John Coltrane Vinyl Records

Right from the very first hearing, absolutely every single jazzcritic shared the same opinion – whether trained musicians or not, true or would-be jazz expert: “A Love Supreme” is John Coltrane’s most important recording. And the rave reviews which appeared in the magazines Downbeat, Jazz Hot, Jazz Podium and Swingjournal reflected this: critics all over the world, in America, Europe and Japan recognized that Coltrane’s deep religious belief had influenced both his approach to life and his music-making. It not only enabled him to express himself with great intensity but also lent him the necessary inner peace to conceive a work of almost 40 minutes in length and to lead his quartet along the same path as himself.

The first section, entitled “Acknowledgement”, has a forceful bass line which runs throughout the whole work. The powerful sound increases in intensity, whereby the bass motif undergoes constant modulation, with John Coltrane’s meditative singing creating immense tension.

In “Resolution” Coltrane’s powerful, quasi hymnlike expression comes to the fore, with McCoy Tyner achieving equal intensity in his solo. “Pursuance”, with its density, quick-as-lightning runs and block chords, gives us a taste of John Coltrane’s later ‘free’ phase. “Psalm” is filled with the famous, almost static melodies rather like a fervent prayer which are so typical for John Coltrane. “A Love Supreme” has been a faithful companion and teacher of generations of saxophonists and its message goes way beyond Music and is still valid today.

Musicians:
John Coltrane (tenor saxophone)
McCoy Tyner (piano)
Jimmy Garrison (bass)
Elvin Jones (drums)

Recording: December 1964 in New York City by Rudy Van Gelder
Production: Bob Thiele

Right from the very first hearing, absolutely every single jazzcritic shared the same opinion – whether trained musicians or not, true or would-be jazz expert: “A Love Supreme” is John Coltrane’s most important recording. And the rave reviews which appeared in the magazines Downbeat, Jazz Hot, Jazz Podium and Swingjournal reflected this: critics all over the world, in America, Europe and Japan recognized that Coltrane’s deep religious belief had influenced both his approach to life and his music-making. It not only enabled him to express himself with great intensity but also lent him the necessary inner peace to conceive a work of almost 40 minutes in length and to lead his quartet along the same path as himself.

The first section, entitled “Acknowledgement”, has a forceful bass line which runs throughout the whole work. The powerful sound increases in intensity, whereby the bass motif undergoes constant modulation, with John Coltrane’s meditative singing creating immense tension.

In “Resolution” Coltrane’s powerful, quasi hymnlike expression comes to the fore, with McCoy Tyner achieving equal intensity in his solo. “Pursuance”, with its density, quick-as-lightning runs and block chords, gives us a taste of John Coltrane’s later ‘free’ phase. “Psalm” is filled with the famous, almost static melodies rather like a fervent prayer which are so typical for John Coltrane. “A Love Supreme” has been a faithful companion and teacher of generations of saxophonists and its message goes way beyond Music and is still valid today, in 2001, the year in which John Coltrane would have celebrated his 75th birthday.

Musicians:

• John Coltrane (tenor saxophone)
• McCoy Tyner (piano)
• Jimmy Garrison (bass)
• Elvin Jones (drums)

Recording: December 1964 in New York City by Rudy Van Gelder
Production: Bob Thiele

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.

Coltrane's 1961 album for the fledgling Impulse! label explores African rhythms along with some of the most unusual instrumentation in jazz (his classic quartet is backed here by a 15-piece brass band)! This expanded reissue also features Cal Massey's "The Damned Don't Cry" and "Song Of The Underground Railroad", both recorded during the original sessions but not included on the album.

Bonus CD features an alternate version of "Africa" as well as Coltrane's own, far superior, arrangement for "Greensleeves".

Hearing is believing!

Track Listing:
1. Africa
2. The Damned Don't Cry
3. Greensleeves
4. Blues Minor
5. Song Of The Underground Railroad

Among the many albums which John Coltrane recorded for Impulse, "Africa / Brass" – along with "A Love Supreme" (AS-77) – is probably one of his most important. One reason is that on the present album he deviates from a normal quartet formation and employs trumpets, four cor anglais (english horns), baritone sax, two euphoniums and a tuba. This instrumental combination produces a thick carpet of sound above which soar his improvisations on the tenor saxophone. Between the two layers of sound is a continuous African rhythm, provided by the two bass players Art Davis and Reggie Workman who complement one another wonderfully. Apart from John Coltrane, only the pianist McCoy Tyner performs solo interludes.

In the number entitled "Greensleeves" Coltrane takes up the soprano saxophone and an impressive solo at the end of the folkloric theme demonstrates that even a popular song can be made to swing. Like the other two pieces, "Blues In Minor" was arranged for orchestra by Eric Dolphy; it is a thrilling, fast piece in which McCoy Tyner shines alongside Coltrane. The use of two basses is fundamental to the African rhythm of the album while the low brass instruments deliver the 'atmosphere' which is why the album is appropriately entitled "Africa / Brass". As to the studio and recording technique, the name Rudy Van Gelder says it all. The quality of LP pressings made between 1965 and 1980 was often extremely poor, but rest assured that this album, made in 2006 of new vinyl, is truly top quality.

Musicians:

• John Coltrane (tenor saxophone)
• Freddie Hubbard (trumpet)
• Eric Dolphy (alto saxophone, flute, bass-clarinet)
• McCoy Tyner (piano)
• Art Davis, Reggie Workman (bass)
• Elvin Jones (drums)

Recording: May and June 1961 at Rudy Van Gelder Studios, Englewood Cliffs, N.J., USA
Production: Bob Thiele

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.

180 gram Vinyl 2LP Gatefold Edition of the Critically Acclaimed album, plus Coltrane Jazz BONUS album!

Track Listing:
LP1 - Africa/Brass
1. Africa
2. Greensleeves
3. Blues Minor

LP2 - Coltrane Jazz
1. Little Old Lady
2. Village Blues
3. My Shining Hour
4. Fifth House
5. Harmonique
6. Like Sonny
7. I'll Wait And Pray
8. Some Other Blues

Some groups have existed only in the recording studio but have produced music of lasting value.

This quintet, under pianist Red Garland's leadership, actually did play some gigs around New York in the fall of 1957, but even if it hadn't, the rapport in the studio would still have been powerful. Beginning with the association of Garland and sax master John Coltrane in the Miles Davis Quintet and continuing with Arthur Taylor's trio connection with Garland, and trumpeter Donald Byrd's having worked with all of them in one form or another, there was enough of a common spirit in the musical attitudes of all the participants. The title blues spans an entire side; the overleaf is shared by Gershwin's "They Can't Take That Away from Me" and Dameron's "Our Delight."

This title is not eligible for any discounts.

Track Listing:
1. All Mornin' Long
2. They Can't Take That Away From Me
3. Our Delight

Musicians:
Milt Jackson — vibraphone
John Coltrane — tenor saxophone
Hank Jones — piano
Paul Chambers — bass
Connie Kay — drums


Track Listing:
1. Bags & Trane
2. Three Little Words
3. The Night We Called It A Day
4. Be-Bop
5. The Late Late Blues

Musicians:
Milt Jackson — vibraphone
John Coltrane — tenor saxophone
Hank Jones — piano
Paul Chambers — bass
Connie Kay — drums


Track Listing:
1. Bags & Trane
2. Three Little Words
3. The Night We Called It A Day
4. Be-Bop
5. The Late Late Blues

Featuring Pianist Hank Jones, Bassist Paul Chambers, and Drummer Connie Kay

It’s a shame more classic hard-boppers weren’t unified for multiple collaborations. Vibraphonist Milt Jackson and saxophone virtuoso John Coltrane recorded just once together, and this 1959 date makes one wish they reunited for several return engagements. Lighthearted, upbeat, and joyously fluid, Bags & Trane plays like a private after-hours session of friends hanging back and toying with the music.

In collaborating with pianist Hank Jones, bassist Paul Chambers, and drummer Connie Kay, the headliners go for broke, expanding the parameters of two Jackson originals as well as three standards, including Dizzy Gillespie's "Be-Bop" and the staple "The Night We Called It a Day." Upbeat tempos and spirited interplay pulses throughout.

Mastered from the original master tapes, ORG Music's reissue presents this heralded release in exacting sound, with the instruments given full range and true-to-life imaging that takes you right into New York City's Atlantic Recording Studios when the pieces were recorded in January 1959. What a delight!

Track Listing:
1. Bags & Trane
2. Three Little Words
3. The Night We Called It a Day
4. Be-Bop
5. The Late Blues

These eight ballads made people stop and listen with real pleasure. "Have you heard him? He can blow the notes properly, the pianist knows all the harmonies, and the drummer does far more than just bash!" These words were to be heard and read everywhere, in the specialist magazines, and in the jazz clubs from New York to Tokyo. All the themes are taken from the American Songbook, from musicals, and well-known numbers performed by Frank Sinatra, Johnny Mathis, Ella Fitzgerald and Peggy Lee among others. All of them have been performed time and time again and although the musicians played the themes for the very first time at the recording session, their interpretation was well structured while at the same time fresh and intense. With the exception of just one number, all the titles were a complete success at the very first take; but that is not merely that which underlines the high musical standard of the quartet. Fans and critics alike have continued to hold this early Impulse production in high esteem to this very day, which is certainly due to the producer Bob Thiele. But a great part of the album’s success is also due to the excellent work of the recording engineer Rudy Van Gelder, who has captured the intimate atmosphere with his microphones.

Musicians:

• John Coltrane (tenor saxophone)
• McCoy Tyner (piano)
• Jimmy Garrison (bass)
• Elvin Jones (drums)

Recording: December 1961, September and November 1962 at Englewood Cliffs, NJ, by Rudy Van Gelder
Production: Bob Thiele

Bernie Grundman Mastering recently upgraded his LP mastering and cutting system prior to starting work on the ORG LP reissues. These upgrades, together with the plating and pressing from Pallas Germany, will give the ORG LPs a sound never experienced before.

Bernie Grundman's Updated Mastering System:
• New customized dual mono power supplies
• New tape pre-amplifier: an upgraded hybrid design with single-ended in-out that is specifically triode on the input for the gain and EQ and feeds into a discreet solid state circuit that drives the output
• Brand new tape heads for the Studer playback tape machine including a complete hardwire with Cardas cables
• The power supplies on tube cutter amps have been updated and rewired with Cardas cable on the head leads and feedback
• The Studer in Bernie's cutting room is essentially transport only i.e. it is used for the superb stability of its mechanical parts. All the electronics (from the tape heads through to the cutting head on the lathe) have now been totally customized and hard-wired point to point
• The tube cutting amps used for the ORG LP reissues have just been re-tubed with ex-US military grade tubes from Sylvania

A giant of modern jazz, John Coltrane played in Dizzy Gillespie's orchestra, with Eddie Vinson's band and most notably with Miles Davis. He inspired and influenced many younger musicians with his distinctive and often adventurous playing. This quartet was formed in 1961.

When John Coltrane was asked, Why a ballads album?, he said Variety. Meaning a change of pace. And perhaps he wanted to apprise those who haven't discovered that he can be lyrical. John played the tunes straight, in the in-choruses, unless you count his lovely phrase endings as deviations from melody. When the development occurred, he made his musical points quickly and succinctly. I'd never heard him play this tightly. - Gene Lee (liner notes for Ballads)

Musicians:
John Coltrane, tenor & soprano saxophone
McCoy Tyner, piano
Jimmy Garrison, bass
Elvin Jones, drums

This title is not eligible for discount.

*Bonus Track

These eight ballads made people stop and listen with real pleasure. "Have you heard him? He can blow the notes properly, the pianist knows all the harmonies, and the drummer does far more than just bash!" These words were to be heard and read everywhere, in the specialist magazines, and in the jazz clubs from New York to Tokyo. All the themes are taken from the American Songbook, from musicals, and well-known numbers performed by Frank Sinatra, Johnny Mathis, Ella Fitzgerald and Peggy Lee among others. All of them have been performed time and time again and although the musicians played the themes for the very first time at the recording session, their interpretation was well structured while at the same time fresh and intense. With the exception of just one number, all the titles were a complete success at the very first take; but that is not merely that which underlines the high musical standard of the quartet. Fans and critics alike have continued to hold this early Impulse production in high esteem to this very day, which is certainly due to the producer Bob Thiele. But a great part of the album’s success is also due to the excellent work of the recording engineer Rudy Van Gelder, who has captured the intimate atmosphere with his microphones.

Musicians:

• John Coltrane (tenor saxophone)
• McCoy Tyner (piano)
• Jimmy Garrison (bass)
• Elvin Jones (drums)

Recording: December 1961, September and November 1962 at Englewood Cliffs, NJ, by Rudy Van Gelder
Production: Bob Thiele

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.

Musicians:
John Coltrane – tenor saxophone, bandleader
Lee Morgan – trumpet
Curtis Fuller – trombone
Kenny Drew – piano
Paul Chambers – double bass
Philly Joe Jones – drums


Track Listing:
1. Blue Train
2. Moment's Notice
3. Locomotion
4. I'm Old Fashioned
5. Lazy Bird

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

This title is not eligible for discount.

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

Musicians:
John Coltrane – tenor saxophone, bandleader
Lee Morgan – trumpet
Curtis Fuller – trombone
Kenny Drew – piano
Paul Chambers – double bass
Philly Joe Jones – drums


Track Listing:
1. Blue Train
2. Moments Notice
3. Locomotion
4. Im Old Fashioned
5. Lazy Bird

John Coltrane – tenor saxophone, bandleader
Lee Morgan – trumpet
Curtis Fuller – trombone
Kenny Drew – piano
Paul Chambers – double bass
Philly Joe Jones – drums


Track Listing:
1. Blue Train
2. Moment's Notice
3. East Bound (Extra Track)
4. Locomotion
5. I'm Old Fashioned
6. Lazy Bird

This special 2LP Gatefold Edition of the jazz masterpiece features both mono and stereo versions.

Blue Train is a hard bop jazz album by John Coltrane, released in 1957 on Blue Note Records, catalogue BLP 1577. Recorded at the Van Gelder Studio in Hackensack, New Jersey, it is Coltrane's second solo album, the only one he recorded for Blue Note as a leader, and the only one he conceived personally for the label. It has been certified a gold record by the RIAA. Arguably one of the most influential titles from Coltrane and one of the greatest Blue Note releases ever.

John Coltrane – tenor saxophone, bandleader
Lee Morgan – trumpet
Curtis Fuller – trombone
Kenny Drew – piano
Paul Chambers – double bass
Philly Joe Jones – drums


Track Listing:
LP 1 – MONO VERSION
1. Blue Train
2. Moment’s Notice
3. Locomotion
4. I’m Old Fashioned
5. Lazy Bird

LP 2 – STEREO VERSION
1. Blue Train
2. Moment’s Notice
3. Locomotion
4. I’m Old Fashioned
5. Lazy Bird

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

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

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

This Impulse Reissue Series vinyl features Audiophile Remastering, 180 gram Virgin Vinyl, Original Liner notes and deluxe gatefold packaging.

Musicians:
John Coltrane, trumpet
Elvin Jones, drums
Jimmy Garrison, bass
McCoy Tyner, piano

This title is not eligible for discount.

Track Listing:
1. Bakai
2. Violets For Your Furs
3. Time Was
4. Straight Street
5. While My Lady Sleeps
6. Chronic Blues

Track Listing:
1. Bakai
2. Violets For Your Furs
3. Time Was
4. Straight Street
5. While My Lady Sleeps
6. Chronic Blues

Musicians:
John Coltrane — tenor saxophone
Wynton Kelly — piano
Paul Chambers — bass
Jimmy Cobb — drums
McCoy Tyner — piano on "Village Blues"
Steve Davis — bass on "Village Blues"
Elvin Jones — drums on "Village Blues"
Cedar Walton — piano on "Like Sonny" alternate versions
Lex Humphries — drums on "Like Sonny" alternate versions

The first album to hit the shelves after Giant Steps, Coltrane Jazz was largely recorded in late 1959, although one of the eight songs ("Village Blues") was done in late 1960. On everything save the aforementioned "Village Blues," Coltrane used the Miles Davis rhythm section of pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb. While not the groundbreaker that Giant Steps was, Coltrane Jazz was a good consolidation of his gains as he prepared to launch into his peak years of the 1960s. There are three standards aboard, but the group reaches their peak on Coltrane's original material, particularly "Harmonique" with its melodic leaps and upper-register saxophone strains and the winding, slightly Eastern-flavored principal riffs of "Like Sonny," dedicated to Sonny Rollins. The moody "Village Blues" features the lineup of McCoy Tyner on piano, Elvin Jones on drums, and Steve Davis on bass; with the substitution of Jimmy Garrison on bass, that personnel would play on Coltrane's most influential and beloved 1960s albums.

Musicians:
John Coltrane — tenor saxophone
Wynton Kelly — piano
Paul Chambers — bass
Jimmy Cobb — drums
McCoy Tyner — piano on "Village Blues"
Steve Davis — bass on "Village Blues"
Elvin Jones — drums on "Village Blues"
Cedar Walton — piano on "Like Sonny" alternate versions
Lex Humphries — drums on "Like Sonny" alternate versions

Recorded on 24 October 1960 in NYC, Coltrane Plays The Blues is perhaps a misleading title for this album as Coltrane is not so much playing the blues as bringing the feeling of blues into the idiom of jazz. This memorable album, featuring McCoy Tyner on piano, Elvin Jones on drums and Steve Davis on bass, hails from Coltranes first period as leader of his own quartet, and finds Coltrane playing then highly unusual soprano sax on two numbersBlues To Bechet, a pianoless tribute to the great Sydney Bechet, and Mr. Syms, where McCoy Tyner is given the opportunity to really show his stuff, which he does masterfully. Includes Exotica (also recorded during this session) as a bonus track + 4 more bonus alternate tracks on the CD.

Track Listing:
LP
1. Blues To Elvin
2. Blues To Bechet
3. Blues To You
4. Mr. Day
5. Mr. Syms
6. Mr. Knight
7. Exotica (bonus track)

CD (stereo)
1. Blues To Elvin (Take One)
2. Blues To Elvin (Take Two - bonus track)
3. Blues To Elvin (Take Three bonus track)
4. Blues To Bechet
5. Blues To You (Take One)
6. Blues To You (Take Two bonus track)
7. Blues To Yo (Take Three bonus track)
8. Mr. Day
9. Mr. Syms
10. Mr. Knight
11. Exotica (bonus track)

Side Two

1. Body and Soul
2. Equinox
3. Satellite

Side Two

1. Body and Soul
2. Equinox
3. Satellite

This title is not eligible for discount.

Track Listing:
1. Crescent
2. Wise One
3. Bessie's Blues
4. Lonnie's Lament
5. The Drum Thing

*Bonus Track

This title is not eligible for discount.

Track Listing:
1. In a Sentimental Mood
2. Take the Coltrane
3. Big Nick
4. Stevie
5. My Little Brown Book
6. Angelica
7. The Feeling of Jazz

Includes Bonus Track

Duke Ellington & John Coltrane is a jazz album by Duke Ellington and John Coltrane recorded on September 26, 1962 and released in February 1963 on Impulse! Records.

For Ellington, it was one of many collaborations with fellow jazz-greats in the early 1960s, including Count Basie, Louis Armstrong, Coleman Hawkins, Max Roach and Charles Mingus. More unusually, it placed him in a jazz quartet setting (in this case, saxophone, piano, bass and drums), rather than his usual one in a big band.

For Coltrane, it was an opportunity to work with one of jazz's all-time greats. It was one of several albums he recorded in the early 1960s in a more conservative and accessible style, alongside John Coltrane and Johnny Hartman and Ballads. Despite their differences in background, style and age (Ellington was 63 and Coltrane 36 when the tracks were recorded), it has been said that the two interacted seamlessly and subtly, neither one outshining the other.

The quartet was filled out by the bassist and drummer from either of their bands. The tracks they recorded featured Ellington standards ("In a Sentimental Mood"), new Ellington compositions and a new Coltrane composition ("Big Nick").

Coltrane felt very honoured to work with Ellington: "I was really honoured to have the opportunity of working with Duke. It was a wonderful experience. He has set standards I haven't caught up with yet. I would have liked to have worked over all those numbers again, but then I guess the performances wouldn't have had the same spontaneity. And they mightn't have been any better!"

Track Listing:
1. In A Sentimental Mood
2. Take The Coltrane
3. Big Nick
4. Stevie
5. My Little Brown Book
6. Angelica
7. The Feeling Of Jazz
8. I Got It Bad and That Ain't Good*

*Bonus Track

Import

Giant Steps was recorded in 1959 by John Coltrane. This was the first album where all songs recorded were original compositions of Coltrane. The album showcases Coltrane's masterful improvisational style that is now known as "sheets of sound". Giant Steps is often used as a practice piece because of its chord progression, and is seen by jazz musicians as the standard for modern jazz, also being used as a gauge of measuring a musician's improvisational skill. Soon after the release of Giant Steps, Coltrane ventured into modal jazz, so this album is often viewed as his farewell to bebop.

Track Listing:
1. Giant Steps
2. Cousin Mary
3. Countdown
4. Spiral
5. Syeeda's Song Flute
6. Naima
7. Mr. P.C. (Mr Paul Chambers)

Giant Steps was recorded in 1959 by John Coltrane. This was the first album where all songs recorded were original compositions of Coltrane. The album showcases Coltrane's masterful improvisational style that is now known as "sheets of sound". Giant Steps is often used as a practice piece because of its chord progression, and is seen by jazz musicians as the standard for modern jazz, also being used as a gauge of measuring a musician's improvisational skill. Soon after the release of Giant Steps, Coltrane ventured into modal jazz, so this album is often viewed as his farewell to bebop.

Track Listing:
1. Giant Steps
2. Cousin Mary
3. Countdown
4. Spiral
5. Syeeda's Song Flute
6. Naima
7. Mr. P.C.

Giant Steps was recorded in 1959 by John Coltrane. This was the first album where all songs recorded were original compositions of Coltrane. The album showcases Coltrane's masterful improvisational style that is now known as "sheets of sound". Giant Steps is often used as a practice piece because of its chord progression, and is seen by jazz musicians as the standard for modern jazz, also being used as a gauge of measuring a musician's improvisational skill. Soon after the release of Giant Steps, Coltrane ventured into modal jazz, so this album is often viewed as his farewell to bebop.

Track Listing:
1. Giant Steps
2. Cousin Mary
3. Countdown
4. Spiral
5. Syeeda's Song Flute
6. Naima
7. Mr. P.C.

Atlantic is one of the most revered jazz labels and Rhino is proud to honor their 50th anniversary with a series of deluxe reissues of five historic and essential jazz albums. Each reissue contains the original record as released in state-of-the-art remastering from the original tapes in packaging that reproduces the original LP cover. The upgrade in quality makes these reissues required listening for all serious music fans and great primers for beginners.

Originally released in January of 1960, Giant Steps was John Coltrane's first album devoted entirely to his own compositions and it confirmed his towering command of the tenor saxophone and his emerging power as a composer.

Track Listing:
1. Giant Steps
2. Cousin Mary
3. Countdown
4. Spiral
5. Syeeda's Song Flute
6. Naima
7. Mr. P.C.

Released on the Impulse label in a gatefold sleeve, "Impressions" is John Coltrane’s seventh album, which brings together recordings made between 1961 and 1963. The two live numbers "India" and "Impressions", recorded during »evenings in Hell« (as Rudy Van Gelder called the smoke-filled Village Vanguard), are the highpoints of the LP. Although he only had a mixing console and a tape recorder placed on two tables next to the stage, Van Gelder managed to make full-bodied, intensive recordings of the quintet. Dolphy plays the bass clarinet in "India" and the alto saxophone in "Impressions"; the result is a new sound colouring, which demands that Coltrane perform with even greater expression. The ballad "After The Rain" has Roy Haynes on the drums and is one of these unmistakable hymn-like solo excursions which became a trademark of John Coltrane in his middle period.

Unfortunately this LP was never really given its due because it doesn’t seem to come together as a whole like other Coltrane albums. All the same, it certainly belongs in every collection – and not just because it contains two important numbers from that memorable week in November in the Village Vanguard.

Musicians:

• John Coltrane (soprano saxophone, tenor saxophone)
• Eric Dolphy (alto saxophone, bass clarinet)
• McCoy Tyner (piano)
• Jimmy Garrison, Reggie Workman (bass)
• Elvin Jones, Roy Haynes (drums)

November 1961 live at the Village Vanguard, New York City / September 1962 and April 1963 at Rudy Van Gelder Studios, Englewood Cliffs, N.J., USA, by Rudy Van Gelder
Production: Bob Thiele

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.

The album has become an instant jazz classic, and the renditions of "Lush Life", "My One and Only Love", and "They Say It's Wonderful" are considered definitive.

Recorded March 7, 1963. Produced by Bob Thiele, Engineered by Rudy Van Gelder.

"Rudy Van Gelder recorded both sets [ORGLP 17 John Coltrane & Johnny Hartman & ORGLP 27 Johnny Hartman / I Just Dropped By To Say Hello], and they display Hartman's voice amidst a mildly reverberant soundfield, which the 45rpm format exposes to its very limits. Piano is captured particularly well, preserving its timbre and delicate ambience. The 180-gram LPs, pressed at Pallas in Germany, are exceptionally quiet, exposing the texture of Hartman's voice and delicate dynamic gradations of Coltrane's achingly beautiful playing all the better." - Marc Mickelson, www.theaudiobeat.com, Music 5/5, Sound 4/5

"Rudy Van Gelders recording is sympathetic to the musical setting, with Hartman center stage, looming large and just kissed with reverb. Even Tyners piano sounds clean and well-textured, while Coltrane and Jones share a channel, with the tenor sax upfront and the drums pushed appropriately behind." - Michael Fremer, www.musicangle.com, Music 10, Sound 9

This title is not eligible for discount.

Track Listing:
1. They Say It's Wonderful
2. Dedicated To You
3. My One And Only Love
4. Lush Life
5. You Are Too Beautiful
6. Autumn Serenade

Coltrane and Hartman had known each other since their days playing with Dizzy Gillespie's band in the late 1940s, and Hartman is the only vocalist with whom the saxophonist would record as a leader. With McCoy Tyner on piano and Elvin Jones on drums, the songs of this album were recorded during a single session in Rudy Van Gelder's Englewood studios on March 7, 1963.

This recording also features "Lush Life", a last minute addition to the session after they heard Nat King Cole's rendition on the car radio on their way to the studio.

This version would become the definitive one, and it still sounds as poignant and piquant as it did forty years ago.

Track Listing:
1. They Say It's Wonderful
2. Dedicated To You
3. My One And Only Love
4. Lush Life
5. You Are Too Beautiful
6. Autumn

No Other Complete Session By The Classic Quartet Has Survived

Jazz is largely a collaborative art. Louis Armstrong with the Hot Fives, Basie with the All-American Rhythm Section, Davis with the Original Quintet with Coltrane and Philly Joe Jones-the music has been defined not just by the leader, but also by the caliber of the musicians in his group. For Coltrane the Classic Quartet was the foundation for masterpieces like Sun Ship that reshaped jazz of the sixties and seventies. "It's a funny thing", Tyner noted in a 1978 interview. "The John Coltrane Quartet was actually four elements. We had one guy who led the whole team, but it was really a compounding of personalities, like four personalities contributing."

The Classic Quartet mirrors Coltrane, whose deep roots in the mainstream of jazz supported branches reaching far above his contemporaries. They created a unique sound, an instantly recognizable approach that transcended their standard jazz "combo' format. They were capable of near-telepathic interaction and split-second reactions that freed the music to surpass the predictable. "With John we could come in, he would give us two notes and we could play a whole composition on two notes," Tyner recalled in that interview. "Sometimes he wouldn't bring in a tune, he'd bring in a scale, and we'd play the scale and everything would be right there. We were familiar with each other, the musicianship was high."

"When you're a part of something like that", Tyner went on, "you can't really ascertain how strong it is. We knew that we were doing something different, that it was fresh, timely. We knew that it had come from something that had happened before. At the same time, you're swept up in that force-you're not cognizant of how different it is. When something is good, timely, it has lasting quality." The strength of that force, the depth of that quality, is clearly evident in the Sun Ship session. And these last sessions offer fascinating documentation of the Classic Quartet evolving to keep pace with the growing changes in Coltrane's approach to the music. Only two more Quartet recordings would follow, First Meditations a week later and a single version of "Joy" from September 22.

..."Alternate takes", "previously unissued", "newly discovered"--these phrases are magic for jazz aficionados. Jazz prizes change, creativity and innovation. Its masters rarely play anything the same way twice, and alternate takes--complete or incomplete recordings from a recording session which were not initially selected for release-let us hear music we know well as if performed for the first time.

When the alternate takes belong to an artist of the stature of John Coltrane, the pleasure of rediscovery is that much greater. Nearly a half-century after his death Coltrane continues to influence and inspire jazz musicians and listeners alike. He changed the music like few before him (and perhaps no one since), yet his career was regrettably short-essentially a dozen years. While the output from that career is not inconsiderable, it is obviously finite, making such alternate takes that much more valuable.

Sun Ship, recorded August 26, 1965, captures one of the last sessions by the Classic John Coltrane Quartet (Coltrane, pianist McCoy Tyner, bassist Jimmy Garrison and drummer Elvin Jones). It comes at the culmination of a year in which Coltrane arguably reached his creative peak, a year rich in such masterworks. The Sun Ship album, though, was not issued until 1971, one of several Coltrane albums issued by Impulse Records after his death. And Sun Ship was, like many jazz albums, the product of editing between takes, a process overseen by John's widow Alice.

This Complete Sun Ship Session edition is much more: sourced from newly discovered original reels, the set includes the album's five original compositions, unedited, in sequence of recording, with all of the takes as they evolved, as well as the surrounding conversations. More than just a sampling of a few alternate takes, the Complete Session offers a rare opportunity to eavesdrop on an iconic master at work. - David Wild, liner notes

John Coltrane's "Sun Ship" session was recorded at the RCA Recording studio on 24th Street by engineer Bob Simpson who also did superb work with Sonny Rollins, Charles Mingus, Albert Ayler and others. The original three-track masters with the tenor sax on one track, the piano and bass on another and the drums on the third track were recently discovered, enabling the complete session to be released for the first time. Kevin Reeves recently remixed the entire session with great sonic results, improving greatly on the original LP mix. Mosaic has remastered them and pressed them on 180-gram vinyl at the renowned Record Technology Inc. plant in Camarillo, California.

This 3 LP set is a Mosaic Records release.

Track Listing:
LP1
1. Dearly Beloved Takes 1 & 2, false start and alternate version
2. Dearly Beloved Take 3, breakdown
3. Dearly Beloved Take 4, released version
4. Attaining Take 1, alternate version
5. Attaining Take 2, breakdown

LP2
1. Attaining Take 3, complete version
2. Attaining Take 4, insert 1
3. Sun Ship Take 1, breakdown
4. Sun Ship Take 2, complete alternate version
5. Sun Ship Take 3, insert 1
6. Sun Ship Take 4, released version
7. Studio conversation
8. Ascent Take 1, released version

LP3
1. Ascent Take 2, incomplete version
2. Ascent Take 3, false starts, incomplete version
3. Ascent Takes 4-6, inserts/false starts
4. Ascent Take 7, complete insert 4
5. Ascent Take 8, complete insert 5
6. Amen Take 1, alternate version
7. Amen Take 2, released version

Originally released on the Impulse! label in 1963, Live At Birdland finds jazz legend John Coltrane in a fine-tuned quartet with McCoy Tyner (piano), Jimmy Garrison (bass) and Elvin Jones (drums). One of 'Trane's best all-around offerings, the set features three tracks recorded live at the landmark jazz club Birdland ("Afro Blue," "I Want To Talk About You," and "The Promise" ) and two cuts recorded at Van Gelder Studios ("Alabama," "Your Lady").

Track Listing:
1. Afro-Blue
2. I Want To Talk About You
3. The Promise
4. Alabama
5. Your Lady

*Bonus Track

Out of all the recordings made during the session, only three pieces remain: "Naima", originally from the album Giant Steps, "My Favorite Things", from the album of the same name, and a bass solo by Jimmy Garrison entitled, "Introduction to My Favorite Things". The line up consists of the augmented quartet of the time, featuring Alice Coltrane on piano, Jimmy Garrison on bass and Rashied Ali on drums. Additionally, Pharoah Sanders contributes on flute and tenor saxophone, while Emanuel Rahim plays percussion.

Track Listing:
1. Naima
2. Introduction to My Favorite Things
3. My Favorite Things

This title is not eligible for discount.

Track Listing:
1. Like Someone In Love
2. I Love You
3. Trane's Slo Blues
4. Lush Life
5. I Hear a Rhapsody

My Favorite Things is the seventh album by jazz musician John Coltrane, released in 1961 on Atlantic Records, catalogue SD-1361. It was the first album to feature Coltrane's playing on soprano saxophone, and yielded a commercial breakthrough in the form of a hit single that gained popularity in 1961 on radio, an edited version of the title song, "My Favorite Things." In 1998, the album was a recipient of the Grammy Hall of Fame award.

Bags & Trane is an album credited to jazz musicians Milt Jackson and John Coltrane, released in 1961 on Atlantic Records, catalogue SD 1368. Taking its title from Jackson and Coltrane's nicknames, it is the only collaborative record by the pair, atlhough only Jackson contributed original compositions. In actuality, the album belongs in Jackson's discography, as he was the session leader and still signed to Atlantic under the auspices of the Modern Jazz Quartet, and not in Coltrane's, who had left the label for Impulse Records at the time of this album's issue.

Track Listing:
LP 1 - My Favorite Things
Side 1

1. My Favorite Things (13:44)
2. Everytime We Say Goodbye (5:43)

Side 2

1. Summertime (11:31)
2. But Not For Me (9:38)

LP 2 - Bags & Trane
Side 1

1. Bags & Trane
2. Three Little Words (7:29)
3. The Night We Called It A Day (4:21)

Side 2

1. Be-Bop (7:59)
2. The Late Late Blues (9:32)

Features the Saxophonist's Legendary Quartet

Instantly recognized and forever celebrated, My Favorite Things is a landmark recording in every possible sense. The 1960 album is the first that introduced John Coltrane's legendary quartet with pianist McCoy Tyner, bassist Steve Davis, and drummer Elvin Jones. It is also the first on which he played soprano saxophone. And it absolutely reimagined how a popular song (the smash title track) could be interpreted and spun into a completely new, absorbingly beautiful piece of art.

Initially, the idea behind My Favorite Things was to have Coltrane record a set of standards that would be welcomed by the populace and marketplace. The genesis was Coltrane's preceding The Avant-Garde album, which, true to its title, found the leader exploring angular works. However, Coltrane didn't settle for a typical approach here, as his radical redoing of the title track features a scalar technique, a hybrid of Western and Eastern themes, advanced chord structures and yet, recognizable shapes and controlled melodies throughout. It remains a marvel of modern music, its freshness immune to age.

The remainder of the album is equally splendid, with Coltrane riffing on two George Gershwin tunes and displaying a trademark coolness that defined his work for Atlantic. His mates are sympathetic to the cause, the band's chemistry simply superb. This is truly a record that no music lover should be without.

Track Listing:
1. My Favorite Things
2. Everytime We Say Goodbye
3. Summertime
4. But Not For Me

Two Full Length Albums on 180 Gram Vinyl

My Favorite Things
My Favorite Things is the seventh album by jazz musician John Coltrane, released in 1961 on Atlantic Records, catalogue SD-1361. It was the first album to feature Coltrane's playing on soprano saxophone, and yielded a commercial breakthrough in the form of a hit single that gained popularity in 1961 on radio, an edited version of the title song, "My Favorite Things." In 1998, the album was a recipient of the Grammy Hall of Fame award.

Africa/Brass
Coltrane's 1961 album for the fledgling Impulse! label explores African rhythms along with some of the most unusual instrumentation in jazz (his classic quartet is backed here by a 15-piece brass band)! This expanded reissue also features Cal Massey's "The Damned Don't Cry" and "Song Of The Underground Railroad", both recorded during the original sessions but not included on the album.

Track Listing:
LP1
1. My Favorite Things
2. Everytime We Say Goodbye
3. Summertime
4. But Not For Me

LP2
1. Africa
2. Greensleeves
3. Blues Minor

The title track is striking in resemblance to the Spanish influence heard on Miles Davis' Sketches of Spain, although Olé takes this vibe a bit further; Coltrane's combo stretches out with inspired improvisations from Dolphy, Hubbard, Tyner, and of course Coltrane, respectively. The haunting beauty of "Aisha" stands as one of the finest collaborative efforts between Tyner - the song's author - and Coltrane. Another fine classic Jazz release by Music On Vinyl indeed.

Track Listing:
1. Olé
2. Dahomey Dance
3. Aisha

This title is not eligible for discount.

Track Listing:
1. I See Your Face Before Me (9:56)
2. If There is Someone Lovelier Than You (9:19)
3. Little Melonae (14:03)
4. Rise 'N' Shine (7:14)

The album is a showcase for Coltrane's late-1950s "sheets of sound" style, the term itself coined by critic Ira Gitler in the album's liner notes. Also featured is a long reading of Billy Eckstine's ballad standard "I Want to Talk About You", which Coltrane would revisit often during his career, most notably on the album Live at Birdland. Among the other tracks is the popular theme "Good Bait" by Tadd Dameron, and Fred Lacey's elegiac "Theme For Ernie". "You Say You Care" is from the Broadway production of Gentlemen Prefer Blondes.

Musicians:
John Coltrane - tenor saxophone
Red Garland - piano
Paul Chambers - bass
Art Taylor - drums

This title is not eligible for discount.

The album is a showcase for Coltrane's late-1950s "sheets of sound" style, the term itself coined by critic Ira Gitler in the album's liner notes. Also featured is a long reading of Billy Eckstine's ballad standard "I Want to Talk About You", which Coltrane would revisit often during his career, most notably on the album Live at Birdland. Among the other tracks is the popular theme "Good Bait" by Tadd Dameron, and Fred Lacey's elegiac "Theme For Ernie". "You Say You Care" is from the Broadway production of Gentlemen Prefer Blondes.

Musicians:
John Coltrane - tenor saxophone
Red Garland - piano
Paul Chambers - bass
Art Taylor - drums

This title is not eligible for discount.

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

Coltrane's solos on the other tracks are also more extreme than on his earlier albums, and are reminiscent of the style of Albert Ayler and Pharaoh Sanders in their extensive use of altissimo and multiphonics. The title "Sun Ship" may have been inspired by Sun Ra's conception of free jazz as having an affinity with science fiction conceptions of human existence.

Sun Ship was one of the only albums John Coltrane's quartet recorded without sound engineer Rudy Van Gelder. It was also one of the last albums (with First Meditations, recorded a week later) which John Coltrane recorded before he began experimenting with larger groups. Tenor saxophonist Pharaoh Sanders was playing regularly with the band by September, 1965, and both McCoy Tyner and Elvin Jones left the band in January, 1966.

Musicians:
John Coltrane – tenor saxophone, soprano
saxophone, leader
McCoy Tyner – piano
Jimmy Garrison – bass
Elvin Jones – drums

Musicians:
John Coltrane — tenor and soprano saxophone
Don Cherry — cornet
Charlie Haden — bass on "Cherry-Co," "The Invisible"
Percy Heath — bass on "Focus on Sanity," "The Blessing, "Bemsha Swing"
Ed Blackwell — drums

Side two
1 The Blessing (Ornette Coleman)
2 The Invisible (Ornette Coleman)
3 Bemsha Swing (Thelonious Monk, Denzil Best)

Musicians:
John Coltrane — tenor and soprano saxophone
Don Cherry — cornet
Charlie Haden — bass on "Cherry-Co," "The Invisible"
Percy Heath — bass on "Focus on Sanity," "The Blessing, "Bemsha Swing"
Ed Blackwell — drums

Side two
1 The Blessing (Ornette Coleman)
2 The Invisible (Ornette Coleman)
3 Bemsha Swing (Thelonious Monk, Denzil Best)

Box Set Includes 3 LPs and a 4-Page Booklet

Enjoy the complete recordings of John Coltrane’s historic and hotly contested live performances at the Village Vanguard on the nights of 1-2 November 1961. This historic LP was not only Coltrane’s first live album (and his first recording to feature the complete line-up of his now legendary quartet featuring McCoy Tyner, Elvin Jones and Jimmy Garrison), but it was also, at the time, one of the most criticized residencies in the history of jazz. In November 1961, these performances (also featuring Eric Dolphy) represented jazz music’s supreme cutting edge—with Coltrane beginning to experiment with Eastern music, represented in numbers like India and instruments like the oud—but it was one that critics were largely unwilling to embrace. In fact, they began filling newspapers with vehement anti-Coltrane sentiment, and some even went so far as to call him downfall of jazz!

Featured Musicians

John Coltrane (soprano saxophone, tenor saxophone)
Eric Dolphy (bass clarinet, alto saxophone)
McCoy Tyner (piano)
Jimmy Garrison (bass)
Reggie Workman (bass)
Elvin Jones (drums)
Ahmed Abdul-Malik (oud)
Garvin Bushell (oboe, contrabassoon)


Track Listing:
LP 1
1. India
2. Spiritual
3. Impressions
4. Miles’ Mode
5. Naima

LP 2
1. Chasin’ The Trane
2. Brasilia
3. Chasin’ Another Trane
4. Softly As In The Morning Sunrise
5. Greensleeves (traditional)

LP 3
1. India
2. Spiritual
3. Chasin’ The Trane
4. Impressions

Originally released in 1965.

This title is not eligible for discount.

Track Listing:
1. Chim Chim Cheree
2. Brazilia
3. Nature Boy
4. Song of Praise
5. Feelin' Good
6. Nature Boy
7. Nature Boy (live)

Musicians:
John Coltrane — tenor saxophone
Donald Byrd — trumpet (tracks 1,4)
Red Garland — piano (tracks 1,3,4)
Paul Chambers — bass (tracks 1,3,4)
Earl May — bass (track 2)
Louis Hayes — drums (tracks 1,4)
Art Taylor — drums (tracks 2,3)

1. Lover
2. Slowtrane

Side B:

1. By The Numbers
2. Come Rain Or Shine

The Very Best of Prestige Records opens a wide window on a 20-year period when jazz made great evolutionary strides, from bebop to soul jazz. Phillips says, As we toast the 60th anniversary of Prestige, we offer this collection as an appetizer, knowing full well that it cant help but whet your appetite for much, much more of the tasty and ageless musical offerings available from the iconic label.

Produced by Nick Phillips, the compilation of instrumental imporvisational music features music by a who's who of the jazz world in the '50s and '60s. Artists include Gene Ammons, John Coltrane, Miles Davis, Eric Dolphy, Dexter Gordon, Lee Konitz/Lennie Tristano, MJQ, Thelonious Monk, James Moody and Sonny Rollins.

Track Listing:
1. Subconscious (Lee Konitz/Lennie Tristano)
2. I'm in the Mood for Love (James Moody)
3. I Want to Be Happy (Sonny Stitt/Bud Powell)
4. Blue Monk (Thelonious Monk)
5. Airegin (Miles Davis)
6. Django (Modern Jazz Quartet)
7. Tenor Madness (Sonny Rollins w/ John Coltrane)
8. St. Thomas (Sonny Rollins)
9. If I Were a Bell (The Miles Davis Quintet)
10. My Funny Valentine (The Miles Davis Quintet)
11. Hey Now (Red Garland Trio)
12. I Love You (John Coltrane)
13. Why Was I Born? (Kenny Burrell & John Coltrane)
14. Very Saxy (Eddie Lockjaw Davis/Buddy Tate/Coleman Hawkins/Arnett Cobb)
15. Lotus Blossom (Kenny Dorham)
16. Hittin' the Jug (Gene Ammons)
17. March On, March On (Oliver Nelson)
18. Les (Eric Dolphy)
19. The Plum Blossom (Yusef Lateef)
20. Three for Dizzy (Roland Kirk w/ Jack McDuff)
21. Soul Shoutin' (Shirley Scott)
22. Misty (Richard Groove Holmes)
23. Waltz for Geri (Pat Martino)
24. Fried Bananas (Dexter Gordon)
25. More Today Than Yesterday (Charles Earland)

Musicians:
Thelonious Monk — piano
John Coltrane — tenor saxophone
Ray Copeland — trumpet on Off Minor and Epistrophy
Gigi Gryce — alto saxophone on Off Minor and Epistrophy
Coleman Hawkins — tenor saxophone on Off Minor and Epistrophy
Wilbur Ware — bass
Shadow Wilson — drums on Ruby, My Dear, Trinkle, Tinkle, and Nutty
Art Blakey — drums on Off Minor and Epistrophy

Recorded in 1957, a young Coltrane joins Red Garland, Paul Chambers and Arthur Taylor for an inspired showcasing of three Trane originals amid a ballad by Alonzo Levister and a revved up version of Irving Berlin's 'Soft Lights And Sweet Music.' Although Coltrane had only started recording a few years earlier, his style had already come into its own and, particularly on his originals like the bonus track 'Slowtrane,' it is interesting to hear how Coltrane manages to break into and impose himself on one of the tightest rhythm sections in jazz, giving listeners a fleeting glimpse of what Trane had in store for the future.

Musicians:
John Coltrane (tenor sax)
Red Garland (piano)
Paul Chambers (bass)
Arthur Taylor (drums)

1. Traneing In
2. Slow Dance
3. Soft Lights and Sweet Music

Side 2

1. You Leave Me Breathless
2. Bass Blues
3. Slow Trane

Musicians:
John Coltrane — tenor saxophone
Red Garland — piano
Paul Chambers — bass
Art Taylor — drums

This title is not eligible for discount.

*Bonus Track

Musicians:
John Coltrane — tenor saxophone
Red Garland — piano
Paul Chambers — bass
Art Taylor — drums

Musicians:
John Coltrane — tenor saxophone
Red Garland — piano
Paul Chambers — bass
Art Taylor — drums

This title is not eligible for discount.

These recordings from March 13, 1958 see a 32-year-old John Coltrane playing an obscure date with little known jazz trumpeter/flugelhorn player, Wilbur Harden. These recordings made at the legendary Van Gelder studios also include Tommy Flanagan on piano, Doug Watkins on bass and Louis Hayes on drums (while the 2 bonus tracks feature Curtis Fuller on trombone, Ali Jackson on bass, Howard Williams on piano, and Arthur Taylor on drums). The immensely talented, but equally obscure Harden appeared on several Yusef Lateef and Curtis Fuller records for Savoy as well as leading his own sessions in the late '50s, only to drop out of the jazz scene entirely by 1960 due to health problems (and finally pass away in 1969). In fact, Harden was a great composer and a pioneer on the flugelhorn and all the tracks on this album are Harden compositions. Coltrane, as history has shown, fared much better, and during this period was just on the cusp of super-stardom. He was busy playing around NYC with Thelonious Monk, and had recently rejoined the Miles Davis sextet, and it would not be long before Coltrane would begin leading his own sessions, soon becoming a household name in jazz. Features 2 bonus tracks previously not included on the original album.

Track Listing:
1. Wells Fargo
2. E.F.F.P.H.
3. Rhodamagnetics
4. Count Down
5. West 42nd Street
6. Snuffy
7. Anedac
8. B.J.

The recording has been highly praised: Newsweek called it the "musical equivalent of the discovery of a new Mount Everest,"

Musicians:
Thelonious Monk – piano
John Coltrane – tenor saxophone
Ahmed Abdul-Malik – bass
Shadow Wilson – drums

This title is not eligible for discount.

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