Genre > Jazz

This MPS recording from 1976 has tremendous presence, capturing this fine trio at the top of their form.

1. Nite Mist Blues
2. Feelings
3. Satin Doll
4. Work Song
5. Drown in My Own Tears
6. Battle Hymn Of The Republic

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This title is not eligible for further discount.

We can thank our lucky stars that Nina Simone was well aware of her musical environment and enjoyed experimenting with it, despite her notorious eccentric personality. This was the only reason that so much basic repertoire, traditional blues numbers, black work songs and favorite white show melodies – all filled with a deep soul feeling – reached her fans. Emergency Ward! Is no exception. First there is the explosive medley, recorded live, of George Harrison's 'My Sweet Lord' and David Nelson's 'Today Is A Killer.' Accompanied by a small combo and a gospel choir, Nina Simone ignites an 18-minute blazing bonfire, which loses none of its spiritual fire for even a second. In contrast to the gentle 'Poppies,' extravagantly produced with strings, woodwinds and chorus, is the questioning 'Isn't It A Pity,' arranged for piano. Here, simple, throbbing harmonies are occasionally allowed to swell into clouds of chords, giving Nina Simone the opportunity to show off her highly diversified vocal timbre, which fades away into nothing like an unanswered question. This is an exceptional album filled with a wealth of feeling and one which will leave no one untouched.

1. My Sweet Lord
2. Today is a Killer
3. Poppies
4. Isn't It a Pity

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Musicians certainly don't have it easy with record companies. First of all they must struggle to even get a contract. Then, when their debut release has proved a success, they are bandied around from one arranger to another in all the recording studios imaginable. But having been treated with such sounds as a snappy combo, meaty bigband, and smoochy string orchestra, there at last comes an opportunity for some artists to be themselves again. This album wholly concentrates on Nina Simone and demonstrates that she does not need help from anyone else in order to bring her strikingly expressive voice into the limelight. Accompanying her in her songs about loneliness, identity crises, and desires is her faithful friend, the piano, which she masters equally as well as her voice. The piano parts are far more than just casual accompaniments. Varying from number to number, they range from a classical, bluesy sound, to late-Romantic fervour, right up to avantgarde aggression. And yet all these pieces have something in common: filled with bizarre beauty, they portray a complex personality with all its ups and downs.

1. Seems I'm Never Tired Lovin' You
2. Nobody's Fault But Mine
3. I Think It's Going To Rain Today
4. Everyone's Gone To The Moon
5. Compensation
6. Who Am I
7. Another Spring
8. The Human Touch
9. I Get Along Without You Very Well (Except Sometimes)
10. The Desperate Ones

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Track Listing

1. Do I Move You
2. Day And Night
3. In The Dark
4. Real Real
5. My Man's Gone Now
6. Backlash Blues
7. I Want A Little Sugar In My Bowl
8. Buck
9. Since I Fell For You
10. The House Of The Rising Sun
11. Blues For Mama

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The present album rings in the era of cover versions and appeared at the time when Bob Dylan’s departed from the path of folk singer to travel down the road of ‘electrified’ rocker. The needle barely has to touch the groove before it become quite clear just why this record tops the list of early Dylan cover productions. Two acoustic guitars and a bass are all that Odetta would tolerate to provide a stage for her now swinging, now bluesy ‘original instrument’ - as the black singer described her voice. The rest was taken care of by the genial arrangements which most certainly contributed to the rather taxed 'Tambourine Man' giving a ten-minute long peak performance.

In addition, Odetta renders songs which the great man himself never ever set down. Original versions of 'Baby, I’m In The Mood For You', 'Walking Down The Line' and 'Tomorrow Is A Long Time' never appeared in the Sixties. And the songs 'Long Ago, Far Away' and 'Long Time Gone' were never released on any of the official Bob Dylan records. But who needs all this background knowledge to enjoy this music to the full?

1. Baby, I'm in the Mood for You
2. Long Ago, Far Away
3. Don't Think Twice, It's Alright
4. Tomorrow is a Long Time
5. Masters of War
6. Walkin' Down the Line
7. The Times They are A-Changin
8. With God on our Side
9. Long Time Gone
10. Mr. Tambourine Man

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Speakers Corner has just released one of the most important jazz records of all time! Originally released in 1961, Blues and the Abstract Truth was recorded by Impulse! founder, Creed Taylor. Nelson performs six of his own compositions switching between tenor and alto sax. The rest of the band on this session was comprised of jazz luminaries including: Bill Evans, Freddie Hubbard, Paul Chambers, Roy Haynes and Eric Dolphy! The opening cut, “Stolen Moments,' is Oliver Nelson's most important composition and is easily worth the price of admission alone. All the playing on this album is incredible and this 180g reissue sounds warm and wonderful, with greatly enhanced clarity. Our highest recommendation!

1. Stolen Moments
2. Hoe-Down
3. Cascades
4. Yearnin'
5. Butch And Butch
6. Teenie's Blues

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Oscar Petersen himself claimed to have made his best recordings MPS. In the label's archives for were lost tapes from Peterson’s heydey. And lo and behold, a number of previously unreleased recordings were discovered which had been taped ''exclusively for my friends'' in the private studio in Villingen in 1965-1968.

These live sessions before a mere handful of listeners proves once again just how at home the musicians felt in the Black Forest villa – as is borne out by the fact that Peterson’s usual trio formation alternated with his stand-in musicians of bassist Sam Jones and drummer Bobby Durham.

These amazing tracks are available for the very first time on an LP filled with glorious sound.

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Real fans have always been in the know: the Oscar Peterson Trio was never better than in the Sixties. Enough said! Quite undeniably it was during this time that the pianist and his partners Ray Brown (bass) and Ed Thipgen (drums) achieved their greatest success – and this success was never quite repeated with a different team of musicians. One of the albums to emerge from this era was Night Train, an album which still today is to be found right at the top of the “best of the best“ lists.

As is only right and proper for a formation made up of black musicians, blues – the bedrock of American jazz – is right at the heart of this music. In addition to a whole series of well-known, swinging numbers which will set your pulse racing such as the peppy C-Jam-Blues or the breathless, racing Honey-Dripper, this album also contains several dreamy ballads of extraordinary beauty. And if your spine isn’t set deliciously tingling when listening to Georgia On My Mind or the famous Hymn of Freedom, then it’s high time to visit a doctor! This auspicious compilation containing Peterson’s most important numbers also deserves praise for its excellent tonal quality and the high standard of the pressing. But why waste words – the fans know all that anyway!

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When the contract with Verve was terminated at the beginning of 1964, Mercury’s producers and owners endeavored to find new openings for Oscar Peterson who was committed to the piano trio. Among them was an LP of songs with Nat King Cole numbers scored for big band, the only long composition by Peterson - a reminiscence of his Canadian native country, a Latin album, and the present meet-up with Clark Terry. Filled with mutual respect, with a complete understanding of one another’s humour, and deliciously swinging without being obtrusive, these ten numbers will get your feet tapping and your fingers snapping.

1. Brotherhood of Man
2. Jim
3. Blues for Smedley
4. Roundalay
5. Mumbles
6. Mack the Knife
7. They Didn't Believe Me
8. Squeaky's Blues
9. I Want a Little Girl
10. Incoherent Blues

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This title is not eligible for further discount.

Seventeen years a member of the Dave Burbeck Quartet, a long and highly successful career, thousands of miles of travelling all over the globe, more than 50 LPs, and that all-time favourite “Take Five” to boot - and then Paul Desmond decides to go it alone in 1967! Unfortunately, he was granted only a few years in which to concentrate on his solo career before his untimely death - and we fans have only a few LPs to listen to and enjoy his soft and gentle timbre and his rhythmic qualities which, thank heavens, are not dominated by the ‘man at the piano’.

Don Sebesky knew how to enhance the highly varied compilation “Summertime” with Paul Desmond’s tenor saxophone. The numbers range from Louis Armstrong’s “Struttin’ with Some Barbecue” (Satchmo would probably have some trouble in recognizing his theme!) to the Beatles’ White Album and “Ob-La-Di, Ob-La-Da”. Film music such as “Lady In Cement” and the waltz “Someday My Prince Will Come” offer Paul Desmond an opportunity to display his talents and to sparkle with his special hallmark of playing tricky 5/4 and 7/4 metres.The climax he has reserved for the final number: his version of Gershwin’s “Summertime” from “Porgy and Bess” is one of the most lovely and lyrical ever – and completely free of schmaltz.

This CTI album from Paul Desmond is, despite the large number of horns, a real pleasure - thanks to that magician in the recording studio, Rudy von Gelder, whose genius has captured this large ensemble on tape for our enjoyment.

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When Paul Desmond wanted to create a sequel to the monster hit “Take Five,” he did just that! The title tune of from this 1963 recording is a reworking of the classic theme in 10/8 time. Certainly this should be taken as a hint that it was not Dave Brubeck but Paul Desmond who was the composer of this 'million seller'. Desmond and Jim Hall’s collaboration on this quartet project is one of the finest recordings they ever produced. These guys all listen so well; never stepping on each other and always adding a touch or a texture that really defines great jazz! All the while, one is curious as to the clear part-writing, and the wealth of ideas emanating from the soloists. The atmosphere is relaxed, and this conveys itself to the listener even after almost half a century. This Speakers Corner re-issue is first class all the way and tremendous sonic upgrade from the original LP we had on hand. Take Ten is a must have LP…a truly great re-mastering on ultra quiet vinyl.

1. Take Ten
2. El Prince
3. Alone Together
4. Embarcadero
5. Theme from ''Black Orpheus''
6. Nancy (With the Laughing Face)
7. Samba de Orfeu
8. The One I Love (Belongs to Somebody Else)

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This title is not eligible for further discount.

Universally known as the King of the Mambo, Pérez Prado created a unique style that appealed to dancer

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Prado played the piano, but was often more in his element as the focal point of the audience's excitement; he leaped, kicked, danced, shouted, grunted, and exhorted his musicians with a dynamic stage presence that put many more sedate conductors and bandleaders to shame.

1. Maria Bonita
2. Cu-Cu-Rru-Cu-Cu Paloma
3. La Borrachita (I'll Never Love Again)
4. Machaca
5. Adios Mi Chaparrita (Goodbye My Little Angel)
6. Marta
7. Lullaby Of Birdland
8. Flight Of The Bumblebee
9. Leo’s Special
10. Come Back To Sorrento (Torna a Sorrento)
11. Fireworks

QUINCY JONES/THE BIRTH OF A BAND

Quincy Jones was already a well-respected arranger when this Mercury Hi-Fi Stereo album came out. While Count Basie penned the main liner notes it’s what’s on the side bar that many will find most interesting including microphone usage, the musician credits, and a line “This album is a cross section of the type of music the band will play at jazz concerts and/or proms across the country.” What a band it was! The lineup includes Zoot Sims, Clark Terry, Frank Wess, Phil Woods, Joe Newman, Harry “Sweets” Edison, Sam “The Man” Taylor, Milt Hinton, Urbie Green, and even Quincy himself on trumpet. A swingin’ album full of great voicings and solos.

1. The Birth Of a Band
2. Moanin'
3. I Remember Clifford
4. Along Came Betty
5. Tickletoe
6. Happy Faces
7. Whisper Not
8. The Gypsy
9. A Change of Pace
10. Tuxedo Junction

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If ever anyone was predestined to lend the final polish to Henry Mancini’s film and TV themes, then it must certainly have been none other than Quincy Jones. The melodies which provided the background music to over 120 films just kept buzzing around in one’s head, and they very often remained far longer in one’s memory than the often banal Hollywood film series for which they were written. These small musical gems all have one thing in common: they have a light touch of brass in their big band sound.

And this is exactly where Quincy Jones stepped in. Thanks to his polished arrangements, these new interpretations blazed with a fire which was lacking in the simple film-music version. A jazzy rhythmic group plus soloists from Duke Ellington and Count Basie’s circle and further enhanced by a few musicians with a more modern style such as Roland Kirk, Phil Woods and Gary Burton provided the icing on the cake which was missing in Henry Mancini’s catchy tunes. Even 40 years later this album offers film fans, middle-of-the-road freaks and jazz enthusiasts alike the very best there is in this field: it’s a marvellous disc – both to listen and to dance to.

In the Sixties the Mercury Studios were renowned for their sound: in particular the placing of the microphones and the sound recording (often on magnetic film) had been perfected and this resulted in a recording technique which makes this re-issue the absolute crème de la crème.

1. Baby Elephant Walk
2. Charade
3. Dreamsville
4. Bird Brain
5. Days of Wine and Roses
6. Mr. Lucky
7. The Pink Panther
8. (I Love You) And Don't You Forget It
9. Soldier In The Rain
10. Odd Ball
11. Moon River
12. Peter Gunn

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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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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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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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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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This title is not eligible for further discount.

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

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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.

All of the stylistic elements that made Miles Davis’ 1956 quintet one of the immortal bands in jazz history are on display in this collection. “Surrey with the Fringe on Top” and “Diane” are medium-tempo standards that highlight the contrast between the leader’s Harmon-muted horn, the explorations of John Coltrane’s tenor sax and Red Garland’s sparkling piano. “Salt Peanuts” and “Well, You Needn’t,” each a modern jazz classic, allow for intense swinging over the beat of Paul Chambers’ bass and Philly Joe Jones’ drums. And “Something I Dreamed Last Night” and “When I Fall in Love” give us vulnerable, visceral ballad playing by Davis that remains unsurpassed

1. Surrey With The Fringe on Top
2. Salt Peanuts
3. Something I Dreamed Last Night
4. Diane
5. Well, You Needn't
6. When I Fall in Love

Undeniably one of the best small bands in the history of jazz, the Miles Davis quintet of the mid-1950s made history at the Cafe Bohemia on Manhattan's Barrow Street and in the New Jersey studio of Rudy Van Gelder for Prestige. This is the 3rd in a series of four LPs taped in two marathon studio sessions, done in the style of sets at the Bohemia, producing music of high energy and immediacy. This is a mix of standards and originals, up-tempos and ballads, and a trio number, "Ahmad's Blues." Miles is the sole survivor of this quintet but the music made in the mid-50's period will live forever. The excitement of the emerging John Coltrane; the informed, melodic swing of Red Garland; the tremendous snap and pop of the rhythm trio of Garland, Paul Chambers and Philly Joe Jones, and Miles' poignancy and intense swing. Recording engineered by Rudy Van Gelder.

1. It Never Entered My Mind
2. Four
3. In Your Own Sweet Way
4. The Theme (take 1)
5. Trane's Blues
6. Ahmad's Blues
7. Half Nelson
8. The Theme (take 2)

1. I Have a Dream
2. Prisoner
3. Firewater
4. He Who Lives in Fear
5. Promise of the Sun

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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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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

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A consummate pianist/composer, Kenny Drew made his first LP as a leader for Blue Note in 1953. In the ensuing years, he contributed to many great sessions including the John Coltrane classic Blue Train. This 1960 quintet date with the cream of Blue Note's stable at the time; Freddie Hubbard, Hank Mobley, Sam Jones and Louis Hayes, represents some of his finest work as a pianist and as a writer. Here on this fine Limited Edition 180g Japanese Import LP!

Kenny Drew Undercurrent Track Listing

1. Undercurrent
2. Funk-Cosity
3. Lion's Den
4. The Pot's On
5. Groovin' The Blues
6. Ballade

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Alfred Lion considered this his favorite production and well he should have. Without piano, Kenny Burrell, Stanley Turrentine and company get a clean open sound and a deep groove on such now classic compositions as the title tune and "Chitlins Con Carne," which has become a blues band staple. Here on a fine Limited Edition 180g Japanese Import LP!

Kenny Burrell Midnight Blue Track Listing

1. Chitlins Con Carne
2. Mule
3. Soul Lament
4. Midnight Blue
5. Wavy Gravy
6. Gee Baby, Ain't I Good To You
7. Saturday Night Blues
8. Kenny's Sound
9. K Twist

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Johnny Griffin is one of the fastest, sharpest tenor saxophonists to emerge in the fertile 1950s. His third and final Blue Note recording is one of a handful that sported a cover illustration by the then struggling artist Andy Warhol. The quartet date with Sonny Clark and Paul Chambers is a relaxed, mature affair that ranges from the gospel-flavored title tune to a beautiful "I'm Glad There Is You" and an up-tempo "It's You or No One." Added to the original album is "I Remember You," a bonus track from the session. Better than ever on this Limited Edition 180g Japanese Import LP!

Johnny Griffin The Congregation Track Listing

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

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Even in 1959, when this album was recorded, Dizzy Gillespie's A Night In Tunisia was the subject of endless recorded versions. With one of the greatest editions of the Jazz Messengers, Art Blakey found new inspiration in the tune and recorded this explosive, masterful version. Members Lee Morgan, Wayne Shorter and Bobby Timmons contribute originals to the album and Timmons's "So Tired" might have been a soul jazz hit were it not for the overwhelming power of the title tracks. Here on a fine Limited Edition 180g Japanese Import LP!

Art Blakey and the Jazz Messengers A Night In Tunisia Track Listing

1. A Night In Tunisia
2. Sincerely Diana
3. So Tired
4. Yama
5. Kozo's Waltz
6. When Your Lover Has Gone
7. Sincerely Diana ( Alternate Take)

Although always recognized as a trumpeter with unsurpassed lyrical qualities, Chet Baker had many ups and downs in his long career. The very late 1950's was not an up period; the West Coast label he was under contract to readily allowed Riverside to borrow him as leader on four albums. Most of them were extremely uneven, but this one definitely worked.

The album has a strong basic concept (simply to turn Chet loose on some first-class standard-ballad compositions) and one of those casual all-star lineups that the jazz scene of those days made possible: Bill Evans, Kenny Burrell, Herbie Mann, Pepper Adams, Paul Chambers, Connie Kay and Philly Joe Jones.

Mastered by Doug Sax.

1. Alone Together
2. How High the Moon
3. It Never Entered My Mind
4. 'Tis Autumn
5. If You Could See Me Now
6. September Song
7. You'd Be So Nice To Come Home To
8. Time On My Hands (You In My Arms)
9. You And The Night And The Music

So popular was CCR worldwide that by 1970 the group was consistently scoring hits on both the A and B sides of its singles, a feat previously accomplished by Elvis Presley and the Beatles. This LP, released in November 1969, proved no exception, containing "Fortunate Son" and "Down On The Corner," the latter becoming one of CCR's biggest hits to date. Fogerty's fine gritty voice and his tight vocal overdubbing are standouts, along with his excellent renditions of "Cotton Fields" and "Midnight Special." Willy And The Poorboys remained on the Billboard charts for 60 weeks, scoring as high as No. 3 and garnering the group's third platinum LP.

1. Down On The Corner
2. It Came Out Of The Sky
3. Poorboy Shuffle
4. Feelin' Blue
5. Fortunate Son
6. Don't Look Now
7. The Midnight Special
8. Side O' The Road
9. Effigy

Sahara represents the best that jazz had to offer in the early '70s. Rooted in modality, Tyner's playing is thick, chromatic and cavernous. A prominent virtue of this album lies within its eclectic, aural landscape. For example, if you desire Tyner's infamous 'thunder (chords) and lightning (right-hand runs)', cue up 'Ebony Queen' and 'Rebirth' (Sonny Fortune's saxophone playing is absolutely scorching on these tracks!). Prefer some spiritually inspired solo piano? Then melt into the mellow mood manifested on 'A Prayer for My Family.'

Looking for something 'different?' Then EXPERIENCE the 23-minute title track, which has reedman, Sonny Fortune, playing flute, bassist, Calvin Hill, playing reeds, and drummer Alphonse Mouzon employing a variety of percussion effects. If all this isn't enough, on 'Valley of Life,' Tyner picks up a kyoto and produces a gentle, hypnotic impressionistic sketch, aided again by Fortune on flute. On Sahara, the musicians weren't afraid to wail spontaneously, yet Tyner maintains a clear focus on the effort and in doing so expanded the very definition of jazz itself. Mission accomplished.

Personnel: McCoy Tyner (piano, koto, flute, percussion); Sonny Fortune (soprano & alto saxophones, flute); Alphonse Mouzon (trumpet, reeds, drums, percussion); Calvin Hill (reeds, bass, percussion). Recorded at Decca Recording Studios, New York, New York in January 1972.

Milt Jackson Sextet - Invitation Gets a Huge Upgrade from Mobile Fidelity!

Numbered, Limited-Edition of 2500!

Discovered by Dizzy Gillespie (whose 40's rhythm section left to form the initial line-up of the esteemed Modern Jazz Quartet) , Milt 'Bags' Jackson was a preeminent vibes virtuoso and enjoyed over forty years as one-fourth of the MJQ (Modern Jazz Quartet). Jackson also enjoyed decades of solo work for great jazz labels such as Savoy, Riverside and Atlantic and one of his crowning achievements occurred over a three day session booked for Riverside in 1962. Answering his 'Invitation' were fellow all-stars Kenny Dorham, Jimmy Heath, Ron Carter and Tommy Flanagan. The trumpet/tenor tandem uniquely augment Jackson's vibraphone, creating a driving, free-wheeling, classic blowing session. Now you can hear every little detail from these sessions on this Mobile Fidelity 180g LP.

1. Invitation
2. Too Close For Comfort
3. Ruby, My Dear
4. The Sealer
5. Poom-A-Loom
6. Stella By Starlight
7. Ruby
8. None Shall Wander

BONUS TRACKS
9. Ruby, My Dear (alt. take)
10. None Shall Wander (alt. take)

Through his early days in Fairport Convention, to his huge success as a solo artist, Richard Thompson has proven to be one of the most enduring and prolific singer/songwriter/guitarists of our time. Mobile Fidelity Sound Lab is proud to release Some Enchanted Evenings on Limited Edition EP, cut at 45 RPM, on Mobile Fidelity’s GAIN 2 Ultra Analog Vinyl featuring MFSL's exclusive and legendary 1/2 Speed Mastering process. The repertoire for this release was compiled from live performances (circa 1985-2003) and selected by the artist himself from his own personal archives. These selections include interesting covers of the Beatles “It Won’t Be Long” and a fun cover of Brittany Spears’ timeless masterpiece “Oops! I Did It Again”.

1. From Galway to Graceland
2. 1952 Vincent Black Lightning
3. Opps! I Did it Again
4. It Won't Be Long
5. Shoot Out the Lights

Patricia Barber resides in the vanguard of the new school of female jazz vocalists. It all began with Café Blue in 1994. It hit like something inexplicable, introducing a voice one critic described as 'a pure dark whisper straight up from the soul' and a distinct onstage persona that has been characterized as 'a beat musician and a bop intellectual.' Barber has been exploring intriguing improvisational terrain beyond classic balladry and bop-infused standards for the last decade. Each album is more ambitious than the last, taking her deeper into avant-garde territory both lyrically and instrumentally. Verse is no exception. Ms. Barber continues releasing albums combining her uncanny ability to stake new claims on contemporary tunes with her prowess for composing witty and gorgeous tunes of her own. This new MoFi 45 RPM Audiophile 2LP set reveals all the subtle details in her playing and her vocal interpretations. This one really places the listener in the studio with the band. Phenomenal!

'The way I was hearing the songs in my head had more to do with the guitar than the piano. In a loose way, Verse is a Patricia Barber homage to Joni Mitchell.' – Patricia Barber

1. Moon
2. Lost in This Love
3. Clues
4. Pieces
5. I Could Eat Your Words
6. Fire
7. Regular Pleasures
8. Dansons la Gigue
9. You Gotta Go Home
10. If I Were Blue

Tracked for the Argo label in 1959, Kenny Burrell's A Night at the Vanguard is a prime example of the masterful art of this Detroit native. Accompanied by a superb rhythm section of bassist Richard Davis and Roy Haynes on drums, Burrell weaves his magic before a spellbound Village Vanguard crowd. From the angular Thelonious Monk classic “Well You Needn’t” to Matt Dennis’ cheery ballad “Will You Still Be Mine” and the manifold joys of Erroll Garner’s “Trio,” Burrell is simply on fire.

1. All Night Long
2. Will You Still be Mine
3. I’m a Fool to Want You
4. Trio
5. Broadway
6. Soft Winds
7. Just A-Sittin’ and A-Rockin’
8. Well, You Needn’t