Pressed On Audiophile-grade 180 Gram Vinyl At
Pallas Group In Germany
Mastered From Original Analog Tapes By Bernie
Features Jim Hall On Guitar And Connie Kay On
Everyone wanted Desmond to come up with a sequel to the monster
hit “Take Five”; and so he did, reworking the tune and playfully
designating the meter as 10/8. Hence “Take Ten,” a worthy sequel with
a solo that has a Middle-Eastern feeling akin to Desmond’s famous
extemporaneous excursion with Brubeck in “Le Souk” back in 1954.
It was here that Desmond also unveiled a spin-off of the then-red-hot
bossa nova groove that he called “bossa antigua” (a sardonic play-on-words meaning “old thing”), which laid the ground for Desmond’s
next album and a few more later in the decade. Jim Hall now gets
plenty of room to stretch out, supported by Connie Kay’s gently
dropped bombs, and he is the perfect understated swinging foil for
the wistful altoist. There is not a single track here that isn’t loaded with
ingeniously worked out, always melodic ideas. Now Take Ten finally
gets the audiophile treatment it deserves, with this 180gram reissue,
mastered from original analog tapes by Bernie Grundman. Each copy
of this limited edition release is numbered with a gold foil stamp.
1. Take Ten
2. El Prince
3. Alone Together
5. Theme From "Black Orpheus"
7. Samba De Orpheu
8. The One I Love (Belongs To Somebody Else)
Best known as “the Voice of Christmas,” Bing Crosby’s classic album includes the best-selling single of all time, Irving Berlin’s composition “White
Christmas” that is synonymous with the legendary crooner.
The storied history of this album goes back to the ‘40s and the cover and content here represent the original 1955 version, which evolved from the
period’s 78 rpm records. Also included is Crosby’s other seasonal best-seller, “Silent Night.”
1. Silent Night
2. Adeste Fideles (O Come All Ye Faithful)
3. White Christmas
4. God Rest Ye Merry Gentlemen
5. Faith Of Our Fathers
6. I'll Be Home For Christmas
7. Jingle Bells
8. Santa Claus Is Comin' To Town
9. Silver Bells
10. It's Beginning To Look A Lot Like Christmas
11. Christmas In Killarney
12. Mele Kalikimaka
Collector’s edition 12” translucent red vinyl pressing featuring Lady Day herself, Billie Holiday, and some of her signature tunes including “Lover Man,” “God Bless The Child,” “Don’t Explain” and more!
1. Any Old Time
2. Lover Man
3. Don’t Explain
4. God Bless The Child
5. My Man
6. All Of Me
7. They Can’t Take That Away From Me
8. Swing, Brother, Swing
9. I Can’t Get Started
10. Fine And Mellow
11. The Blues Are Brewin’
12. Do You Know What It Means To Miss New Orleans?
A Soul Experiment is the fourteenth album by trumpeter Freddie Hubbard recorded between 1968/1969 and released in 1969. It was his third release on the Atlantic label and features performances by Hubbard, Carlos Garnett on tenor sax, Kenny Barron on piano, Gary Illingworth plays the organ, Billy Butler & Eric Gale on guitar, Jerry Jemmott on bass, and Grady Tate & Bernard Purdie on drums.
A Soul Experiment finds Hubbard aiming for 1969 commercial radio acceptance with shorter songs, and a stab at Jimmy Webb's "Wichita Lineman".
1. Clap Your Hands
2. Wichita Lineman
3. South Street Stroll
4. Lonely Soul
5. No Time To Lose
6. Hang ’Em Up
7. Good Humor Man
8. Midnite Soul
9. Soul Turn Around
10. A Soul Experiment
The music had the unfiltered blues-riff sound of the 1940s Count Basie band with a little something extra. The Basie part is authentic—Charles employed the majority of the Count’s contemporary band that included the likes of trumpeters Thad Jones and Joe Newman, tenor saxophonists Billy Mitchell and Frank Wess, guitarist Freddie Green and drummer Sonny Payne. The little something else might be Charles playing organ, predating Jimmy Smith’s Verve big band outings of the mid-1960s. But there is something else, an indescribable something that tempers any genre with soul. That is Ray Charles.
The arrangers included longtime Charles associate Quincy Jones and Ralph Burns and were recorded over December 26-27, 1960.
About Audiophile Clear Vinyl
Audiophile Clear Vinyl is made using the highest quality co-polymer available and processed without any carbon additive in order to dramatically reduce the “electrical distortion” often found on records. By itself the co-polymer of vinyl is transparent. In order to make the record black in color the plant must use a carbon additive with trace metals that can become magnetized. This is what causes electrical distortion during playback. That is the reason why we choose to offer our records in the following manner:
- Audiophile Clear Vinyl (ACV)
- 140 gram limited to 500 copies
- 25 minutes maximum per side
1. From the Heart
2. I’ve Got News for You
4. Let’s Go
5. One Mint Julep
6. I’m Gonna Move to the Outskirts of Town
7. Stompin’ Room Only
8. Mister C.
9. Strike Up the Band
10. Birth of the Blues
Deluxe 2-LP, Limited-Edition, 180-Gram Vinyl Pressed On 12" LP's At 33-1/3 RPM By Record Technology Incorporated (R.T.I.)
Hand-Numbered Gatefold By Stoughton Press
Vibrant Four Panel Insert With Liner Notes By Ashley Kahn
Special Collector Postcards With Photos By Frank Kofsky
Mastered By Bernie Grundman
Offering: Live At Temple University documents a legendary concert by John Coltrane at Temple University in his hometown, Philadelphia, Pennsylvania,
on November 11, 1966, six weeks after his fortieth birthday and nine months before his untimely death. Offering incorporates a look that is contiguous with the graphic identity of Impulse! Records, Coltrane’s exclusive label from 1961
until the end of his life. This is the first officially sanctioned release of an undiscovered, complete Coltrane performance since 2005. It captures Coltrane in
exemplary form, navigating the language he had developed during the last phase of his musical path with passion and pellucid logic. Operating at
equivalent levels of invention and energy are three members of his working quintet of one year’s standing his wife, Alice Coltrane, on piano; Pharoah
Sanders on reeds and flute; and Rashied Ali on drums.
Offering is emblematic of the efflorescent energies and radical ideas that Coltrane himself had much to do with bringing forth during the seven years after
1960, when he left the employ of Miles Davis to pursue his vision as a leader. There are versions of Coltrane’s 1960 hits “Naima” and “My Favorite
Things,” a transformational reworking of the 1964 ballad “Crescent,” a spirit-raising rendering of “Leo,” which he had recorded on several previous
occasions during 1966, and the hymnal “Offering,” which he would record on a February 15, 1967 studio session that Impulse! would release during the
‘90s as Spiritual Offering.
On Offering, Resonance Records achieves the highest possible audio quality, using direct transfers of original master reels from a location recording by
Temple’s WRTI-FM, remastered at 96kHz/24 bit, that were tracked down by Coltrane scholar Yasuhiro Fujioka.
The immense life-force that animates the proceedings on this November 1966 evening in Philadelphia belies the declining state of Coltrane’s health. It is
still difficult to grasp and to accept that he was firmly in the grip of the liver cancer that would still his voice on July 17, 1967. As co-producer Ashley Kahn
states in his liner notes, “Coltrane was pointing the way forward for generations of players to come, pushing the music to exhilarating, spiritual heights that
caught most by surprise. In 1966, that wasn’t what jazz performances were about not yet.”
Recorded November 11, 1966
Mitten Hall, Temple University
John Coltrane - soprano & tenor saxophones, flute & vocals
Pharoah Sanders - tenor saxophone & piccolo
Alice Coltrane - piano
Sonny Johnson - bass
Rashied Ali - drums
Additional musicians include:
Steve Knoblauch, Arnold Joyner alto saxophone
Umar Ali, Algie DeWitt, Robert Kenyatta percussion
5. My Favorite Things
Drummer Otis Brown III – an invaluable sideman with the likes of Esperanza Spalding, Joe Lovano, Terence Blanchard, Oliver Lake, Somi, and others –
will release his debut album , The Thought of You, via Revive/Blue Note, a new partnership between Revive Music and Blue Note Records.
The album is a bold debut that harks back like a musical memoir through a vitalizing lens. Produced by Derrick Hodge, the core band enlists pianist
Robert Glasper, trumpeter Keyon Harrold, saxophonist John Ellis, and bassist Ben Williams with featured guests organist Shedrick Mitchell, guitarist Nir
Felder, and singers Bilal, Gretchen Parlato, and Nikki Ross.
1. The Way (Truth & Life)
2. The Thought of You – Part I featuring Bilal
3. Interlude I – Truth
4. Stages of Thought
5. The Two Become One (For Paula)
6. You’re Still The One featuring Gretchen Parlato
7. The Thought of You – Part II
8. I Love You Lord/We Exalt Thee/In The Beginning featuring Nikki Ross
9. The Thought of You – Part III
10. I Am Your Song featuring Nikki Ross
11. Interlude II – Life
Prestige Records is proud to re-issue the classic Coltrane album Stardust, originally released in 1963. The album actually consists of two separate
recording sessions that took place at the studio of the legendary Rudy Van Gelder in 1958. The incredible line up for these sessions included, in addition
to John Coltrane on tenor saxophone…. Wilbur Harden on flugelhorn and trumpet; Freddie Hubbard also on trumpet; Red Garland on piano; Paul
Chambers on bass; Jimmy Cobb on drums; and Arthur Taylor also on drums. This re-issue is truly a jazz classic that is not to be missed in any collection!
2. Time After Time
3. Love Thy Neighbors
4. Then I’ll Be Tired Of You
Remastered And Reissued As Part Of The Blue Note 75th Anniversary Vinyl Reissue Campaign
Originally released in 1964, JuJu is Grammy®-winner Wayne Shorter’s fifth album. Celebrating its 50th anniversary JuJu will be reissued as part of the overall Blue
Note 75th anniversary vinyl reissue campaign spearheaded by current Blue Note Records President, Don Was.
3. House Of Jade
5. Yes Or No
6. Twelve More Bars to Go
Remastered And Reissued As Part Of The Blue Note 75th Anniversary Vinyl Reissue Campaign
Originally released in 1951, The Amazing Bud Powell is considered one of pianist, Bud Powell’s most important recordings. Featuring the likes of Fats Navarro,
Sonny Rollins and Max Roach, The Amazing Bud Powell will be reissued as part of an overall Blue Note 75th anniversary vinyl reissue campaign
spearheaded by current Blue Note Records President, Don Was. Includes the composition “Un Poco Loco” (“A Little Crazy”).
1. Un Poco Loco
2. Over The Rainbow
5. A Night In Tunisia
6. It Could Happen To You [Remastered]
7. You Go To My Head
8. Bouncin' With Bud [Rudy Van Gelder Edition/1998 Digital Remaster]
Reissued As Part Of The Blue Note 75th Anniversary Vinyl Reissue Campaign
Originally released in 1968, Speak Like a Child is Herbie Hancock's sixth Blue Note album. Featuring Ron Carter on bass, Mickey Roker on drums, Peter Phillips on bass trombone, Jerry Dodgion on alto flute and Thad Jones on flugelhorn. Known for its provocative grace, Speak Like a Child will be reissued as part of the overall Blue Note 75th anniversary vinyl reissue campaign spearheaded by current Blue Note Records President, Don Was.
2. Speak Like A Child
3. First Trip
5. Goodbye To Childhood
6. The Sorcerer
Reissued As Part Of The Blue Note 75th Anniversary Vinyl Reissue Campaign
Released in 1967, Lush Life by jazz saxophonist, Lou Donaldson, features a truly superstar jazz band. Considered an enchanting album, Lush Life
includes performances by Freddie Hubbard on trumpet, Garnett Brown on trombone, Jerry Dodgion on alto sax and flute, Wayne Shorter on tenor sax,
Pepper Adams on baritone sax, McCoy Tyner on piano, Ron Carter on bass and Al Harewood on drums. Lush Life will be reissued as part of the overall
Blue Note 75th anniversary vinyl reissue campaign spearheaded by current Blue Note Records President, Don Was.
1. Sweet Slumber
2. You've Changed
3. The Good Life
5. What Will I Tell My Heart
6. It Might As Well Be Spring
7. Sweet And Lovely
Remastered And Reissued As Part Of The Blue Note 75th Anniversary Vinyl Reissue Campaign
Originally released in 2005, Flow is trumpeter/composer, Terrence Blanchard’s second album for Blue Note. Known for his film scores, like Malcom X, Flow is
Blanchard’s follow up to his critically-acclaimed Bounce. Produced by Herbie Hancock and Grammy®-nominated for Best Jazz Album, Flow was recorded
at Jim Henson Studios in Hollywood, California and features current Blue Note artists Derrick Hodge and Lionel Loueke. Flow will be reissued as part of
the overall Blue Note 75th anniversary vinyl reissue campaign spearheaded by current Blue Note Records President, Don Was.
1.Flow Part 1
4. Benny's Tune
5. Wandering Wonder
6. Flow Part II
7. The Source
8. Over There
9. Child's Play
10. Flow Part III
11. Harvesting Dance
He was a shining example for many European modern-jazz trombonists: J. J. Johnson, the man from Indianapolis, and the swinging half of the pair Jay and Kai. (Kai Winding was the white guy with the “cool” sound.) On this Columbia LP, recorded in August 1960, we can experience J. J. in three ways – as a soloist, composer, and arranger. To this is added a superbly well-rehearsed combo consisting of Freddie Hubbard, Clifford Jordan and one of the very best rhythm groups of late hard bop: Cedar Walton, Arthur Harper, and Albert Heath on the drums.
Thanks to having performed the works over the previous eight months in concerts before the recording, all the works sound wonderfully homogeneous, and the improvisations never once become stereotyped. The theme tune of "In Walked Horace" well illustrates Jay Jay’s musical background, which lies somewhere between Thelonious Monk, Bud Powell and Horace Silver.
On the reverse side of the LP cover, J. J. Johnson describes his feelings during the recording session: »Wow! What a pleasure!« And the listener will certainly go along with that for the whole length of the LP!
J.J. Johnson (trombone)
Clifford Jordan (tenor saxophone)
Freddy Hubbard (trumpet)
Cedar Walton (piano)
Arthur Harper (bass)
Albert Heath (drums)
Recording: August 1960 in New York
Production: Teo Macero
About Speakers Corner
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existant tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky“), but even in this particular case we used the analogue tapes for cutting.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects – excluding the exception above – and that the lacquer discs are newly cut.
2. Minor Mist
3. In Walked Horace
Two 1965 New York Concerts, Recorded At Judson Hall & Slugs'.
Features Lloyd With His Previously Unrecorded Quartet Of Gabor Szabo, Ron Carter, & Pete La Roca.
Audiophile Double 180-Gram Vinyl Pressed On 12" LPs At 331/3 RPM By Record Technology Incorporated (R.T.I.)
Hand-numbered Gatefold With Beautiful Four Panel Insert With Liner Notes By Stanley Crouch, Willard Jenkins, Don Heckman & Michael Cuscuna.
Mastered By Bernie Grundman.
In the words of a classic TV show, there are eight million stories in the Naked City. Resonance Records uncovers a pair of long-untold tales from New
York City's fabled jazz past on Manhattan Stories. These two performances capture the always-extraordinary
saxophonist and flutist Charles Lloyd in 1965, leading a remarkable and previously unrecorded quartet featuring three jazz giants: guitarist Gábor Szabó,
bassist Ron Carter and drummer Pete La Roca.
The story told by these two concerts is one of an already-distinctive voice at the outset of a now-legendary career. In 1965, when these sets were
recorded at the now-defunct venues Judson Hall and Slugs', Lloyd was fresh from his stint with drummer and bandleader Chico Hamilton, where he'd first
crossed paths with Szabó. Lloyd already had two albums to his name; both Carter and Szabó are heard on his second for Columbia, Of Course, Of
Course, from which two titles on these new dates are culled. Within a year he would form his groundbreaking quartet with Keith Jarrett, Cecil McBee and
Szabó himself was on the verge of cementing his name in the jazz canon, starting his acclaimed run of Impulse! releases the next year. Carter was
midway through his stint with the second great Miles Davis quintet, while La Roca had already worked with a host of names from the music's pantheon,
including John Coltrane, Sonny Rollins, Bill Evans and Joe Henderson.
"It was a specific time and place," Lloyd told Manhattan Stories annotator Don Heckman. "We all felt like the boundaries were being dissolved and we
could do or try anything. This is a music of freedom and wonder -- we were young and on the move."
Together, the band embarks on a series of adventurous excursions through pieces like Lloyd's classic "Sweet Georgia Bright" and "Dream Weaver" as
well as Szabó's "Lady Gabor," originally recorded by the Chico Hamilton Quintet. Nothing on either disc clocks in at under ten minutes, allowing every
member to stretch out and fully explore this mesmerizing material. Manhattan Stories showcases, with more than 80 minutes of music, a truly expressive
group interaction that remains otherwise undocumented.
"The first time I heard these recordings, I was blown away and knew immediately how special they were," says co-producer Zev Feldman. "This just might
be the holy grail for longtime Charles Lloyd fans like myself who think they've heard it all. No way. Not yet! There have been archival recordings released
over the years with the classic quartet featuring Jarrett and DeJohnette, but there's never been a release with this group before -- and not just a group, but
a group with four legendary masters. The music and spirit are very exciting. The interplay between Charles and Gábor alone is a testament to their
genius. It's a real gift for us to share this with the world."
The Judson Hall recording comes from the archives of Resonance founder George Klabin, whose trove has previously yielded treasures from Bill Evans
and Jimmy Giuffre. In fact, the first disc included here was recorded on a festival date shared with Giuffre that was released this year on the Elemental
Music label. The occasion was Charlotte Moorman's Avant Garde Festival of New York, produced by saxophonist and jazz critic Don Heckman, who
contributes an essay to Manhattan Stories.
Klabin, then a 19-year-old student at Columbia University, had recently been appointed head of the jazz department at university radio station WKCR-FM
and sought to present original recordings as part of his show. He recorded the Judson Hall show with up-close microphone placement techniques and
state-of-the-art engineering -- well ahead of 1965 standards. The Slugs' performances were recorded by Bjorn von Schlebrugge, who accompanied Lloyd
to his Manhattan gigs.
In 2009, Feldman brought Klabin's tapes to Lloyd's California home to play for the saxophonist, who raised the ante with his own recordings of the quartet.
Those tapes, which comprise LP 2, were made the same year at Slugs', which Feldman calls "one of the most important jazz shrines there ever was. I
wanted to celebrate the memory of that club as well." The release thus received not only Lloyd's blessings, but his wife, Dorothy Darr, signed on as co-producer.
For Record Store Day last 2014, Resonance offered a limited-edition pressing on orange, marble-colored 10-inch, 140-gram vinyl of Live at Slugs',
designed to be a collector's piece for fans and as a pre-release teaser of the full release to come. The 10-inch featured two cuts from Manhattan Stories.
Manhattan Stories features the pristine sound quality, extensive liner notes, and meticulously designed artwork that have become Resonance Records'
trademarks. In addition to Heckman's reminiscences, the set includes liner notes by Feldman, Willard Jenkins, Stanley Crouch, and renowned producer
Michael Cuscuna (who shares executive producer credit with Klabin on this project). The music, which was mixed at Resonance's Los Angeles studios,
will also be available as a 2-LP set pressed by audiophile-respected R.T.I. (Record Technology Inc.). It was mastered by Bernie Grundman.
"I was determined to build perhaps the most exciting package for Charles ever assembled for one of his releases," Feldman says. "I think we've
accomplished that in a way that truly celebrates this master." Manhattan Stories showcases stellar music in an ideal setting -- much as those two NYC
venues did on a pair of unjustly forgotten evenings nearly fifty years ago.
LP 1: Judson Hall
1. Sweet Georgia Bright
2. How Can I Tell You
3. Lady Gabor
LP 2: Slugs'
1. Slug's Blues
2. Lady Gabor
3. Dream Weaver
Volunteered Slavery is a classic Jazz album by multi-instrumentalist Roland Kirk, featuring his 1968 Newport Jazz Festival appearance and studio performances recorded in July 1969. It features performances by Kirk with Ron Burton, Vernon Martin, Jimmy Hopps and Joe Habao Texidor, Charles McGhee, Dick Griffith, Sonny Brown, Charles Crosby and the Roland Kirk Spirit Choir.
Rahsaan Roland Kirk could play more than one wind instrument at once. Apart from clarinets and flutes, his main instruments were tenor saxophone and two obscure saxophones: the stritch and the manzello. He modified these instruments himself to accommodate his simultaneous playing technique. He is also noted for his circular breathing technique and was reportedly able to sustain a note for over an hour.
At the time of recording Volunteered Slavery, Kirk was exploring ways in which to make Soul and R&B rub up against Jazz and come out sounding like party music. From the Bluesy title track, through the creative choir jam on "Spirits Up Above" to covers of "My Cherie Amour", "I Say A Little Prayer" and the Coltrane medley of "Afro Blue", "Lush Life" and "Bessie's Blues", Kirk sets it all in context. He proves that he is indeed the master of any music he plays because of his sense of harmony, rhythm, and melody.
1. Volunteered Slavery
2. Spirits Up Above
3. My Cherie Amour
4. Search For The Reason Why
5. I Say A Little Prayer
Roland’s Opening Remarks
1. One Ton
Ovation & Roland’s Remarks
2. A Tribute To John Coltrane
A. Lush Life
C. Bessie's Blues
3. Three For The Festival
Sing Me a Song of Songmy (subtitled "A Fantasy For Electromagnetic Tape") is a moving anti-war statement by Jazz trumpeter Freddie Hubbard and Turkish musician Ilhan Mimaroglu, released in 1971.
It was Hubbard's third album released on the Atlantic label and features performances by Hubbard, tenor saxophonist Junior Cook, pianist Kenny Barron, bassist Art Booth and drummer Louis Hayes. The album also features a chorus, strings, recitations of poems by Fazil Husnu Daglarca and other texts, organists and tape-based musique concrète. It is one of Hubbard's most experimental albums, boasting a variety of processed sounds emanating from tapes.
Ilhan Mimaroglu was a musician and electronic music composer. He was born in Istanbul, Turkey, and moved to the United States working as a producer for Atlantic Records, where he created his own record label, Finnadar Records, in 1971. He also was the producer for Charles Mingus' Changes One and Changes Two, as well as Federico Fellini's Satyricon.
A) Threnody For Sharon Tate
B) This Is Combat, I Know
C) The Crowd
D) What A Good Time For A Kent State
B) Black Soldier
C) Interlude I
D) Interlude II
E) And Yet, There Could Be Love
F ) Postlude
First Pressing Of 2500 Numbered Copies On A 'Kind Of Blue' Transparent Vinyl
Listed as one of the four most influential Jazz albums that happened to be released in 1959 (Dave Brubeck – Time Out & Charles Mingus – Ah Um among them), so much has been said and written about Miles Davis' Kind Of Blue, it's virtually impossible to summarize all the necessary info to the length of this page. We could simply list some facts (best sold Jazz album ever worldwide). We could try to explain why it's the best Jazz album ever made, but the music itself will do that to you.
As Bill Evans said in the original liner notes for the record, the band did not play through any of these pieces prior to recording. Miles Davis laid out the themes before the tape rolled and the band improvised. The end results were fragile and wondrous. Recorded during 2 sessions in 1959, Kind of Blue worked on many different levels and will do so for many years to come.
The first pressing of this remastered stereo version will be released as a limited edition of 2500 numbered copies on a 'kind of blue' transparent vinyl!
1. So What
2. Freddie Freeloader
3. Blue In Green
4. All Blues
5. Flamenco Sketches
Numbered Limited Edition Of 500 Copies Pressed On Audiophile Clear Vinyl
Ever since the end of World War II, the exchange of musical ideas between jazzmen of various nations has gained increasing incidence, particularly in Scandinavia. It was in Sweden that the first outstanding modern jazz soloists were contributed by Europe to the international discographies; and it was in Sweden that a number of happy unions took place between American and Swedish jazzmen, resulting in the production of such successful sessions as the two represented on this album.(...) Jazz Abroad indicates decisively that men like Quincy Jones, Roy Haynes and their confreres are musically at ease in the company of such distinguished Swedish contemporaries as are heard with them here. (...)
(from the original liner notes)
1. Pogo Stick
3. Jones Bones
4. Sometimes I'm Happy
5. Little Leona
6. Miss Mopsy
7. Gone Again
Part one of a three part series
Packaged in a beautiful 5-color gatefold jacket
printed on brown chip board
Includes extensive liner notes and interview
James Yancey, better known as J Dilla was born in
Detriot. His work as a producer has a defining role in
Hip Hop. He produced hits for A Tribe Called Quest, De
La Soul, Common, Erykah Badu and Janet Jackson. At
32 he passed away in Los Angeles in the care of his
mother, Maureen Ma Dukes Yancey of a lupus related
illness. Miguel Atwood-Ferguson pays tribute to Dilla by
interpreting his music for a 60-piece orchestra featuring
special guests Bilal, Dwele, Posdnuos, Talib Kweli,
Karriem Riggins and more. This premiere performance
left many in the sold out crowd in tears.
1. Morning Order
3. Le Yachting
1. Welcome 2 Detriot
3. Take Notice
4. Affolements Granitiques
5. Dont Nobody Care About Us
1. Hoc N Pucky
2. Stakes Is High
3. Fall In Love
When Medeski Scofield Martin & Wood joined forces again to record a new album, they sought common ground and inspiration in the intersection of improvisation and rhythms from the Afro-Latin diaspora. Their kinship both onstage and off has fostered an escalating degree of musical interplay, exquisitely captured on Juice – their third studio effort and fourth album overall. Vinyl edition is on heavy 180g and features 2 bonus tracks.
1. Sham Time
2. North London
3. Louis the Shoplifter
4. Juicy Lucy
5. I Know You
1. Light My Fire
2. Sunshine of Your Love
4. Brigas Nunca Mais
5. Timmy Bobbins
6. The Times They Are a-Changin'
A uniformly brilliant effort from cool-toned trumpeter Chet Baker in his first ever appearance as a leader for the New York-based label Riverside Records,
…In New York is the epitome of West Coast cool meets East Coast sensibility. Teaming up with pianist Al Haig, tenor saxophonist Johnny Griffin, bassist
Paul Chambers, and drummer Philly Joe Jones, Baker’s laid-back mastery is on full display throughout this historic session.
Marked by an uncanny group unity, which gives rise to many outstanding supporting solos, the tracks captured on …In New York alternatingly effervesce
with a California-cool introspection (“Polka Dots And Moonbeams”) and percolate with driving intensity (“Hotel 49”). An excellent survey of Baker’s style
and prowess as a leader, Chet Baker In New York is highly recommended as THE album to own for anyone curious about diving in to his illustrious
1. Fair Weather
2. Polka Dots And Moonbeams
3. Hotel 49
5. Blue Thoughts
6. When Lights Are Low
You Must Believe In Spring is an album by jazz pianist Bill Evans recorded in August 1977. This well-rounded set features the highly influential pianist Bill Evans in a set of typically sensitive trio performances. With his longtime bassist Eddie Gomez and his drummer of the period, Eliot Zigmund, Evans explores such songs as "We Will Meet Again," Jimmy Rowles's classic "The Peacocks" and the "Theme from M*A*S*H." It's a solid example of the great pianist's artistry.
In Evans' hands, melodies and time signatures are often more whispered, more shadowed, than stated, as in the opening "B Minor Waltz (For Ellaine)" and the somber, reflective title track, which blossoms, after Gomez' mid-song solo. Evans boasted such a unique, unmistakable touch—emotional and beautiful and even soft, but never sweet. As a rule, Evans could pick up the program from an elementary school chorus festival and play it inventively and beautifully. This set is no exception.
1. B Minor Waltz (For Ellaine)
2. You Must Believe In Spring
3. Gary's Theme
4. We Will Meet Again (For Harry)
5. The Peacocks
6. Sometime Ago
7. Theme From M*A*S*H
First ever LP issued includes the full history about Don Cherry and his legendary recordings from the Museum of Modern Art, Stockholm, January 16, 1977. The album MODERN ART is basically something very unique, a kind of “Hear And Now” unplugged concert recorded at the Museum of Modern Art in Stockholm. It is unclear if any other recordings from the ”Hear And Now” era survived. If not, then this album is a once-in-the-life opportunity to experience. Everyone who has heard ”Modern Art” says: -Don Cherry at his very best!
About the musicians:
DON CHERRY made musical history from the very beginning of his career, with Ornette Coleman Quartet in the early sixties. Don Cherry has also performed and recorded with John Coltrane, Sonny Rollins, Archie Shepp, Pharoah Sanders, Albert Ayler, Gato Barbieri, Dollar Brand/ Abdullah Ibrahim, Sun Ra, Steve Lacy, Carla Bley, Charlie Haden, Herbie Hancock, Sarah Vaughan, George Russell, Charlie Rouse,Peter Brötzmann, Allen Ginsberg Lou Reed, Steve Hillage among many others.
TOMMY KOVERHULT (flute) Famous for his work with Bernt Rosengren, Monica Zetterlund, Eje Thelin and the Turkish-Swedish group Sevda (featuring Maffy Falay and Okay Temiz)
GEORG WADENIUS (electric & acoustic guitar) was a pioneering Swedish fusion guitarist in bands like Made In Sweden, Solar Plexus, Blood, Sweat and Tears, Roberta Flack, Luther Vandross, Joe Henderson, Aretha Franklin, Simon & Garfunkel, Dionne Warwick, Diana Ross, George Benson, Steely Dan and many others.
TORBJÖRN HULTCRANTZ (double-bass) Famous for his work with Bernt Rosengren, He played on Albert Ayler´s first recordings, and on albums with Stan Getz, Dexter Gordon, Bud Powell and Mongezi Feza.
BRONISLAW SUCHANEK (double-bass ) Famous for his work with Tomasz Stanko, Krzysztof Komeda, George Russell and the Okay Temiz-led group Oriental Wind,
MONIKA “MOKI” KARLSSON-CHERRY (tamboura) was Don Cherry´s wife, spiritual companion and artistic collaborator.
PETER EK (tablas) Famous for his work with Archimedes Badkar
PER TJERNBERG (percussion) Famous for his work with with Dr John, The Wailers, Dag Vag, The Swedish Radio Jazz Orchestra.Recently he has worked with percussionists Franklin Kiermyer and Adam Rudolph, among others.
2. Words Can Not Explain
3. Universal Mother
4. Que Faser
5. Eagle Eye
7. Karmapa Chenno
8. Mahakali (Excerpt)
9. Marimba, Goddess Of Music