Genre > Jazz

Track Listing:

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

Track Listing:

1. You'd Be So Nice To Come Home To
2. Red Pepper Blues
3. Imagination
4. Waltz Me Blues
5. Straight Life
6. Jazz Me Blues
7. Tin Tin Deo
8. Star Eyes
9. Birks Works

Import

In early 1965, just as the West African High-life scene was starting to get repetitive, the revolutionary sound of Fela Kuti & His Koola Lobitos burst upon us. A strikingly original and very talented musician, Fela was trained at the Trinity College of Music in London and despite his primary instrument being the trumpet, he was an excellent pianist, composer, arranger and vocalist. To maintain his reputation as West Africa's leading musician, Fela continuously experimented with varying forms of High-life and other exotic rhythm patterns. This is the very first full length album by Fela, recorded in 1965.

Track Listing:

1. Signature Tune
2. It's Highlife Time
3. Lagos Baby
4. Omuti
5. Olulufe
6. Araba's Delight Side
7. Wa Dele
8. Lal Se
9. Mi O Mo
10. Obinrin Le
11. Omo Ejo

"...Blue Train remains a superb achievement both musically and sonically, and Acoustic Sounds' pressing knocks off all other reissues...The sound is immediate, with superb instrumental balance, and a big, airy, coherent soundstage. The bass and drums are well captured, serving as deep anchors that allow the horn players to blow away with a sense of controlled yet astonishing freedom." - Wayne Garcia, The Absolute Sound, June/July 2009 "These are simply amazing pressings. I have no regrets whatsoever about signing up for this subscription. The folks I'd invited over last Saturday are by no means audiophiles, but they couldn't believe that they were listening to vinyl, or that recordings that were 40+ years old could sound so good. I'm working hard to turn them into vinyl converts. These discs are the icing on the cake!" – Tim Bingaman, Acoustic Sounds customer

"The new LPs, as with the others, superb in their production and packaging. The quality of the sleeves and printing is unsurpassed and is a real indicator of the attention spent to the new 45rpm pressings inside. There are many hours of good listening ahead with this series." – Barry Paulson, Acoustic Sounds customer

"…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

John Coltrane's most important and best selling album after A Love Supreme. This was the first fully realized masterpiece by Coltrane. The superbly executed and blended ensembles have a haunting quality and each solo is a memorable treasure.

Paul Chambers, bass John Coltrane, sax (tenor) Kenny Drew, piano Curtis Fuller, trombone Philly Joe Jones, drums Lee Morgan, trumpet

Track Listing:

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

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"Mingus is also all about the ensemble...this reissue has a life and immediacy I've not heard before with this title, whose stunning music overwhelms any flaws of the recording." - Wayne Garcia, The Absolute Sound, June/July 2009

Produced by Impulse! A&R director Bob Thiele in 1963, this recording is a major showcase of the talented Charles Mingus as a bassist, pianist and writer. In his 1963 original liner notes, critic-at-large Nat Hentoff said that of all the musicians, it is impossible to remain indifferent to Mingus. This recording more than any other testifies to Hentoff's claim. More so today than in 60's, there is truly only one Mingus, Mingus, Mingus, Mingus, Mingus.

Charles Mingus, bass, piano, vocals Jay Berliner, guitar Don Butterfield, trombone, tuba Jaki Byard, piano Eric Dolphy, flute, alto saxophone Rolf Ericson, trumpet Booker Ervin, tenor saxophone Dick Hafer, clarinet, flute, oboe, tenor saxophone Quentin Jackson, trombone Charlie Mariano, alto saxophone Walter Perkins, drums Eddie Preston, trumpet Jerome Richardson, flute, baritone saxophone, soprano saxophone Dannie Richmond, drums Richard Gene Williams, trumpet Britt Woodman, trombone

Track Listing:

1. II B.S.
2. I X Love
3. Celia
4. Mood Indigo
5. Better Get Hit in Yo' Soul
6. Theme for Lester Young
7. Hora Decubitus

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"The spot-free vinyl pressing has fantastic presence and three-dimensional studio echoes. When Hooker bends, pulls, or hammers-on strings, the timbre is true and technique obvious...Magnified on LP, these and other subtleties enhance the artist's intent. While extremely pricey, the set is representative of why Analogue Productions' line of 45rpm LPs is currently the cat's pajamas in audiophile software." - Bob Gendron, The Absolute Sound, June/July 2005, Issue 154

“Hooker’s earliest Riverside albums presented him playing solo acoustic guitar, in a conscious effort to direct his work to listeners outside the R&B audience. Opinions differ on the matter, but this outing is more interesting than his solo acoustic Riverside records, due to the presence of a supporting rhythm section on most of the tracks. The liner notes (in the fashion of the day) are almost apologetic about this, emphasizing that it’s not to create R&B rhythms, but “to free Hooker from the burden of carrying the full rhythm load.” To make matters more palatable for the purists, maybe that’s why a couple of jazz players were chosen for the job (bassist Sam Jones and drummer Louis Hayes, who formed the rhythm section for Cannonball Adderley at the time). What’s important is not how pure the music is, but that it’s a decent album, striking a good midpoint between his acoustic and electric sound.” — All Music Guide

Track Listing:

1. I Need Some Money
2. Come On and See About Me
3. I'm Wanderin'
4. Democrat Man
5. I Want To Talk About You
6. Gonna Use My Rod
7. Wednesday Evening Blues
8. No More Doggin'
9. One Of These Days
10. I Believe I'll Go Back Home
11. You're Leavin' Me, Baby
12. That's My Story

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A direct link to the styles of Fats Waller and James P. Johnson, veteran stride pianist Ralph Sutton is featured here, at 61 years young, in an elegant showcase of traditional jazz music. After early training with Jack Teagarden and Eddie Condon, Sutton continues to carry the flame, here partnered with a legend in his own right, Milt Hinton on bass. The quartet is completed with Australian brothers Bob and Len Bernard on trumpet and drums respectively. This 1983 session, with it's great live feel, will catapult the listener to a table "down front" at The Famous Door, 52nd Street circa 1941. A strong blend of Louis, Hoagy, Loesser, Waller & Razaf and McHugh and Fields.

Track Listing:

1. Swing That Music
2. One Morning in May
3. Old Folks
4. Rain
5. I Never Knew
6. On A Slow Boat to China
7. It's Wonderful
8. How Can You Face Me?
9. West End Avenue Blues
10. Diga Diga Doo

A truly sensitive reading of standards by stalwart saxman Chico Freeman, originally released in 1979. Featuring both tenor and soprano horns, the leader lends his unique blend of passion and taste to compositions by Duke Ellington, Sonny Rollins, Richard Rodgers and Vernon Duke. Strong rhythmic support from bassist Cecil McBee, drummer Billy Hart and John Hicks at the piano. An outstanding analog recording that both audio and jazzphiles will treasure.

Track Listing:

1. Autumn In New York
2. Peace
3. A Child Is Born
4. It Never Entered My Mind
5. Close To You Alone
6. Don't Get Around Much Anymore
7. Lonnie's Lament
8. You Don't Have To Say You're Sorry
9. Wise One
10. Carnival

Despite various reissue formats over several decades, the seven original LPs contained in Thelonious Monk -- The Riverside Tenor Sessions stood perfectly well on their own at the time of initial release and remain among the highest achievements of a truly golden age. Recorded and released between 1956 and 1961, these seven Monk combo albums were critical in Monk's emergence from a decade of ridicule and neglect to his status at the pinnacle of the jazz pantheon. In addition to some of his best recorded piano performances and more than two dozen of his profoundly personal compositions, these albums provide an overview of the era's major tenor saxophonists, with contributions by Sonny Rollins, Coleman Hawkins, John Coltrane, Johnny Griffin, Charlie Rouse and Harold Land. Max Roach, Art Blakely, Roy Haynes and Thad Jones are among the other jazz immortals featured on the essential Brilliant Corners, Monk's Music, Thelonious Monk and John Coltrane, Thelonious in Action, Misterioso, 5 by Monk by 5 and Quartet Plus Two at the Blackhawk. Like the Miles Davis quintet records contained in Analogue Productions' Miles Davis Quintet: The Prestige Recordings, these Monk albums are among the pinnacle of the LP art -- and they have never sounded better.

The critics who had been slow in recognizing what fellow jazzmen already knew-that here was a young giant in our midst-could not help see the light. Tenor Madness, in which Sonny Rollins was joined by the rhythm section from the Miles Davis Quintet, further substantiated his rapidly rising stature. The material is an effective mixture of Rollins' playing attitudes with an intriguing original, "Paul's Pal," and the mining of unusual material such as "My Reverie" and "The Most Beautiful Girl in the World." The celebrated title track features John Coltrane. Mastered by Steve Hoffman and Kevin Gray.

Track Listing:

1. My Reverie
2. Paul's Pal
3. The Most Beautiful Girl In the World
4. When Your Lover Has Gone
5. Tenor Madness

Few albums in the history of contemporary American music can be more deserving than this one of the designation Original Jazz Classic. It is the first of two Riverside albums derived from the legendary final appearance of the first Bill Evans trio - taped during the last day of a Village Vanguard engagement, barely ten days before the tragic death of bassist Scott LaFaro. The recordings have long been recognized as capturing the essence of the unique three-way interaction that characterized the trio. This album is further distinguished by its emphasis on the solo work and compositions of the innovative LaFaro.

Track Listing:

1. Gloria's Step
2. My Man's Gone Now
3. Solar
4. Alice in Wonderland
5. All Of You
6. Jade Visions

A longtime audiophile demonstration disc. Hope will show off your system's dynamic range as well as any record ever released. Hugh Masekela, the outstanding South African trumpeter, assembled a seven-piece group and recorded this great set live at Washington, D.C.'s Blues Alley. The songs stretch over a period of nearly five decades and serve as an informal guided tour of Masekela's life. The songs are honest and bare, and as for the sound – WOW!

Track Listing:

1. Abangoma (The Healers)
2. Languta
3. Grazin' In The Grass
4. Nomali
5. Marketplace
6. Ntyilo Ntyilo (The Love Bird)
7. Stimela (The Coal Train)

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Bryan's honesty in her approach to song writing has created a stylization that defies category. Neon Angel is a unique and personal body of work. In it, her lyrics are visual and socially relevant, yet intimate, poetic and immediate. Her music ranges from the ethereal to a plaintive earthiness, and at times both expressions are grasped in the same moment. This recording is as classic and as powerful as Joni Mitchell's legendary Blue.

The setting for Nancy's songs is specific, yet timeless. Blame It On The Moon is a Southern swamplife spiritual sung against an undulating bass line. Pulse and Time is as light as whipped cream in the confluence of dobro, ukulele and D-tuned acoustic guitar. And you can almost see the cold blue November sky behind a silhouette of skyscrapers in the melancholy Chicago Skyline and feel the singer's loneliness as her soaring vocals cry out for an irredeemable past.

Neon Angel was recorded live, direct-to-two-track at Blue Heaven Studios, the converted 77-year-old church in Salina, Kansas. This 13-song, all-acoustic album emphasizes the church's natural acoustics, bringing to life the massive, vaulted ceiling and Nancy on the altar.

Though this is only her second solo release, Nancy has won acclaim for several songs she's written and sung for Disney, including a track for the Grammy-nominated and now-gold record Take My Hand. Her songs have also appeared on MTV's popular shows The Real World and Road Rules.

Every track on this record is naked and essential and is an equally integral part of a brilliant mosaic.

Track Listing:

1. Nobody's Buying
2. Blame it On The Moon
3. Pulse and Time
4. Chicago Skyline
5. Neon Angel
6. Salvation
7. Bending Road
8. Skating At The Edge
9. Deep As The Sea

Jordan and Gilmore were big guns in Chicago and unknown elsewhere when they made this album with the dream team of Horace Silver, Curly Russell and Art Blakey. Jordan would become a kingpin of the New York hard bop scene and Gilmore would immerse himself in the world of Sun Ra, but these tenor masters were completely in sync for this great Blue Note session.

Clifford Jordan, tenor saxophone John Gilmore, tenor saxophone Horace Silver, piano Curly Russell, bass Art Blakey, drums

Track Listing:

1. Staus Quo
2. Bo-Till
3. Blue Lights
4. Billie's Bounce
5. Evil Eye
6. Everywhere

This title is not eligible for further discount.

This hard-swinging February 9, 1958 date with Lee Morgan, Wynton Kelly, Paul Chambers and Charlie Persip was the last in a run of outstanding albums that Mobley and Morgan made for Blue Note in the two years prior.

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What's remarkable about Introducing The 3 Sounds is how the trio's lightly swinging sound arrived fully intact. From the basis of this album, it sounds as if pianist Gene Harris, bassist Andrew Simpkins and drummer William Dowdy have been playing together for years. There's empathetic, nearly intuitive interplay between the three musicians and Harris' deft style already sounds mature and entirely distinctive.

Bill Dowdy, drums Gene Harris, piano, celeste Andrew Simpkins, bass

Track Listing:

1. Tenderly
2. Willow Weep for Me
3. Both Sides
4. It's Nice
5. O Sole Mio
6. Blue Bells
7. Goin' Home
8. Woody 'N You

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New Soil wasn't the first session Jackie McLean recorded for Blue Note, but it was the first one released, and as the title suggests, the first glimpses of McLean's desire to push beyond the limits of bop are already apparent. They're subtle, of course, and nowhere near as pronounced, as they would be in just a few years' time, but – as with the 1959 material later issued on Jackie's Bag – hints of Ornette Coleman's stream-of-consciousness melodic freedom are beginning to find their way into McLean's improvisations. His playing is just a touch more angular than the ear expects, especially given the very bluesy nature of pieces like McLean's 11-minute vamp, "Hip Strut," and pianist Walter Davis Jr.'s infectious boogie-woogie "Greasy." Coleman's influence is most apparent on McLean's "Minor Apprehension," where the freewheeling, Coleman-esque main theme is paralleled by trumpeter Donald Byrd in a definite nod to Don Cherry.

Jackie McLean, alto sax Donald Byrd, trumpet Paul Chambers, bass Walter Davis Jr., piano Pete LaRoca, drums

Track Listing:

1. Hip Strut
2. Minor Apprehension
3. Greasy
4. Sweet Cakes
5. Davis Cup

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The Three Sounds were part of the trio explosion. Begun in 1956 in Benton Harbor, Michigan as the Four Sounds and consisting of Gene Harris on piano, Andrew Simpkins on bass and Bill Dowdy on drums (the saxophonist was dropped by the time the group moved to Washington, D.C. in 1957), the Sounds eventually migrated to New York City where they were "discovered" by Lou Donaldson. After a single record for Riverside with Nat Adderley, the Three Sounds signed an exclusive contract with Alfred Lion on Blue Note Records. Over the course of five years, the Sounds released nine LPs and appeared on albums by Lou Donaldson and Stanley Turrentine.

Bill Dowdy, drums Gene Harris, piano Andy Simpkins, bass

Track Listing:

1. Besame Mucho
2. Angel Eyes
3. Time After Time
4. Love Walked In
5. I Could Write a Book
6. Jinne Lou
7. Nothing Ever Changes My Love for You
8. Falling in Love With Love

This title is not eligible for further discount.

Although a Blue Note regular at the time on sessions by Donald Byrd, Art Blakey and others, Walter Davis made only one album for the label. With Byrd, Jackie McLean, Sam Jones and Art Taylor, he explores six of his finest compositions. Davis possessed the ability to write music that was funky and catchy, but still progressive, which explains why he was one of Art Blakey's favorite pianists and composers. "Minor Mind," "Make It" and "Millie's Delight" are among the album's highlights.

Walter Davis Jr., piano Donald Byrd, trumpet Sam Jones, bass Jackie McLean, alto saxophone Art Taylor, drums

Track Listing:

1. 'Smake It
2. Loodle-Lot
3. Sweetness
4. Rhumba Nhumba
5. Minor Mind
6. Millie's Delight

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A 1959 live date at the legendary club, with Art Blakey driving a band that includes Tina Brooks and alternating pianists, Bobby Timmons and Roland Hanna. Recorded live on August 25, 1959 at the Five Spot Café, New York.

Kenny Burrell, guitar Art Blakey, drums Tina Brooks, guitar, tenor saxophone Roland Hanna, piano Bobby Timmons, piano Ben Tucker, bass

Track Listing: 1. Birk's Works
2. Hallelujah
3. Lady Be Good
4. Lover Man
5. 36-23-36

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"A soul survivor in every sense of the term, this alto saxophonist is one of the few remaining jazz artists who made a major impact on the jazz community via an extensive run with producer Alfred Lion and the Blue Note label (Horace Silver being another Blue Note legend that comes to mind). From his first recordings for the label with Art Blakey's Jazz Messengers, it was clear that Lou Donaldson put melody and sound at a premium, coming up with an amalgam that combined the creamy smoothness of Johnny Hodges with the quicksilver bop inflections of Charlie Parker." – All About Jazz

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This 1960 trio date was pianist Parlan's first of many great releases for Blue Note. The Pittsburgh native, who overcame polio as a child that left his right hand crippled, had gained some serious props with his contributions on two of Charles Mingus' best albums the year prior (Mingus Ah Um, Blues And Roots), and was now ready to step out on his own. Choosing to tackle mostly standards, Parlan channels his idol Bud Powell's classic trio dates with the able assistance of Blue Note regulars Sam Jones, bass and drummer Al Harewood. The result is an eclectic mix, interpreting the works of Tadd Dameron, Duke Ellington, Milt Jackson and Burke-Van Heussen plus a Parlan original, "Up In Cynthia's Room," which became one of his signature pieces.

Horace Parlan, piano Al Harewood, drums Sam Jones, bass

Track Listing:

1. C Jam Blues
2. On Green Dolphin Street
3. Up in Cynthia's Room
4. Lady Bird
5. Bags' Groove
6. Stella By Starlight
7. There is No Greater Love
8. It Could Happen to You

Maybe not exactly the first Dizzy that comes to mind when discussing jazz, this Jamaican-born, British-raised trumpeter overcame whatever burdens that nickname may have wrought to become a highly respected player in the New York scene. He enhanced that rep by recording some truly excellent albums for the Savoy, Blue Note and Prestige labels among others. His robust and passionate playing styles always seemed to inspire other musicians in his company. The contributions of the esteemed trio invited; pianist Walter Bishop, Jr., bassist Doug Watkins and drummer Art Taylor unilaterally match the front man's fire and bold approach to each tune.

Dizzy Reece, trumpet Walter Bishop, Jr., piano Art Taylor, drums Doug Watkins, bass

Track Listing:

1. A Ghost of a Chance
2. Once in a While
3. EB Pob
4. Yesterdays
5. Our Love is Here to Stay
6. Blue Streak

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In the late fifties and early sixties, alto saxophonist Lou Donaldson recorded primarily with his own quartet with pianist Herman Foster or with organ trios. Occasionally, he'd break the mold as he did on this February, 1960 session that was strictly a hard bop affair which includes trumpeter Bill Hardman and pianist Horace Parlan. There's still plenty of funk in evidence as "Goose Grease" bears out, but "Hardman's Politely," "Softly As In A Morning Sunrise" and "The Man I Love" find Lou digging deep into his bop roots.

Lou Donaldson, trumpet, alto sax Bill Hardman, trumpet Al Harewood, drums Laymon Jackson, bass Sam Jones, bass Horace Parlan, piano

Track Listing:

1. Blues for J.P.
2. The Man I Love
3. Polietly
4. It's You or No One
5. The Truth
6. Goose Grease
7. Softly, As in a Morning Sunrise

This title is not eligible for further discount.

Track Listing:

1. Come Rain or Come Shine
2. Love for Sale
3. Summertime

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Jimmy Smith's April 25, 1960 session with the perfect cast of Stanley Turrentine, Kenny Burrell and Donald Bailey produced this classic album that is the pinnacle of the organ-tenor style. A perfect selection of material played at the perfect tempo by great musicians who connect on the deepest, most soulful level.

Jimmy Smith, organ Stanley Turrentine, tenor sax Kenny Burrell, guitar Donald Bailey, drums

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Yusef Lateef and Brother Jack McDuff, then Green's employer, make a rare Blue Note appearance on this soulful Grant Green classic, which includes the magnificent slow blues "Blues In Maude's Flat."

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Ike Quebec's timeless, big-toned tenor was a frequent visitor to Rudy Van Gelder's studio in the early sixties. But this album from December 1961 with spare, soulful backing from Grant Green, Paul Chambers and Philly Joe Jones is his masterpiece. The leaner setting works perfectly, evoking an aura of relaxation and monumentality, with the deepest blue of accents.

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Jimmy Smith's April 25, 1960 session with the perfect cast of Stanley Turrentine, Kenny Burrell and Donald Bailey produced these two classic albums that are the pinnacle of the organ-tenor style. A perfect selection of material played at the perfect tempo by great musicians who connect on the deepest, most soulful level. Not a bad day's work.

Jimmy Smith, organ Stanley Turrentine, tenor saxophone Kenny Burrell, guitar Donald Bailey, drums

Track Listing:

1. Back At The Chicken Shack
2. When I Grow Too Old To Dream
3. Minor Chant
4. Messy Bessie
5. On The Sunny Side Of The Street

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One of Mobley's best, this album features two 1963 all-star quintets: one with Lee Morgan and Andrew Hill, the other with Donald Byrd and Herbie Hancock. Philly Joe Jones is the driving force throughout.

Hank Mobley, tenor saxophone Andrew Hill, piano John Ore, bass Philly Joe Jones, drums Donald Byrd, trumpet Herbie Hancock, piano Lee Morgan, trumpet Butch Warren, bass

Track Listing:

1. Three Way Split
2. Carolyn
3. Up A Step
4. No Room For Squares
5. Me 'N You
6. Old World, New Imports
7. Carolyn (Alternate Take)
8. No Room For Squares (Alternate Take)

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The Sidewinder, Lee Morgan's 24-bar blues with an infectious bass line and backbeat, instantly became one of the most popular pieces in modern jazz history. Every track on this classic album is a gem.

Lee Morgan, trumpet Bob Cranshaw, bass Barry Harris, piano Joe Henderson, tenor sax Billy Higgins, drums

Track Listing:

1. The Sidewinder
2. Totem Pole
3. Gary's Notebook
4. Boy, What a Night
5. Hocus Pocus
6. Totem Pole

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Lee Morgan, Harold Mabern, Larry Ridley and Billy Higgins join the great tenor saxophonist on this 1965 session featuring four Mobley originals, a beautiful ballad reading of "I See Your Face Before Me" and a terrific version of "Recado Bossa Nova."

Hank Mobley, tenor sax Lee Morgan, trumpet Harold Mabern, piano Larry Ridley, bass Billy Higgins, drums

Track Listing:

1. The Dip
2. Recado Bossa Nova
3. The Break Through
4. The Vamp
5. I See Your Face Before Me
6. Ballin'

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Although for many fans the equation Count Basie = Big Band Jazz is quite undisputable, one has to agree that when one listens to these eight numbers: less is more when it comes to swing. Bob Thiele, Impulse producer, came to the conclusion that even with a meager budget a whole lot of music with a terrific sound could be squeezed into the grooves. As always, the great soloists of the Basie big band are on top form: first and foremost Frank Wess who demonstrates how rightly popular the flute is for its sound-coloring and as a solo instrument. Thad Jones on the trumpet is quite outstanding in all the numbers – and is equally important as composer and arranger. The "All American Rhythm Group Number 1" consisting of the Count, Freddie Green, Eddie Jones and Sonny Payne deliver one adrenaline-like thrill after another – without ever neglecting the jazz beat. All in all this is an important LP from the Impulse label, whose quality is greatly enhanced by the transparent sound.

Count Basie, piano, organ Eric Dixon, flute, tenor saxophone Frank Foster, clarinet, tenor saxophone Freddie Green, guitar Ed Jones, bass Thad Jones, trumpet Sonny Payne, drums Frank Wess, flute, tenor saxophone

Track Listing:

1. Oh Lady Be Good
2. Secrets
3. I Want a Little Girl
4. Shoe Shine Boy
5. Count's Place
6. Senator Whitehead
7. Tally Ho, Mr. Basie!
8. What'cha Talkin?

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A 1962 set from the Roy Haynes Quartet – which, at the time, consisted of Haynes, Henry Grimes on bass, Tommy Flanagan on piano and Roland Kirk on saxes, manzello, stritch and flutes. The album is a delightful mix of technique in arrangement and performance, with all of the musicians delivering terrific work – Haynes' drumming is absolutely wonderful here, lightly dancing around the other instruments. Flanagan's piano playing is equally light and delicate, and Grimes' bass work is outstanding. There's not much that can be said about Kirk's sax and flute work that hasn't already been said a hundred times.

Roy Haynes, drums Tommy Flanagan, piano Henry Grimes, bass Rahsaan Roland Kirk, flute, percussion, tenor saxophone

Track Listing:

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

This title not eligible for further discount.

Track Listing:

1. Re: Person I Knew
2. Pola Dots And Moon Beams
3. I Fall In Love Too Easily
4. Stairway To The Stars
5. If You Could See Me Now
6. It Might As Well Be Spring
7. In Love In Vain
8. Very Early

Frank Sinatra's 1955 Nelson Riddle arranged In the Wee Small Hours features a fine collection of ballads specially recorded for this particular release. Sinatra perfected the concept album with the set as previous 10" records had generally contained selections of performer's random hits not tied together by anything other than the artist performing them. The cover which features a solemn, pensive Sinatra against a nighttime street setting, reinforces the theme of the ballad-ridden affair.

All 'From The Capitol Vaults' titles feature carefully replicated artwork and packaging true to their original single or gatefold jacket LP releases.

Track Listing:

1. In the Wee Small Hours of the Morning
2. Mood Indigo
3. Glad to Be Unhappy
4. I Get Along Without You Very Well (Except Sometimes)
5. Deep in a Dream
6. I See Your Face Before Me
7. Can't We Be Friends?
8. When Your Lover Has Gone
9. What Is This Thing Called Love?
10. Last Night When We Were Young
11. I'll Be Around
12. Ill Wind
13. It Never Entered My Mind
14. Dancing On the Ceiling
15. I'll Never Be the Same
16. This Love of Mine

1958's Come Fly With Me was Frank Sinatra's first collaboration with arranger/conductor Billy May. It's obvious, not only by the album title but with track titles like "Autumn In New York," "April In Paris," "London By Night" and "Blue Hawaii," that the theme of this world class recording is world travels.

All 'From The Capitol Vaults' titles feature carefully replicated artwork and packaging true to their original single or gatefold jacket LP releases.

Track Listing:

1. Come Fly With Me
2. Around the World
3. Isle of Capri
4. Moonlight In Vermont
5. Autumn In New York
6. On the Road to Mandalay
7. Let's Get Away From It All
8. April in Paris
9. London By Night
10. Brazil
11. Blue Hawaii
12. It's Nice to Go Trav'ling

A landmark, genre-defining album, Giant Steps has been hailed as John Coltrane's finest work. Coltrane and his bandmates create compelling, frenzied, and beautiful sonic landscapes which helped revolutionize jazz. Originally released in January of 1960, Giant Steps was Coltrane's first album devoted entirely to his own compositions and confirmed his command of tenor saxophone as well as his emerging skill as a composer. This deluxe, limited edition double 180g 45RPM LP set comes packaged in a numbered, collectible slipcase which is a visual replica of the original tape box.

Track Listing:

1. Giant Steps
2. Cousin Mary
3. Countdown
4. Spiral
5. Syeeda's Song Flute
6. Naima
7. Mr. PC

Track Listing:

Side One
1. The Night has a Thousand Eyes
2. Central Park West
3. Liberia

Side Two

1. Body and Soul
2. Equinox
3. Satellite

One of Dorham"s tried and true classics, 1961’s Whistle Stop is a virtual all-star collective. Again featuring his former Jazz Messenger band mate Hank Mobley on tenor (when did this guy eat or sleep?), it equally showcases the classic stylings of pianist Kenny Drew, Paul Chamber’s bass and perennially solid Philly Joe Jones on the skins. This album presents the jazz classic Blue Bo! ssa , as well as Epitaph, a majestic, concise coda enhanced by Dorham’s fine mute work, on-par with the Milesian standard. Cut from the original MONO master tapes by Bernie Grundman using Classic Records’ ALL TUBE pure MONO cutting system and pressed on Classic Records Quiex SV-P II proprietary “flat” profile.

Clarity Vinyl represents the ultimate in vinyl formulations because it is comprised of over 90% percentage 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 LP’s. 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. 'Philly' Twist
2. Buffalo
3. Sunset
4. Whistle Stop
5. Sunrise In Mexico
6. Windmill
7. Dorham's Epitaph

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When the earliest of these pieces were recorded in 1954, the Lighthouse in Hermosa Beach had become one of Southern California's busiest clubs and a thriving center of West Coast jazz. A regiment of bright young musicians tired of life on the road had settled in the Los Angeles area, where it was possible for a lucky few to make a daytime living in the studios and satisfy their artistic needs by playing jazz. Howard Rumsey gathered some of the most talented of these young men as the Lighthouse All-Stars. Many of Rumsey's sidemen have survived as durable jazz stars, among them Bud Shank, Bob Cooper, Conte Candoli and the late Frank Rosolino. Half of the charts in this collection are by Bill Holman, already established in the early 1950s as one of the finest jazz arrangers.

Track Listing:

1. Funny Frank
2. That's Rich
3. If You Are There
4. Stan
5. Coop
6. S & B
7. Claude
8. Concerto for Doghouse
9. Bud (The Whippet)

Howard Rumsey's Lighthouse All-Stars, a West Coast group if ever there was one, occasionally included visitors from the East. Pianist Sonny Clark made the Lighthouse his homeport for a year when the band was unusually tight and swinging. Clark and drummer Stan Levey worked together particularly well in the rhythm section with bassist Rumsey. The horns, Bob Cooper, Frank Rosolino and Gene Candoli, were superb bop soloists who achieved an ensemble sound reminiscent of the best small swing bands. Fittingly, the repertoire included several pieces from the Count Basie book, represented by "Topsy" and "Taxi War Dance." Another highlight is Cooper's dreamy "Octavia."

Track Listing:

1. Love Me Or Levey
2. Taxi War Dance
3. Octavia
4. Mambo Las Vegas
5. Jubilation
6. I Deal
7. Latin For Lovers
8. Topsy

Bobby Hutcherson's virtuosity, flexibility and range of musical thinking are dramatically presented in this remarkable recording. In addition to his customary vibraphone and marimba, Hutcherson uses modern studio techniques to simultaneously play a variety of percussion instruments. The resulting textures and rhythms comprise three of Hutch's most fascinating creations, with elements of minimalist music but none of its boredom. On four other tracks, he is accompanied by an all-star rhythm section of McCoy Tyner (in a rare sideman appearance), Herbie Lewis and Billy Higgins in two standards and two Hutcherson originals.

Track Listing:

1. Gotcha
2. For You, Mom And Dad
3. The Ice Cream Man
4. La Alhambra
5. Old Devil Moon
6. My Foolish Heart
7. Messin

New ideas were Don Ellis' forte for his entire drastically curtailed career. A restless experimenter and innovator as well as a formidable trumpeter, Ellis was able to introduce radical ideas into his music and maintain the basic jazz values. Here, relatively early in his career, he used tone clusters, shifting rhythmic patterns and unconventional chord progression without making the music inaccessible. In pianist Jaki Byard, bassist Ron Carter, drummer Charlie Persip and vibraharpist Al Francis, Ellis had colleagues with the technical master and the spiritual understanding to improvise in such unorthodox settings. This 1960 session has intimations of the radical notions Ellis was to introduce in his iconoclastic big band of the later Sixties and the 1970s.

Track Listing:

1. Natural H.
2. Despair To Hope
3. Uh-Huh
4. Four And Three
5. Imitation
6. Solo
7. Cock And Bull
8. Tragedy

Helen Humes radiated girlish innocence and womanly sensuality. Combined with her intonation, phrasing and perfect sense of time and tempo, this simultaneous expression of opposites put her work among the delights of jazz singing. In some of her famous blues records, she was capable of delivering the most explicitly suggestive lyrics with a wide-eyed sense of joy. But in this classic session, Helen turned her talents to interpretation of a dozen great standard songs in a studio jam session organized and led by Benny Carter. In addition to some of Carter's best trumpet on record, the album has superior playing of Frank Rosolino and Teddy Edwards, and the inspirational rhythm section support of Andre Previn, Leroy Vinnegar, Shelly Manne and Mel Lewis.

Track Listing:

1. You Can Depend on Me
2. Trouble in Mind
3. Among My Souvenirs
4. Ain't Misbehavin'
5. Stardust
6. Bill Bailey
7. When I Grow Too Old to Dream
8. A Good Man Is Hard to Find
9. Bill
10. Tain't Nobody's Biz-ness If I Do
11. I Got It Bad (And That Ain't Good)
12. When the Saints Go Marching In

This album may have been just for fun, but it was serious music-making by a pianist who in 1977 had been at the top of his profession for more than 30 years. Hank Jones embodies the full range of jazz piano tradition, right up to free jazz, and has influenced a who's who of modern pianists. In this date, with the help of Ray Brown and Shelly Manne, towering figures among bassists and drummers, Jones has fun with seven engaging pieces. They include two latter-day classics by his brother Thad, a samba by Pepper Adams, a waltz of his composition, J.J. Johnson's "Interlude," and Ray Brown's most un-rock-and-roll-like "A Very Hip Rock and Roll Tune." The highly regarded guitarist Howard Roberts is featured on three pieces.

Track Listing:

1. Interlude
2. A Very Hip Rock and Roll Tune
3. Lullaby
4. Little Rascal on a Rock
5. Bossa Nouveau
6. Just for Fun
7. Kids Are Pretty People

Recorded from 1960 to 1962, this set's personnel include Sam Jones (cello, bass); Cannonball Adderley (alto saxophone); Jimmy Heath (tenor saxophone); Blue Mitchell (trumpet); Nat Adderley (cornet); Victor Feldman (vibraphone); Wynton Kelly, Bobby Timmons, Joe Zawinul (piano); Ron Carter (bass); and Ben Riley (drums).

Track Listing:

1. Some Kinda Mean
2. There Is No Greater Love
3. Home
4. The Old Country
5. Over The Rainbow
6. Blues On Down
7. Four
8. Blue Bird
9. Unit 7
10. Come Rain Or Come Shine
11. 'Round Midnight

Track Listing:

1. Speculation
2. Over The Rainbow
3. Nica's Tempo
4. Little Niles
5. Sans Sound
6. I Remember Clifford

Track Listing:

1. Rockin' In Rhythm
2. Take The "A" Train
3. Tootie For A Cootie
4. Medley: Prelude To A Kiss/I'm Just A Lucky So-N-So
I Let A Song Out Of My Heart/Do Nothing Till
You Hear From Me/Just Squeeze Me/Mood Indigo
Sophisticated Lady

Track Listing:

1. Stuff
2. Paraphernalia
3. Black Comedy
4. Country Son

Track Listing:

Hank's Other Bag
There's a Lull in My Life
Cute 'N Pretty
Touch of Blue
Slice of the Top

Kind Of Brown is the Mack Avenue debut for dynamic composer, bandleader and musician Christian McBride. Although he’s has toured and recorded extensively with his jammy, electric Weather Report-like band, Christian felt the primordial urge to return to New York’s hallowed jazz basement, the Village Vanguard. However, since the Vanguard doesn’t allow any “rock n’ roll music” he assembled Warren Wolf, Carl Allen, Eric Reed and Steve Wilson to form Inside Straight. The quintet holed up in the famed Fantasy Studios (Berkeley, CA) to record Kind Of Brown, a release fueled by the imagination/spirit/sweat of all those whom had toiled at the fabled studio before them, a truly encyclopedic roster.

This limited edition, two LP set, 33 1/3 rpm, is 210 gram vinyl for the boomingest bass. The gatefold packaging features liner notes by famed producer Orrin Keepnews, and each LP set comes with a free digital download of Kind of Brown, plus cover art.

Track Listing:

1. Brother Mister
2. Theme For Kareem
3. Rainbow Wheel
4. Starbeam
5. Used 'Ta Could
6. The Shade Of The Cedar Tree
7. Pursuit Of Peace
8. Uncle James
9. Stick & Move
10. Where Are You?

Track Listing:

1. Lotus Blossom
2. My Ideal
3. Blue Friday
4. Alone Together
5. Blue Spring Shuffle
6. I Had The Craziest Dream
7. Old Folks
8. Mack The Knife

The varied catalog of memorable Riverside albums by Thelonious Monk includes two solo-piano efforts. Producer Orrin Keepnews remembers them as equally successful but strikingly different projects. The 1957 Thelonious Himself was recorded in New York on three separate nights and involved much creative ferment and many re-takes. This album was accomplished with remarkable ease in Northern California two years later, in two brief sessions on consecutive afternoons (one preceded by lunch at a family-style Italian restaurant), with only one of the ten selections (a totally unfamiliar old pop tune arbitrarily chosen at the last moment) requiring more than one take.

Track Listing:

1. Blue Monk
2. Ruby, My Dear
3. Round Lights
4. Everything Happens To Me
5. You Took The Words Right Out Of My Heart
6. BlueHawk
7. Pannonica
8. Remember
9. There's Danger In Your Eyes, Cherie (Take 2)
10. Reflections

Track Listing:

1. Ornette
2. The Little Suite
3. Sound

Track Listing:

1. Milestoned
2. Prva
3. Droogah
4. Kolo-Techino
5. Afro Punk
6. Favourite Tongues
7. Jazzy Pressing
8. Hysteria
9. Prodigy Jam

Recorded all in one day (July 11, 1958) at Rudy Van Gelder's studio in Hackensack, NJ, the appropriately titled A Day In The Life Of was originally only available as three separate LPs. The quintet session captures Coltrane at the top of his game on a set of covers alongside the hard-hitting rhythm section of Chambers/Cobb/Garland.

Track Listing:

1. Spring Is Here
2. Invitation
3. I'm A Dreamer Aren't We All
4. Love Thy Neighbor
5. Don't Take Your Love From Me
6. My Ideal
7. Stardust
8. I'll Get By

Track Listing:

At The Jazz Band Ball
That's A Plenty
Baby, Won't You Please Come Home
Panama
Original Dixieland One Step
Muskrat Ramble
Riverboat Shuffle
Clarinet Marmalade
I Don't Stand A Ghost Of A Chance With You
A Monday Date
Jazz me Blues
Little Girl
Squeeze Me
Sensation Rag
I'm Confessin'
Someday Sweetheart
I Wish I Could Shimmy Like My Sister Kate

Track Listing:

For Dancers Only
Harlem Shout
Four Or Five Times
Organ Grinder's Swing
Margie
Le Jazz Hot
Tain't What You Do
Blues In The Night
Twenty
Cheatin' On Me
The Lonesome Road
Mandy
Baby, Won't You Please Come Home
Uptown Blues
I'm Gonna Move To The Outskirts Of Town
Back Door Stuff

Track Listing:

Git Away Day
The Fable Of The Rose
Save Our Sorrow For Tomorrow
Tuxedo Junction
Last Night Gardenias
Would'st Could I But Kiss Thy Hand, Oh! Babe
Castle Of Dreams
Little Brown Jug
Polka Dots And Moonbeams
Big Bad Bill
In The Mood
I'll Take You Home Again, Kathleen
Jimtown Blues
You've Got Me Out On A Limb
No Name Jive