Genre > Jazz

John Coltrane brought a new sound and style to jazz, and he applied it in his own unique way to the standard material of the storehouse of American music gathered from Broadway, Hollywood and Tin Pan Alley. With the excellent rhythm team of Red Garland, Paul Chambers (both of whom had done so many concert, club and recording dates with him) and Jimmy Cobb and the Miles-directed flugelhorn of Wilbur Harden, Trane puts his personal stamp on numbers not done that often like Henry Nemo's "Don't Take Your Love from Me," Fred Ahlert's "I'll Get By" and two more familiar yet still not overdone songs, Richard Rodgers' "Spring Is Here" and Bronislau Kaper's "Invitation."

Track Listings:

1. Don't Take Your Love From Me
2. I'll Get By
3. Spring Is Here
4. Invitation

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"…Of this set of 25 albums being doled out over the next year, this is my favorite title of the bunch…This is the place to start for music lovers who would like to explore something a little more avant-garde, but are not feeling comfortable enough to leap straight in at the deep end of the pool…Hoffman and Gray have spun gold with these tapes…Like most of the titles in the Fantasy 45 Series, this new version takes the sound quality up a couple notches from the original. Top recommendation." – Dennis D. Davis, Hi-Fi+, Issue 51

Dolphy had left his native California and come east as part of Chico Hamilton's group, settling in New York in 1960 and becoming part of Charles Mingus's group. This first recording as a leader brought comparisons with Ornette Coleman but the two were really parallel figures in the then-emerging avant-garde. Dolphy did not eschew "changes," as Coleman did, but he used them in new ways. This LP was significant not only for his alto saxophone but introduced his individual approach to the flute and, particularly, the bass clarinet.

Track Listings:

1. G.W.
2. On Green Dolphin Street
3. Les
4. 245
5. Glad to Be Unhappy
6. Miss Toni

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When Cannonball and Nat Adderley heard Wes Montgomery in an Indianapolis after-hours club in the fall of 1959, Cannonball decided that this remarkable talent had to be exposed to the world. He then not so much persuaded, as ordered, Riverside’s Orrin Keepnews to record Montgomery. Soon, Keepnews flew to Indianapolis, listened, and signed Montgomery before the night ended. At the age of 37, this mild, teetotaling father of six was on his way to becoming the most influential jazz guitarist since Charlie Christian. What we hear on this SACD of Montgomery’s first album is essentially what the Adderleys and Keepnews heard, Wes at the helm of his trio playing his thrilling, melodic single-note lines, revolutionary octaves and block chords. After 12 Riverside albums, Montgomery switched to another label and had huge commercial success. But it was during the Riverside period that he astonished the jazz world with his technique, musicianship and soul. This is the record that started it all.

Track Listings:

1. 'Round Midnight
2. Yesterdays
3. The End of A Love Affair
4. Whisper Not
5. Ecaroh
6. Satin Doll (take 5)
7. Satin Doll
8. Missle Blues
9. Missle Blues
10. Too Late Now
11. Jingles

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Monk's second album for Riverside continued the label's initial plan to broaden his audience by the use of recognizable standard tunes instead of his somewhat frightening originals. Thelonious' uncompromising performances, along with major league support (Art Blakey and Oscar Pettiford) and strong material, helped to turn this concept into lastingly superior jazz. Particularly notable are Monk's sharp thrusts of humor on such well-worn pieces as "Honeysuckle Rose" and "Tea for Two." The album's impact was strengthened by one of the most unique covers ever devised. Riverside went so far as to print near-postage-sized Monk stamps, quite a few of which reportedly found their way through the actual mail.

Track Listing:

1. Liza (All The Clouds'll Roll Away)

2. Memories Of You

3. Honeysuckle Rose

4. Darn That Dream

5. Tea For Two

6. You Are Too Beautiful

7. Just You

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The formula was simple: surround Ella with a small group of virtuoso musicians who were regulars on the Pablo label for a session where informality prevailed and everyone could "stretch out." Ella is in top form, and the song selection includes many standards that are given fresh interpretations. The version of Monk's "Round Midnight" is not to be missed. And with the whole proceedings captured in audiophile-approved sound, this has to rank as one of the strongest dates of Ella's illustrious career.

1. Fine And Mellow
2. I''m Just A Lucky So And So
3. (I Don''t Stand) A Ghost Of A Chance With You
4. Rockin'' In Rhythm
5. I''m In The Mood For Love
6. ''Round Midnight
7. I Can''t Give You Anything But Love
8. The Man I Love
9. Polka Dots And Moonbeams

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The most impresssive point to be made about his record is that it is a product of precisely the same night's work as the earlier Riverside album, Thelonious Action; the two are in all respects a matched set. On the evening of August 7, 1958, recording equipment was rather precariously set up in the always-overcrowed Five Spot, the room where Monk had made his triumphant recent return to the New York club scene and was now appearing with a new quartet featuring Johnny Griffin. This turned out to be the first successful live recording of Thelonious (he had rejected the results of a night's work here a month earlier), and the substantial number of Monk-approved performances were readily programmed onto two full and equally memorable albums.

"...thanks to the outstanding mastering choices and the 4 side, 45rpm spread, dynamics and instrumental timbres are believable and the overall effect is of a lively, vivid presentation with great image three dimensionality and rhythmic drive...Listening to this great reissue is about as close as you can come to being at The Five Spot Cafe, August of 1958. Highly recommended! These limited editions are sure to sell out, if not sooner, then later, and they will become collector's items in the (not to distant). So if you can afford the admittedly steep ($50) asking price, get this and some of the others while you can." Music = 10/11; Sound = 10/11 - Michael Fremer, www.musicangle.com

1. Well, You Needn't
2. Misterioso
3. Light Blue
4. I'm Getting Sentimental Over You
5. All The Things You Are
6. Honeysuckle Rose
7. Bemsha Swing
8. Evidence

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This was Sonny’s second Contemporary album and his second West Coast session, a year and a half after the historic Way Out West. Jazz labels acquire “personalities” not only from the musical tastes of the owner/recording director but also from the roster of musicians signed to the company. The “Contemporary Sound”— every bit as distinctive as the competing “Blue Note Sound,” “Prestige Sound,” and “Pacific Jazz Sound”— was largely a product of the work by Hampton Hawes, Barney Kessel and Shelly Manne, all of whom had won Down Beat awards for their respective instruments and recorded as “The Poll Winners.”

What Would You Do?
Fast Livin' Blues
Saturday Night Fish Fry
Do You Call That A Buddy
I'll Die Happy
Another Get Together
Contemporary Blues
Stop and Go Blues
I Never Get Enough Of You

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Shakey Jake - Mouth Harp Blues The late James Harris earned the moniker "Shakey Jake" due to his proficiency at dice, but he was equally adept at the blues game. The Arkansas-born, Chicago-based singer and harmonica blower traveled to Rudy Van Gelder's New Jersey studio in November 1960 to record this, his second album for the Bluesville label. Jake brought along Jimmie Lee Robinson, the brilliant, fast-fingered guitarist best known for his work with Little Walter's band. Also making tasty contributions to the session was Robert Banks, the New York R&B and gospel studio organist who, in this case, ably appointed himself as a two-fisted blues piano stylist. Among the 10 selections is the distinctively loping "Easy Baby," a tune also associated with Jake's nephew Magic Sam.

Guitarist Jimmie Lee Robinson, who died in 2002, was the soul of Acoustic Sounds' own APO Records. He was the first to record at Blue Heaven Studios, having made three records (one still unreleased) in the converted church, and he was there several more times to perform. A Chicago native and lifelong resident, Robinson began playing guitar in the open-air market on Maxwell Street in 1942 with the likes of Big Bill Broonzy and Robert Nighthawk. He later teamed with Freddie King for a four-year partnership and went on to play guitar and bass with Little Walter, Howlin' Wolf, Eddie Taylor, Elmore James, Jimmy Rogers, Jimmy Reed, Magic Sam and of course Shakey Jake.

Track Listings:

1. Mouth Harp Blues
2. Love My Baby
3. Jake's Cha Cha
4. Gimme A Smile
5. My Broken Heart
6. Angry Lover
7. Things Is Alright
8. Easy Baby
9. Things Are Different Baby
10. It Won't Happen Again

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Anyone who ever heard Count Basie launch his band into a blues with several choruses of effortless piano has lamented that there is far too little of Basie the soloist among his recorded legacy. This shortage was rectified to a certain extent by the trio albums Basie made with Ray Brown and Louis Bellson in the Seventies, of which this is the sequel to the For the First Time set of the previous year. Once again, Basie’s poetic introductions, precise calibrations of touch and coloration and definitive swing create a joyous program of four venerable standards and an equal number of new blues. Bellson is empathetic throughout and dances with his brushes on “Sandman,” while Brown’s robust tone and earth-moving walking lines bring out the best in Basie the soloist and accompanist.

Track Listing:

Sandman
If I Could Be With You One Hour Tonight
Draw
On The Sunny Side Of The Street
The One I Love Belongs To Someone Else
Blues For Eric
I Surrender, Dear
Racehorse

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

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

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

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

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

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

Track Listing:

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

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

Track Listing:

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

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

Track Listing:

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

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

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

Track Listings:

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

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

Track Listings:

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

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

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

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

Track Listing:

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

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

Track Listings:

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

This title is not eligible for further discount.

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

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

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

Track Listings:

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

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

Miles Davis 'Round About Midnight Track Listing:

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

This title is not eligible for further discount.

The Definitive 45RPM Blue Note Reissue Series!

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

Track Listing:

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

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

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

Track Listing:

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

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

Track Listing:

1. Better Git It in Your Soul

2. Goodbye Pork Pie Hat

3. Boogie Stop Shuffle

4. Self Portrait in Three Colors

5. Open Letter To Duke

6. Bird Calls

7. Fables of Faubus

8. Pussy Cat Dues

9. Jelly Roll

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

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

Track Listing:

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

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

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

Track Listing:

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

Track Listing:

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

Track Listing:

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

Art Blakey & The Jazz Messengers

1. Infra-Rae
2. Nica's Dream
3. It's You or No One
4. Ecaroh
5. Carol's Interlude
6. The End of a Love Affair
7. Hank's Symphony

304 pg. Hardcover Book

ISBN: 0823083381

This 1959 12” is made up of two distinct sessions, including Jackie McLean’s first as a leader for the label. These sides helped establish him as one of the finest young alto voices on the jazz scene. Although a strong album through-and-through, the strongest material lay in the interplay between the altoist and the still under-appreciated tenor Tina Brooks. A great and unique alto/tenor tandem was born and sadly short-lived, due to Brook’s demise at a young age. But the handful of selections they were able to create on this and a few other Blue Note releases are superb. Donald Byrd, Blue Mitchell, Art Blakey, Philly Joe Jones, Paul Chambers, Sonny Clark, Kenny Drew and Billy Mitchell collectively make McLean’s album debut, memorable. As part of the Classic Blue Note Signature LP Reissue Series this reissue was mastered and cut from the original analog master tapes on Classic’s ALL TUBE MONO cutting system and featuring authentic tip on jackets with film laminate front covers. This release like all in the Classic Blue Note Signature LP Series is pressed in our proprietary non-groove guard flat profile featuring the “deep groove” in the center label!

Jackie McLean Jackie's Bag Track Listing

1. Quadrangle
2. Blues Inn
3. Fidel
4. Appointment in Ghana
5. A Ballad for Doll
6. Isle of Java
7. Street Singer
8. Melonae's Dance
9 Medina

428 pg. Hardcover Book

ISBN: 1860744532

Containing exclusive interviews with Stephane, contributions from his friends and family, much newly discovered evidence on both Stephane and Django and many previously unpublished photographs, Stephane Grappelli: With And Without Django is a slice of music history, a testament to a man who invented his own style of jazz.

208 pg. Paperback Book

ISBN: 0714843318

A collection of never-before-seen pictures taken by Roy Decarava of famous jazz artists.

288 pg. Paperback Book

ISBN: 0823076717

Swing It! is a celebration of jive, that exuberant, irrepressible, and entirely infectious spirit found in such good-time anthems as "Are You Hep to the Jive?" "Jump, Jive 'n' Wail," and "Hit That Jive, Jack." It chronicles the rich and colorful history of that quintessentially American sound, taking us on a journey from its pioneers to today's retro swingers through its Golden Era. Along the way it illuminates the hip contributions made by beboppers, jump blues hounds, N'awlins jivesters, the white connection, and women jivesters. Swing It! includes a hilarious, too-hip=for-the-room foreword by Tim Hauser (founder of the Grammy Award-winning Manhattan Transfer_, extensive discographies, a comprehensive A-Z jive glossary, and vintage photos of jive's most charismatic entertainers.

514 pg. Paperback Book

ISBN: 0879306009

From the classic 1930s sound through today's Retro-Swing movement, this fun-to-browse guide covers every era of Swing. It profiles over 500 band leaders, players, vocalists, sidemen, and composers. You get anecdotal biographies and classic photos, as well as reviews and ratings of recordings that make (or don't make) the cut. Insightful essays on Swing's evolution and the current scene offer an historical perspective not found in other guides. Plus--you'll discover Swing in the movies, hard-to-find-recordings, book, and more.

270 pg. Paperback Book

ISBN: 081956320X

269 pg. Paperback Book

ISBN: 0743483448

Drawing on exhaustive new research and scores of interviews with the musicians who knew him best, Levinson delves into Dorsey's famously eccentric lifestyle and his oversize appetite for drink, women, and perfection. The first biography on Dorsey in more than thirty years, Tommy Dorsey is a dazzling portrait of the Big Band's brightest star--his tumultuous life, his turbulent times, and the unforgettable music that made him a legend.

354 pg. Hardcover Book

ISBN: 0306811111

Drawing on exhaustive new research and scores of interviews with the musicians who knew him best, Levinson delves into Dorsey's famously eccentric lifestyle and his oversize appetite for drink, women, and perfection. The first biography on Dorsey in more than thirty years, Tommy Dorsey is a dazzling portrait of the Big Band's brightest star--his tumultuous life, his turbulent times, and the unforgettable music that made him a legend.

No music label represented the classic era better than Blue Note Records and now they're proudly unveiling the first group in their series of Vinyl + Bonus CD reissues of the cream of the crop classics from the Blue Note Vaults! Each LP is mastered from the original analog tapes by Ron McMaster. Each state-of-the-art CD is mastered in 24-bit by Rudy Van Gelder, the original recording engineer of these historic sessions. These releases are iconic, not just for the music inside, but also for the stunning, legendary album covers, which are works of art in themselves.

Arguably one of the most influential titles from Coltrane and one of the greatest Blue Note releases ever. In 1957, right at the very start of his Prestige recording period, Trane did this one-off set in New Jersey with Rudy Van Gelder and the results have gone down in history. CD version includes two alternative take bonus tracks not found on the original LP.

John Coltrane Blue Train Track Listing

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

CD
1. Blue Train
2. Moment's Notice
3. Locomation
4. I'm Old Fashioned
5. Lazy Bird
6. Blue Train (Alternative Take Bonus Track)
7. Lazy Bird (Alternative Take Bonus Track)

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

Miles Davis Nefertiti Track Listing

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

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

Miles Davis Sketches of Spain Track Listing

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

One of the acknowledged giants of jazz trumpet, Freddie Hubbard recorded many albums for Blue Note in the 1960s. Due to the incredible quantity and quality of Blue Note recording sessions in the ‘50s and ‘60s, several of Hubbard’s’ most stirring albums went unissued at the time. There were times when the reason for Alfred Lion’s decision to hold back a session were quite clear. But there were many others, such as this gem, where one can only gather that the Blue Note office, in the early 60’s was simply too busy and chaotic to keep track of every session. Here to Stay, a true rare find, was first released as part of a two-LP set in 1979 after languishing in the vaults for over 15 years. It features a Hubbard in his early twenties, and most definitely in his prime. Freddie was a member of Art Blakely’s Jazz Messengers at this time. In fact, the lineup of musicians is comprised of the Jazz Messengers of the day (with Wayne Shorter on tenor, pianist Cedar Walton and bassist Reggie Workman) with drummer Philly Joe Jones filling in for Blakey. The music is fiery, brilliant and full of excitement, including a particularly memorable version of “Body and Soul”. Here to Stay is a hard bop rarity (now heard in stunning fidelity) from some of the top young lions of the 1960s. It is, quite simply, one of the most inspired albums of Hubbard’s career.

Track Listing:

1. Philly Mignon
2. Father And Son
3. Body And Soul
4. Nostrand And Fulton
5. Full Moon And Empty Arms
6. Assunta

176 pg. Paperback Book

ISBN: 0-97930-641-6

This new book reveals the work of nine key singer-songwriters of the 1960s: David Ackles; David Blue; Tim Buckley; Tim Hardin; Fred Neil; Phil Ochs; Tom Rapp; Tim Rose; and Tom Rush. Here are individual tales of creativity and class songs including If I Were A Carpenter, Everybody's Talkin', Song To The Sire, Hey Joe, and No Regrets. The book shows how these nine talented artists each expanded the standard pop blueprint of the day and made a significant contribution to rock music's coming of age. A 32-page colour section features rare and revealing photographs, and a fully annotated and illustrated discography details the recorded output of the nine.

Sun Ra's second album was a Delmark release recorded in 1957, although it was originally intended for the Transition label, which did not survive long enough to release it.

Personnel: Sun Ra, piano, electric piano; Art Hoyle & Dave Young, trumpets; John Gilmore, tenor sax; Pat Patrick, alto & baritone sax; Jim Herndon, tympani, timbali; Julian Priester, trombone; Charles Davis, baritone sax; Victor Sproles, bass; William Cochran, drums; Clyde Williams, vocals.

Sun Ra And The Arkestra Sound Of Joy Track Listing

1. El Is A Sound Of Joy
2. Overtones Of China
3. Two Tones
4. Paradise
5. Planet Earth
6. Ankh
7. Saturn
8. Reflections In Blue
9. El Viktor

Release Date: January 2009

During the 1930s in the vast region of the American Southwest, particularly in Texas and Oklahoma, a younger generation gave birth to a new form of popular dance music. In the hard years of the depression, both rural enthusiasts who played by ear, and others who had basic notions of written music joined together and participated in the development of the so-called "western swing." The elements which flow into this music are easily detectable on recordings by Western Swing groups, melting white and black swing across the country (Benny Goodman, Glenn Miller, Count Basie, Cab Calloway, etc.), together with blues, fiddle music and ragtime, which was particularly strong in the regional heritage of Texas. Packaged in 78 RPM style deluxe plain white cardboard sleeve with outer dust sleeve.

This is the famous version of Porgy and Bess that was supposed to have Gladys Knight singing the part of Bess. When Ray Charles offered the part to Gladys, having just come of the hit "Midnight train to Georgia", her manager at the time, would only allow her to participate if she owned the masters. According to Ray, he said, "well now you know that just won't be possible" to which her manager responded that she wouldn't be available. Ray told me that his mother taught him the meaning of "NO" and hence he asked Cleo Laine, who did a beautiful job of singing the part. Ray was also in top form as this 2 LP edition mastered from the original analog masters shows very clearly. Now available on 200g Quiex Super Vinyl Profile for the first time. A must have!

1. Summertime - Ray Charles
2. My Man's Gone Now - Cleo Laine
3. Woman Is a Sometime Thing - Ray Charles
4. They Pass by Singin' - Cleo Laine
5. What You Want Wid Bess? - Cleo Laine
6. I Got Plenty O' Nuttin' - Ray Charles
7. Buzzard Song - Ray Charles
8. Bess, You Is My Woman Now - Ray Charles
9. Oh, Doctor Jesus - Cleo Laine
10. Crab Man - Ray Charles
11. Here Come de Honey Man - Ray Charles
12. Strawberry Woman (Instrumental) - Ray Charles
13. Strawberry Woman - Cleo Laine
14. It Ain't Necessarily So - Ray Charles
15. There's a Boat Dat's Leavin' Soon for New York - Ray Charles
16. I Loves You, Porgy - Cleo Laine
17. Oh Bess, Oh Where's My Bess? (Instrumental) - Ray Charles
18. Oh Bess, Oh Where's My Bess? - Ray Charles
19. Oh, Lawd, I'm on My Way! - Ray Charles

An alto player originally deep-rooted in bop, who by the late fifties was beginning to shed his Charlie Parker influences and take a more bluesy/soul approach. Blues Walk, from a one-day session in July of ‘58 has attained unanimous five-star status with the title track itself becoming one the leader’s signature tunes. Surrounding himself not with the usual all-stars found on many Blue Note dates from this period, Donaldson carefully chose his cohorts personally for their cohesiveness as a unit. Never one to engage frequently in wide-open “blowing sessions�, the results are powerful yet melodic and in one case, “Autumn Nocturne�, fairly romantic without causing full-blown diabetes. Pianist Herman Foster’s intense pianistics almost steal the show while Peck Morrison’s bass and the often-overlooked Dave Bai! ley’s d rumming augment to perfection. The addition of Ray Barretto’s congas (a regular on many of Donaldson’s sessions from this period) is tasteful and a nice touch without turning every song into a Latin re-write. “Play, Ray� is an arrangement dedicated to the congist while “The Masquerade Is Over�, “Calling All Cats� and “Move� complete the set. Mastered and cut from the original TWO TRACK master tapes (running simultaneously with the full track mono master) using ALL TUBE tape electronics and cutting system allowed Bernie "BeBop" Grundman to extract every nuance on the tapes which adds to the magic of this Rudy Van Gelder recording. This is the real deal and it is done perfectly from mastering through to the authentic laminated cover art (front only) to the "deep groove" in the center label. In a few cases, when the two track master is done just right as with this recording, Classic complements the MONO release with a stereo offering. If you have to choose one over the other, you should go for the MONO as this was Rudy's focus in mixing live to MONO but if you can't resist comparing the two versions recorded at the same time with the same equipment or you can get a deal, then buy both - you won't be unhappy!

1. Blues Walk
2. Move
3. The Masquerade is Over
4. Play Ray
5. Autumn Nocturne
6. Callin' All Cats

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

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

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

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

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

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

Over his twenty-five year tenure on Blue Note, pianist Silver employed some great horn men to record with but arguably none blended better with his arranging than the group he assembled for this May 1957 session. Hank Mobley’s tenor and Art Farmer’s trumpet become the right and left hands to Silver’s body of work and set a standard for small-ensemble writing and playing. No slouches themselves, Teddy Kotick’s bass and Louis Hayes’ drum work help produce a stellar collection including a version of “Home Cookin” that became a jazz classic. Mastered and cut on an all tube pure mono cutting system by Bernie Grundman. Pressed on Classic's proprietary 200g super vinyl profile for the best and most authentic sound possible.

1. No Smokin'
2. The Back Beat
3. Soulville
4. Home Cookin'
5. Metamorphosis
6. My One and Only Love

Recorded in 1962 by Rudy Van Gelder at the Englewood Cliffs studio, Rouse and Co. departed from the normal hard-bop that as Monk’s main tenorman he had earned his New York rep with and took the recent bossa nova / calypso craze, started by Stan Getz, Charlie Byrd and even Sonny Rollins to another place. With great grooves from the rhythm section, including augmentation with conga and chekere, the result is a great collection, rooted in various Afro-Caribbean styles and not American jazzmen trying to sound Brazilian. Among others, guitarist Kenny Burrell’s and especially drummer Willie Bobo’s playing makes this not just another bossa nova fad date. Mastered and cut on an all tube pure mono cutting system by Bernie Grundman. Pressed on Classic's proprietary 200g super vinyl profile for the best and most authentic sound possible.

1. Back to the Tropics
2. Aconteceu
3. Velhos Tempos
4. Samba de Orfeu
5. Un Dia
6. Meci Bon Dieu
7. In Martinique

Outside of Paul Chambers, who was employed as Miles Davis’s bassist at this time, all of the other players on these April 1957 RVG Hackensack dates were leaders of their own renowned groups; a reflection of the respect they all shared for the date leader, Sonny Rollins. Besides Chambers, with J.J. Johnson on trombone, Art Blakey behind the drums and alternating pianists Thelonious Monk and Horace Silver, who both play on the now-famous version of “Misterioso”, the words All-Star seem almost demeaning to this conclave. The resulting recordings burst forth with confidence and enthusiasm, capturing a fire and passion usually found only with uninhibited live dates and not the constraints of a recording studio. Exceptional versions of “Poor Butterfly” and “You Stepped Out Of a Dream” elevate this record to monumental status. Mastered and cut on an all tube pure mono cutting system by Bernie Grundman. Pressed on Classic's proprietary 200g super vinyl profile for the best and most authentic sound possible

1. Why Don't I
2. Wail March
3. Misterioso
4. Reflections
5. You Stepped Out of a Dream
6. Poor Butterfly

Two separate sessions, from July 1956 and February 1957 make up this 12” release, recorded by RVG at his Hackensack studio. Trumpeter Jones decided to utilize two distinct groups of supporting players and the results are interesting contrasts in structure. Rounding out the quartet date with just a rhythm section of Barry Harris’s piano, Percy Heath on bass and drummer Max Roach, Thad’s trumpet is the main focal point. On the quintet date, Jones adds Benny Powell’s trombone and Gigi Gryce on alto sax for the front line, with Tommy Flanagan at the piano, George Duvivier on bass and his brother Elvin banging the skins. Sharp, tight playing from both groups, especially on “I’ve Got A Crush On You” and “I’ll Wind” highlight this collection. Mastered and cut on an all tube pure mono cutting system by Bernie Grundman. Pressed on Classic's proprietary 200g super vinyl profile for the best and most authentic sound possible

1. Slipped Again
2. Ill Wind
3. Thadrack
4. Let's
5. I've Got a Crush On You

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

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

The Legendary performances at the Half Note in New York that were for years only available as a bootleg from tapes made off the radio is now available officially for the first time. Coltrane is accompanied by McCoy Tyner on piano, Jimmy Garrison on bass and Elvin Jones on drums performing "One Up One Down", "Afro Blue", "Song of Praise", and "My Favorite Things" on this deluxe 2 LP set with 12 page booklet. The original analog master tapes obtained from the Coltrane family were used by Bernie Grundman to master from and cut lacquers using Classic's "all tube" cutting system. Pressed on Classic's 200g Super Vinyl Profile, this is a must have for serious jazz lovers and audiophiles alike.

LP 1
Side 1 - One Down, One Up
Side 2 - Afro Blue
LP 2
Side 3 - Song of Praise
Side 4 - My Favorite Things

Sings Songs from the movie "Let No Man Write My Epitaph" is one of those rare recordings that is often overlooked because of its relative obscurity. Of the thirteen songs recorded and presented on this LP, only three were actually used in the film. Ella is accompanied by Paul Smith on piano and is performs tunes like "Misty", "Angel Eyes", "Black Coffee" and a host of others with breathtaking finesse and sensitivity. If you had to have one Ella Fitzgerald record, as everyone should, this would surely be a worthy candidate. Transferred from the original two track analog master tape by Bernie Grundman and back for the first time on Classic's Quiex 200g Super Vinyl Profile. Highest Recommendation.

1. Black Coffee
2. Angel Eyes
3. I Cried for You
4. I Can't Give You Anything But Love
5. Then You've Never Been Blue
6. I Hadn't Anyone Till You
7. My Melancholy Baby
8. Misty
9. September Song
10. One for My Baby (And One More For The Road)
11. Who's Sorry Now
12. I'm Getting Sentimental over You
13. Reach for Tomorrow

Back to Back, like it's compendium, Side By Side has The Duke teamed up with Johnny Hodges and an all star lineup to play the Blue - Jazz Style. On tunes like Wabash Blues, Basin Street Blues, St. Louis Blues and Weary Blues among others it is thrilling to hear Harry "Sweets" Edison playing trumpet, Sam Jones on Bass and "Philly" Jo Jones on drums. Recorded directly to two track and transferred from the original master by Bernie "Bebop" Grundman, this title has long been out of print and is finally back by popular demand on Classic's Quiex 200g Super Vinyl Profile. Not to be missed - check out "Side by Side" (MGVS 6109) as well.

1. Wabash Blues
2. Basin Street Blues
3. Beale Street Blues
4. Weary Blues
5. The St. Louis Blues
6. Loveless Love
7. Royal Garden Blues