3. Locomotion
4. I'm Old Fashioned
5. Lazy Bird
6. Blue Train (Alternate Take)
7. Lazy Bird (Alternate Take)

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The mid-fifties was an astonishing period for the saxophone genius and of all of his great work in this era, A Night At The Village Vanguard and Saxophone Colossus remain his crowning achievements. With just bass (Wilbur Ware) and drums (Elvin Jones) in support here, Rollins creates tenor saxophone improvisations of incredible beauty and inexhaustible creativity. A Night At The Village Vanguard features an extremely gifted threesome, with each musician seeming to invent new ways to swing, without a note or a musical opportunity wasted. Now available on Limited Edition 180g Japanese Import LP!

Sonny Rollins A Night At The Village Vanguard Track Listing

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

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This astonishing trumpeter was fluid, fiery and fully formed on this amazing 1953 Blue Note session. From the stunning ballad interpretation of "Easy Living" to hip modern compositions by Elmo Hope, Gigi Gryce and Quincy Jones, Brownie plays magnificently on the classic Memorial Album. Now available on this Limited Edition 180g Japanese Import LP!

Clifford Brown Memorial Album Track Listing

1. Bellarosa
2. Carvin' The Rock
3. Cookin'
4. Brownie Speaks
5. De-Dah
6. You Got To My Head
7. Carvin' The Rock (Alternate Take #1)
8. Cookin' (Alternate Take)
9. Carvin' The Rock (Alternate Take #2)
10. Wail Bait
11. Hymn Of The Orient
12. Brownie Eyes
13. Cherokee
14. Easy Living
15. Minor Mood
16. Wail Bait (Alternate Take)
17. Cherokee (Alternate Take)
18. Hymn Of The Orient (Alternate Take)

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Maiden Voyage is arguably the best in Herbie Hancock's series of fine Blue Note albums from the 60s. Every single cut on this album from the haunting "Maiden Voyage" to the gentle, swinging "Dolphin Dance" has found its way into the standard jazz repertoire. Herbie Hancock fashioned a modern jazz milestone here with extraordinary compositions, interplay and solos. Now better than ever on this Limited Edition 180g Japanese Import LP!

Herbie Hancock Maiden Voyage Track Listing

1. Maiden Voyage
2. The Eye Of The Hurricane
3. Little One
4. Survival Of The Fittest
5. Dolphin Dance

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Trumpeter/composer Kenny Dorham's Jazz Prophets with legendary tenor saxophonist J.R. Monterose lasted less than a year, making this Blue Note live session all the more important. The group was also Bobby Timmons's launch into the jazz major league. On this occasion, producer Alfred Lion added Kenny Burrell to the group as guest artist; Burrell had recently arrived in New York and signed with Blue Note. Recorded live at the Cafe Bohemia in New York City on May 31, 1956. Now on the fine Limited Edition 180g Japanese Import LP!

Kenny Dorham 'Round About Midnight At The Cafe Bohemia

1. K.D.'s Blues (Alternate Take)
2. Autumn In New York (Alternate Take)
3. Monaco (Alternate Take)
4. N.Y. Theme
5. K.D.'s Blues
6. Hill's Edge
7. A Night In Tunisia
8. Who Cares? (Alternate Take)
9. Royal Roost
10. Mexico City
11. 'Round About Midnight
12. Monaco
13. Who Cares?
14. My Heart Stood Still
15. Riffin'
16. Mexico City (Alternate Take)
17. The Prophet

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1956's Jutta Hipp With Zoot Sims finds the German jazz pianist partnered with tenor saxophonist Zoot Sims on a six-track recording by a quintet lineup fleshed out by trumpeter Jerry Lloyd, bassist Ahmed Abdul-Malik and drummer Ed Thigpen, playing some fine piano-driven hard bop on "Down Home" and "Violets For Your Furs." Now available on the smooth sounding Limited Edition 180g Japanese Import LP!

Jutta Hipp With Zoot Sims Jutta Hipp With Zoot Sims Track Listing

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

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Who better than the perennially hip Jackie McLean to title an album Swing Swang Swingin? That's exactly what you get with this bopping set of standards for Blue Note from 1959. McLean's soulful alto wail is primed on this session which also features classic performances from Walter Bishop Jr., Jimmy Garrison and stalwart Art Taylor. From the deep swing of "What's New" to the bouncing mambo/swing take of Cole Porter's "I Love You," this is the very definition of great jazz in the classic tradition. Available here on Limited Edition 180g Japanese Import LP!

Jackie McLean Swing Swang Swingin' Track Listing

1. What's New
2. Let's Face The Music And Dance
3. Stablemates
4. I Remember You
5. I Love You
6. I'll Take Romance
7. 116th And Lenox

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During his stint with Miles Davis, Mobley's four Blue Note sessions with bandmates Wynton Kelly and Paul Chambers are considered his finest and most lyrical work. Grant Green and Philly Joe Jones complete the line up on this gem. Mobley's sound falls halfway between the big, heavy sound of Coleman Hawkins and John Coltrane and the lighter, airier tones of Stan Getz and Zoot Sims. On this approachable 1961 effort, Mobley is at his most voluble, blending blues and bop into graceful and lucid lines. Jones is particularly perky on drums, Kelly his usual funky and quick-witted self on piano and guitarist Green the perfect complement to Mobley. Two delightful mid-tempo standards "The Best Things in Life Are Free" and "Three Coins in the Fountain" add to the joyful mood. Now here on Limited Edition 180g Japanese Import LP!

Hank Mobley Workout Track Listing

1. Workout
2. Uh Huh
3. Smokin'
4. The Best Things In Life Are Free
5. Greasin' Easy
6. Three Coins In The Fountain

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The vast majority of the trumpet kings of jazz never strayed from their original instrument and with good reason and results. But as history tells us, experimentation is inevitable. A few found their voice with the mellower flugelhorn (such as Art Farmer, Clark Terry, Thad Jones) or the smaller cornet (including Bix Beiderbecke, King Oliver, Rex Stewart). On too rare of occasion, the ‘pocket trumpet’, measuring only nine inches in length, was taken up by the likes of Don Cherry, Ted Curson and for this 1959 Donald Byrd release entitled Fuego. Personally writing all six of the original compositions for this album, Byrd then gathered a tight band of New York monsters, most notably Jackie McLean whose alto brought balance to the unique high timbre of Byrd’s minute horn. The great Duke Pearson’s piano fills in admirably as does the highly underrated bass playing of Doug Watkins. Lex Humphries holds it altogether with his impeccable timekeeping. Here on Limited Edtion 180g Japanese Import LP!

Donald Byrd Fuego Track Listing

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

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Duke Jordan established his credentials as a pianist during 1947-48 when he was Charlie Parker’s pianist. His composing skills did not emerge until the arrival of hard bop in the mid fifties. His 1960 release Flight To Jordan was his first full album as a leader and features the distinctive front line of Stanley Turrentine and Dizzy Reece. Added to the album’s six great Jordan compositions are another original and a trio version of “I Should Care.” Now available here on Limited Edition 180g Japanese Import LP!

Duke Jordan Flight To Jordan Track Listing

1 Flight To Jordan
2. Star Bright
3. Squawkin'
4. Deacon Joe
5. Split Quick
6. Si-Joya
7. Diamond Stud (Bonus Track)
8. I Should Care (Bonus Track)

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With a strong, smooth tone and an amazing flow of fresh ideas every time he soloed, tenor saxophonist Tina Brooks should have been a major jazz artist, but his legacy is confined to a series of dates that he did for Blue Note as a sideman and leader. True Blue is the only album under his own name to come out in his lifetime. He and Freddie Hubbard had recorded Hubbard’s Open Sesame a week earlier. True Blue also features Hubbard on trumpet along with Duke Jordan on piano, Sam Jones on bass and Art Taylor on drums. Brooks made the best out of this opportunity here as it is a phenomenal set containing five of his originals. Now available on Limited Edition 180g Japanese Import LP!

Tina Brooks True Blue Track Listing

1. Good Ole Soul
2. Up Tight's Creek
3. Theme For Doris
4. True Blue
5. Miss Hazel
6. Nothing Ever Changes My Love For You
7. True Blue (Alternate Take)
8. Good Ole Soul