Genre > Jazz

Side By Side is the follow up to "Back To Back" where Ellington meets Hodges and an all star lineup that includes Harry "Sweets" Edison on trumpet, Al Hall on bass, Leslie Spann on guitar and flute, Jo Jones on drums Ben Webster on Tenor Sax, and Billy Strayhorn on piano among others. Tunes include "Stompy Jones", "Big Shoe", "Going Up" , "Just A Memory", "Let's Fall in Love" and "Bend One" among others. Another Verve direct to two track recording that is back by popular demand for the first time on Classic's 200g Quiex Super Vinyl Profile. Not to be missed - check out "Back To Back" (MGVS 6055) as well.

1. Stompy Jones
2. Squeeze Me
3. Big Shoe
4. Going Up
5. Just a Memory
6. Let's Fall in Love
7. Ruint
8. Bend One
9. You Need to Rock

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

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

Warne Marsh and Ted Brown playing tenor Saxes are joined by Ronnie Ball on piano, Ben Tucker on bass and Jeff Morton on drums on this Classic Imperial Series reissue of "Jazz of Two Cities". The original full track mono master tape was used on Classic's "all tube" MONO cutting system (including MONO tape head, cutting amp and cutter head) at Bernie Grundman Mastering with Bernie "Bebop" Grundman doing the set-up and cutting. Pressed on Classic's own Quiex Super Vinyl Profile, tunes include "Smog Eyes", "Ear Conditioning", "Lover Man", "Jazz of Two Cities", "Dixie's Dilemma", "Tschaikowsky's Opus #42" and "I Never Knew". According to the liner notes : " Since high fidelity includes a true reproduction of all sounds without discrimination or distortion, the original recording was done on an Ampex 300-C Magnetic Tape Recorder at 15 IPS using Scotch Tape. To effectively the full frequency spectrum Telefunken U-47M microphones were used." If that's not an audiophile endorsement then I don't know what is.....

1. Smog Eyes
2. Ear Conditioning
3. Lover Man
4. Quintessence
5. Jazz Of Two Cities
6. Dixie's Dilemma
7. Tschaikowski's Opus No. 42, Mt. 3
8. I Never Knew

One of the FIVE recordings the Basie Band made for its new label in 1959 and in hindsight the one many call his best. By this time, stereo recording had developed significantly and it shows in the spaciousness of the recording. Big Band is hard to capture in mono as well as it can be recorded in stereo and this original two track is BIG BAND Stereo! This one gets top recommendations.

1. Blues in Hoss' Flat
2. H.R.H. (Her Royal Highness)
3. Segue in C
4. Kansas City Shout
5. Speaking of Sounds
6. T.V. Time
7. Who Me
8. The Deacon
9. Half Moon Street
10. Mutt and Jeff

The tremendously detailed audio effect achieved by Columbia's engineers is brought back to life by Classic Records. Dizzy'y spectacular trumpet blooms amidst the Ellingtonian aggregate. The sometimes tender, sometimes shouting blues style of Jimmy Rushing provides nice contrast in one of the most varied and satisfying Ellington recordings ever.

1. Malletoba Spank
2. Toot Suite:
Red Garter - Red Shoes - Red Carpet (Part 1)
Red Carpet (Part 2)
Red Carpet (Part 3)...
3. Satin Doll
4. U.M.M.G.
5. All Of Me
6. Tymperturbably Blue
7. Fillie Trillie
8. Hello Little Girl

Sonny Criss' second effort for the now infamous Imperial label features tunes such as "Summertime", "How High the Moon", "Wailin with Joe" with Sonny accompanied by Yeatis Clark, Leroy Vinnegar and Lawrence Marable. Transferred from the original full track mono tapes by Bernie Grundman using Classic's "all tube" pure mono cutting system and pressed on Quiex 200g Super Vinyl Profile.

1. Summertime
2. Memories Of You
3. Wailin' With Joe
4. How Deep Is The Ocean
5. The Blues For Rose
6. The Man I Love
7. Until The Real Thing Comes Along
8. Blue Prelude
9. After You've Gone
10. Come Rain Or Come Shine
11. How High The Moon
12. If I Had You

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

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

Sonny Criss's first Imperial release recorded in 1956 featuring Sonny Criss on Alto Sax, Kenny Drew on piano, Barney Kessel on guitar, Bill Woodson on bass and Chuck Thompson on drums. The tunes, recorded in Los Angeles, CA, January 26, 1956, February 24th and March 23rd 1956, include "Sweet Georgia Brown", "These Foolish Things", "Something's Gotta Give", "Willow Weep for Me" among others. Cut from the original MONO master tapes played back on a full track MONO head through an all tube MONO cutting chain including a pure mono cutter head - as it was originally and should be! This is an extremely collectible record in its original issue and impossible to find in any condition. Authentic tip on jacket and labels make this reissue hard to distinguish from one you could have bought in 1956. This initial release is part of the Classic Sonny Criss Imperial Series which will include two of Sonny's other Imperial Recordings: "Go Man" - LP 9020, and "Play's Cole Porter" - LP 9024 both of which are forthcoming in 2005.

1. Easy Living
2. Criss Cross
3. Willow Weep for Me
4. Alabamy Bound
5. Something's Gotta Give
6. These Foolish Things
7. West Coast Blues
8. Blue Friday
9. More Than You Know
10. Sunday
11. Sweet Georgia Brown
12. Ham's Blues

Ultra Rare Sonny Red Blue Note title featuring Sonny on alto sax, Wynton Kelly on piano, Sam Jones and Paul Chambers on Bass, with Roy Brooks and Jimmy Cobb on drums. Tunes include : "Bluesville", "Stay as Sweet as You Are", "I've Never Been in Love Before", "Nadia", "Blues in the Pocket", "Alone Too Long", "The Lope", and "Stairway to the Stars". The Reid Miles Cover design and the Rudy Van Gelder recording on this LP are worth the price of admission - too bad we weren't there. This Classic Blue Note Signature Series reissue was cut from the original master tapes on our ALL TUBE MONO cutting system by Bernie "Mr Be Bop" Grundman. Pressed on our authentic no-groove guard, 200 gram Quiex Super Vinyl Profile for sound that will make your foot tap and put a smile on your face. This one's for you Sonny!

1. Bluesville
2. Stay As Sweet As You Are
3. I've Never Been In Love Before
4. Nadia
5. Blues In The Pocket
6. Alone Too Long
7. The Lope
8. Stairway To The Stars

Boasting the first jazz instrumental to sell a million copies, the Paul Desmond-penned "Take Five," Time Out captures the celebrated jazz quartet at the height of both its popularity and its powers. Recorded in 1959, the album combines superb performances by pianist Dave Brubeck, alto saxophonist Paul Desmond, drummer Joe Morrello and bassist Gene Wright. Along with "Take Five," the album features another one of the group's signature compositions, "Blue Rondo a la Turk." Though influenced by the West Coast-cool school, Brubeck's greatest interest and contribution to jazz was the use of irregular meters in composition, which he did with great flair. Much of the band's appeal is due to Desmond, whose airy tone and fluid attack often carried the band's already strong performances to another level. Together, he and Brubeck proved one of the most potent pairings of the era. Now available on Classic Records Clarity Vinyl SVP-II 200g as a Single Sided 45rpm Four Disc Deluxe Box Set.

Track Listing:

1. Blue Rondo A La Turk
2. Strange Meadow Lark
3. Take Five
4. Three To Get Ready
5. Kathy's Waltz
6. Everybody's Jumpin'
7. Pick Up Sticks

This title is not eligible for discount.

Down Beat's West Coast editor John Tynan gave this a four star review, remarking that it is, "...loose, utterly relaxed, a top flight solo work." The great Lady Day is backed by Harry Edison's trumpet, Ben Webster on tenor sax, Jimmy Rowles on Piano, Barney Kessel on guitar, Red Mitchell on bass and Alvin Stoller on drums.

1. Day In Day Out
2. A Foggy Day
3. Stars Fell On Alabama
4. One For My Baby (And One More For The Road)
5. Just One Of Those Things
6. I Didn't Know What Time It Was

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

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

Two sided 12" single contains Autumn Leaves in 45rpm on side A, and Alison's Uncle in 45rpm on side B.

1. Autumn Leaves
2. Allison's Uncle

Trak Listing

1. I'm A Fool To Want You
2. For Heaven's Sake
3. You Don't Know What Love Is
4. I Get Along Without You Very Well
5. For All We Know
6. Violets For Your Furs
7. I'll Be Around

Over the past decade, new talent such as Cassandra Wilson, Patricia Barber and Holly Cole have re-defined the world of female jazz vocals. Cole's Temptation, a 1995 Blue Note release, is her musical tribute to the writings of Tom Waits. Besides being a superb audiophile recording, perfect in every production detail from Cole's amazing voice to the incredible natural sound captured by producer Craig Street and his team, this recording went on to garner kudos for her personal interpretation of Waits' unique compositions. Standouts include a catchy version of Jersey Girl, which made it to some radio playlists. A rendition of The Briar and The Rose which is brilliantly augmented by The Canadian Brass.

1. Take Me Home
2. Train Song
3. Jersey Girl
4. Temptation
5. Falling Down
6. Invitation To The Blues
7. Cinny's Waltz
8. Frank's Theme
9. Little Boy Blue
10. I Don't Wanna Grow Up
11. Tango Til They're Sore
12. (Looking For) The Heart Of Saturday Night
13. Soldiers Things
14. I Want You
15. Good Old World
16. The Briar And The Rose

Holly Cole explores a number of styles on her second album, Don't Smoke in Bed, without overreaching her grasp. Adding pop, blues, country, and a French ballad to her standard, low-key jazz, Cole demonstrates that not only does she have impeccable taste, but she has the talent to make all of the material sound convincing. This is an all time audiophile favorite, cut from the original master on the Bernie Grundman all tube cutting system and pressed on Classic s 200g QUIEX Super Vinyl Profile

1. I Can See Clearly Now
2. Don't Let the Teardrops Rust Your Shining Heart
3. Get Out of Town
4. So and So
5. Tennessee Waltz
6. Everyday Will Be Like a Holiday
7. Blame It on My Youth
8. Ev'rything I've Got
9. Je Ne T'Aime Pas
10. Cry (If You Want To)
11. Que Sera, Sera (Whatever Will Be, Will Be)
12. Don't Smoke in Bed

Barber's second Blue Note release and a compilation of live tracks recorded in three French cities in 2004. The Quartet features Patricia on piano and vocals, Neal Alger on guitar, Michael Arnopol on bass, and Eric Montzma on drums. Tunes include "Gotcha", "Crash", "Laura", "Call Me" among others on this 2 LP gatefold edition mastered by Bernie Grundman on Classic's "all tube" cutting system and made available on 200g Quiex Super Vinyl Profile pressings. This is a great live recording by a great Jazz singer and as such an audiophile must have! Highest Recommendations.

1. Gotcha
2. Dansons la Gigue!
3. Crash
4. Laura
5. Pieces
6. Blue Prelude
7. Witchcraft
8. Norwegian Wood
9. Whiteworld
10. Call Me

"Piano in the Background" is the sister, albeit earlier, recording to "Piano in the Foreground" this time featuring Ellington with Orchestral accompaniment. The band is amazing as are the original three track master tapes used to cut directly to master lacquer on Bernie Grundman's all tube cutting system. Now on Classic's 200g Quiex Super Vinyl Profile this is a must have compendium to "Piano in the Foreground" also available from Classic Records.

1. Happy Go Lucky
2. What Am I Here For
3. Kinda Dukish
4. Rockin' In Rhythm
5. I'm Beginning To See The Light
6. Midriff
7. It Don't Mean A Thing
8. Main Stem
9. Take The "A" Train

Louis Armstrong plays King Oliver is one of those titles that audiophiles have known about for years and a favorite at Hi Fi shows for demonstration. The first cut - 'St. James Infirmary' is out of this world like many of the other tunes including a great version of 'Frankie and Johnny'. Originally issued on Audio Fidelity, this Classic reissue is available for the first time on 180 gram vinyl. There is also a companion 45 rpm disc of St. James Infirmary to be co-released as well. Not to be missed!

1. St. James Infirmary (Gambler's Blues)
2. I Want A Big Butter & Egg Man
3. I Ain't Got Nobody
4. Panama
5. Dr. Jazz
6. Hot Time in the Old Town Tonight
7. Frankie and Johnny
8. I Ain't Gonna Give Nobody None of this Jelly Roll
9. Drop That Sack
10. Jelly Roll Blues
11. Old Kentucky Home
12. Chimes Blues

The Ellington band is superb and Louis just blows and sings to your heart's content. Transfered, for the first time, directly from the 3 track session masters. You can hear everything! If you had to take one record to a desert island with you this would be one of the top choices.

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

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

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

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

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

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

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

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

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

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

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

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

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

Hands down one of the greatest festival recordings ever! Out of circulation for nearly twenty years, this great two-record set from 1973 is available once again. It s a document of an incredible three days of powerful music, attended by more than 15,000 fans. Hopefully, future re-examination of the Ann Arbor Festival 1972 will yield full sets by each of the participants, including those not represented on this LP, such as Miles Davis, Pharaoh Sanders, and Lightin Slim!

Kitchen Sink Boogie
Wang Dang Doodle
Ain't That Loving You
I Walk On Guilded Splinters
(I'm A) Roadrunner/These Things Will Keep Me Loving You
Write Me A Few of Your Lines
Highway 49
Honey Bee
Form Kinetic
Dedication to Otis Spann
Dedicated to Otis
Goin' Down
Please Send Me Someone To Love
My Last Meal
Dust My Broom
Gambler's Blues
Women Be Wise
Life Is Splendid

Satchmo Plays King Oliver is one of those titles that audiophiles have known about for years and a favorite at hi-fi shows for demonstration. The first cut "St. James Infirmary" is out of this world and the excellent renditions of "I Ain't Got Nobody" and "Frankie and Johnny" aren't too far behind. Originally issued on Audio Fidelity, this Classic reissue is available for the first time on Classic Records 200g 45RPM Clarity Vinyl. Not to be missed!

Clarity Vinyl represents the ultimate in vinyl formulations because it is comprised of over 90% of the highest quality co-polymer available, a key component in vinyl pellets used for manufacturing vinyl records. Further, Clarity Vinyl has no carbon black additive, common in vinyl formulas for LPs. Carbon Black contains trace metals that become magnetized and cause electrical distortions in cartridges during playback that smears the sound. By taking out the Carbon Black, Classic Records is able to dramatically reduce the electrical distortions and thus bring more clarity to the playback process, providing a more realistic musical experience to the listener and LP enthusiast.

Track Listing:

1. St. James Infirmary (Gambler's Blues)
2. I Want a Big Butter & Egg Man
3. I Ain't Got Nobody
4. Panama
5. Dr. Jazz
6. Hot Time In The Old Town Tonight
7. Frankie and Johnny
8. I Ain't Gonna Give Nobody None of this Jelly Roll
9. Drop That Sack
10. Jelly Roll Blues
11. Old Kentucky Home
12. Chimes Blues

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

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

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

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

Another '59 release, this is one of three official duet dates released on LP by these two. As usual, sparks fly between the dueling alto saxes when the "heir apparent" Woods is joined by the seemingly unknown and definitely under-recorded Quill. Arrangements pay homage to the masters with material from Sonny Rollins, Charlie Parker, Stan Getz and Dizzy Gillespie, none of which is foreign territory for any of the players. Another great Epic "Stereo-Rama" recording from producer Mike Berniker.

Doxie I
A Night In Tunisia
Hymn For Kim
Dear Old Stockholm
Scrapple From The Apple
Doxie II

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

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

Blue Note Reissue

"…As much as I'd love to relay all kinds of anecdotes about the challenges Steve Hoffman and Kevin Gray encounter during the mastering sessions, I witness none. These boys know the sound of the facility and the Van Gelder masters like the backs of their hands…Back home a month later, I unpack some test pressings Chad Kassem has sent me…I hear the most realistic-sounding drums ever reproduced by my system. It's as though I'm sitting at the point of creation, experiencing the same high that brought such gifted musicians together as one. Steve Hoffman, Kevin Gray, Chad Kassem, and Don MacInnis have done Rudy Van Gelder and his Blue Note artists proud." – Jason Victor Serinus, Stereophile, April 2008

J.J. Johnson shared the front line with his tenor master for an exceptional session that features a unique reworking of "Poor Butterfly" and a great original "Why Don't I." Horace Silver is the pianist, but Thelonious Monk replaces him on "Reflections" and both pianists alternate throughout a stunning version of "Misterioso."

Track Listings

Why Don't I
Wail March
Misterioso
Reflections
You Stepped Out of a Dream
Poor Butterfly

This title not eligible for any further discounts.

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.

Mastered by Stan Ricker.

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)

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

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

This title is not eligible for further discount.

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

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

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

This title is not eligible for further discount.

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

Track Listings:

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

This title is not eligible for further discount.

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

Track Listings:

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

This title is not eligible for further discount.

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

Track Listings:

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

This title is not eligible for further discount.

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

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

This title is not eligible for further discount.

224 pg. Paperback Book

ISBN: 0-7607-5651-1

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

Track Listing:

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

This title is not eligible for further discount.

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

Track Listing:

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

This title is not eligible for further discount.

Put Thad Jones on trumpet supported by Billy Mitchell on tenor sax, Kenny Burrell on guitar, Tommy Flanagan on piano, Oscar Pettiford on bass and Shadow Wilson on drums and you get a great recording session. This sextet swings through tunes such as "Blue Room", "Little Girl Blue" and "Scratch" among others. This impossible to find Blue Note Mono has been faithfully reproduced and transferred from the original full track Mono master tapes on Classic's ALL TUBE, MONO cutting system - no Mono cut on a stereo lathe here. Another in the Classic Blue Note Signature Mono LP reissue series pressed with the authentic "deep groove" on Classic's proprietary 200g Super Vinyl Profile.

1. Blue Room
2. Tarriff
3. Little Girl Blue
4. Scratch
5. Zec

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

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

This is one of those Blue Note Records as that Larry Cohn would say, should have come out in 1960 when it was recorded but not released which was common for Blue Note. Tina on tenor sax is accompanied by Jackie McLean on alto sax, Blue Mitchell on trumpet, Kenny Drew on piano, Paul Chambers on bass, and Art Taylor on drums doing tunes like "Back to the Tracks", "Street Singer" and "The Blues and I" all penned by Brooks as well as other tunes. The first issue of this recording was in Japan and it has only subsequently been issued in the US in stereo and as such this constitutes the first MONO LP issue as it would have been if it had been put out in 1960. This first US Blue Note Mono issue on LP has been faithfully reproduced and transferred from the original full track Mono master tapes on Classic's ALL TUBE, MONO cutting system - no Mono cut on a stereo lathe here. Another in the Classic Blue Note Signature Mono LP reissue series pressed with the authentic "deep groove" on Classic's proprietary 200g Super Vinyl Profile.

1. Back to the Tracks
2. Street Singer
3. The Blues and I
4. For Heavens Sake
5. The Ruby and the Pearl

Why do this title in STEREO when the MONO is generally the way the Classic Blue Note Signature Series titles are released and given that we've made such a big deal about how Van Gelder intended his recordings to be listened to in Mono? The answer is simply that the 2 - track tape sounds great and like "Somethin' Else" and "Blue Train" deserves its own treatment in addition to the mono release. The transfer by Bernie Grundman was done on Classic's "All Tube" Stereo cutting system from the original 2 - track master tape (the same tape used for the MONO release). Midnight Blue is one of those records that you just put on, sit back and relax. Burrell and a great band including Stanley Turrentine on tenor sax, Bill English on drums, Ray Barretto on conga and Major Holley Jr. on bass lay down tunes including "Mule", "Soul Lament", "Wavy Gravy", "Gee Baby Ain't I good for You" and "Midnight Blue" among others. Burrell is quoted as saying to Alfred Lion "I have always had a Love for the blues. In my earliest days in Detroit, I worked with groups that concentrated a great deal on the blues. And I wanted to get a group together for this session that can feel the blues the way I do." Pressed on Classic's own Quiex Super Vinyl Profile, this release, as part of the Classic Blue Note Signature LP Series is a must have. Also available in MONO cut from the same 2 - channel master tapes - summed into MONO per Rudy's instructions!

1. Chittlins 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

Arguably one of Hank Mobley's biggest Blue Note releases and another in the Classic Blue Note Signature Series. Art Blakey, Freddie Hubbard, Wynton Kelly, and Paul Chambers sit in on "Roll Call", "My Groove Your Move", "Take Your Pick", "A Baptist Beat", "The More I see You", and "The Breakdown". This Van Gelder recording was transferred from the original two track master tape (same as for the mono) with cutting as usual done by Bernie "Be Bop" Grundman using Classic's "all tube" stereo cutting system and pressed on Quiex 200g Super Vinyl Profile.

1. Roll Call
2. My Groove Your Move
3. Take Your Pick
4. A Baptist Beat
5. The More I See You
6. The Breakdown

Midnight Blue is one of those records that you just put on, sit back and relax. Burrell and a great band including Stanley Turrentine on tenor sax, Bill English on drums, Ray Barretto on conga and Major Holley Jr. on bass lay down tunes including "Mule", "Soul Lament", "Wavy Gravy", "Gee Baby Ain't I good for You" and "Midnight Blue" among others. Burrell is quoted as saying to Alfred Lion "I have always had a Love for the blues. In my earliest days in Detroit, I worked with groups that concentrated a great deal on the blues. And I wanted to get a group together for this session that can feel the blues the way I do." Recorded by Rudy Van Gelder, this MONO release employs the original 2 - track master tapes with the channels "folded 50/50" per instructions on the tape box used and cut on Classic's "all tube" MONO cutting system (including MONO cutting amp and cutter head) at Bernie Grundman Mastering with Bernie "Bebop" Grundman doing the set-up and cutting. Pressed on Classic's own Quiex Super Vinyl Profile, this release, as part of the Classic Blue Note Signature LP Series is a must have. Also available on stereo cut from the same 1/4" 2-track master tapes!

1. Chittlins 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

Arguably one of Hank Mobley's biggest Blue Note releases and another in the Classic Blue Note Signature Series. Art Blakey, Freddie Hubbard, Wynton Kelly, and Paul Chambers sit in on "Roll Call", "My Groove Your Move", "Take Your Pick", "A Baptist Beat", "The More I see You", and "The Breakdown". This Van Gelder recording was transferred from the original two track master tape heeding the instructions on the box to combine the two tracks 50/50 for the Mono. Cutting was by as usual done by Bernie "Be Bop" Grundman using Classic's "all tube" pure mono cutting system and pressed on Quiex 200g Super Vinyl Profile.

1. Roll Call
2. My Groove Your Move
3. Take Your Pick
4. A Baptist Beat
5. The More I See You
6. The Breakdown

Continuing where his debut left off, Morgan’s second LP in 1956 as a leader for Blue Note, finds the teen prodigy (still only 18) slowly emerging out from the long shadow of his idol and mentor Clifford Brown and feeling his own way among giants. You can hear his confidence growing in his solos, energized and fed by the company he has been keeping rather than any intimidation or hesitation at all. Excellent ensemble work must be credited to Benny Golson, who arranged four of the six numbers on the date. Led by a three-horn assault of Morgan’s trumpet, BN regular Hank Mobley on tenor and the fairly obscure altoist Kenny Rodgers, they cruise through a variety of tempos and moods, the highlights being their memorable takes on “Whisper Not” and “Where Am I”? As expected, Horace Silver’s piano, Paul Chambers’ bass and the drumming of Charlie Persip ! is both impeccable and tasteful throughout. Other selections include “Latin Hangover”, “His Sister”, “D’s Funk” and “Slightly Hep” Extremely hep is more like it. 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. Whisper Not
2. Latin Hangover
3. His Sister
4. Slightly Hep
5. Where Am I?
6. D's Fink

This September 1957 session, recorded by Rudy Van Gelder in Hackensack, finds the still young Morgan (age 19) in the company of an interesting mix of players and not your Blue Note supporting regulars. Yes, Paul Chambers and Philly Joe Jones are present on bass and drums respectively but asking Pepper Adams in on baritone sax and the inclusion of pianist Bobby Timmons, both usually associated with rival Riverside (but no strangers to Van Gelder), give these particular sides a nice edge. Morgan’s interplay with Adams’ throatier horn gives a new perspective to his patented rapid-fire lines. Having assumed his place in the majors from his childhood idol, the late Clifford Brown (d. 1956), Morgan was on the assent in ’57 with what was to be a series of recordings for Blue Note that would help establish him in his short lifetime (33 years) as one of the greatest bop trumpeters. The Cooker contains two Morgan originals “Heavy Dipper” and “New-Ma”, with standards “Just One Of Those Things”, “A Night In Tunisia” and “Lover Man” completing the album. 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. A Night In Tunisia
2. Heavy Dipper
3. Just One of Those Things
4. Lover Man
5. New Ma

The Freddie Redd Quintet featuring Jackie McLean on Alto Sax, Tina Brooks on Tenor Sax, Paul Chambers on bass, Louis Hayes on drums accompanying Redd on piano is a monster Blue Note mono. Tunes include "Thespian", "Blues Blues Blues", "Melanie", "Shadows", "Swift", "Just A Ballad for my Baby" and "Ole" all faithfully transferred from the original full track mono masters Bernie "Be Bop" Grundman using Classic's "all tube" pure mono cutting system and pressed on Quiex 200g Super Vinyl Profile.

1. Thespian
2. Blues Blues Blues
3. Melanie
4. Shadows
5. Swift
6. Just a Ballad for My Baby
7. Ole

Another in the series of Classic's Blue Note Signature Series, this Tina Brooks effort featuring Freddie Hubbard on trumpet, Duke Jordan on piano, Sam Jones on bass and Art Taylor on drums accompanying Brooks on Tenor Sax is phenomenal and features five tunes of the six written by Tina. The Rudy Van Gelder recorded full track mono tape was used for the mastering and transfer by Bernie "Be Bop" Grundman using Classic's "all tube" pure mono cutting system and pressed on Quiex 200g Super Vinyl Profile.

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

Classic reissued this title a few years ago in stereo from the original two track master tapes cut on our all tube cutting system by Bernie "Be-Bop" Grundman and pressed on a conventional 180g profile. Now we've gone back and cut it in Mono on our all tube MONO cutting system. Why? Because many argue persuasively that Van Gelder really recorded to two channels not for the stereo effect but for more control in the final MONO mix of the two channels. This recording features Tommy Turrentine on trumpet, Stanley Turrentine (brother) on tenor Sax, Horace on piano, George Tucker on bass and Al Harewood on drums. Tunes include the title track, and "Shoo Chee", "And that I am so in Love", "Al's Tune", "Ray C." (for Mr. Charles) and "Pyramid". Cut in Mono cut from the same two track master tape with the channels folded 50/50 as per Rudy's original notes to do so on the tape box. Also available in stereo from the same tapes. Both Pressed on Classic's uniquely better sounding 200g Super Vinyl Profile.

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

Classic reissued this title a few years ago in stereo from the original two track master tapes cut on our all tube cutting system by Bernie "Be-Bop" Grundman and pressed on a conventional 180g profile. Now we've gone back and cut it in Mono on our all tube MONO cutting system. Why? Because many argue persuasively that Van Gelder really recorded to two channels not for the stereo effect but for more control in the final MONO mix of the two channels. This recording features Tommy Turrentine on trumpet, Stanley Turrentine (brother) on tenor Sax, Horace on piano, George Tucker on bass and Al Harewood on drums. Tunes include the title track, and "Shoo Chee", "And that I am so in Love", "Al's Tune", "Ray C." (for Mr. Charles) and "Pyramid". Cut in Mono cut from the same two track master tape with the channels folded 50/50 as per Rudy's original notes to do so on the tape box. Also available in stereo from the same tapes. Both Pressed on Classic's uniquely better sounding 200g Super Vinyl Profile.

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

"Lou Takes Off" is not just one of the big money collectible Blue Notes for no reason. With a line up including Lou Donaldson on Sax, Curtis Fuller on trombone, Art Taylor on drums, Sonny "Cool Struttin'" Clark on piano and Donald Byrd on trumpet. The tunes on the LP include "Sputnik", "Dewey Square", Srollin' IN" and "Groovin' High". The Stereo version of this release was cut on the Classic "ALL Tube" stereo cutting system from the original "Stereo Master" tapes which were run simultaneously with the original "Mono Master" tapes in 1956 by Rudy Van Gelder used to cut the Mono version of this release on Classic's ALL TUBE MONO cutting system. The comparison is very interesting - buy both in the Classic Blue Note Signature LP reissue series and decide for yourself which you prefer.

1. Sputnik
2. Dewey Square
3. Srollin' In
4. Groovin' High

"Lou Takes Off" is not just one of the big money collectible Blue Notes for no reason. With a line up including Lou Donaldson on Sax, Curtis Fuller on trombone, Art Taylor on drums, Sonny "Cool Struttin'" Clark on piano and Donald Byrd on trumpet. The tunes on the LP include "Sputnik", "Dewey Square", Srollin' IN" and "Groovin' High". The Stereo version of this release was cut on the Classic "ALL Tube" stereo cutting system from the original "Stereo Master" tapes which were run simultaneously with the original "Mono Master" tapes in 1956 by Rudy Van Gelder used to cut the Mono version of this release on Classic's ALL TUBE MONO cutting system. The comparison is very interesting - buy both in the Classic Blue Note Signature LP reissue series and decide for yourself which you prefer.

1. Sputnik
2. Dewey Square
3. Srollin' In
4. Groovin' High

You to can be "Back on the Scene" with Bennie Green accompanied by Charlie Rouse on tenor sax, Louis Hayes on drums, Joe Knight on piano and George Tucker on Bass. As part of the Classic Blue Note Signature LP reissue Series, this title was cut on Classic's All Tube Mono cutting system from the original full track Mono master tapes by Bernie Grundman, pressed on Classic's exclusive 200g Super Vinyl Profile and packaged in an authentic tip-on cover making this a must have. Tunes include: "I Love You", "Melba's Mood","Just Friends", "You're Mine You", "Bennie Plays The Blues", and "Green Street".

1. I Love You
2. Melba's Mood
3. Just Friends
4. You're Mine You
5. Bennie Plays The Blues
6. Green Street