Label / Make
Genre / Model
- Please Select
- Name: A to Z
- Name: Z to A
- Price: Low to High
- Price: High to Low
Al Cohn Vinyl Records
The Jazz Workshop (Speakers Corner)As a soloist, Al Cohn was not such an inspired tenor sax player as his colleague Zoot Sims. But he was a superb arranger, an unprofitable yet highly important function when it comes to such workshops. And though Manny Albam also played the baritone sax, his real instrument was the pen. He arranged not only jazz, but also film music and musicals. His arrangements were multi-faceted and tailor-made to suit the accomplishments of the individual instrumentalists.
For this particular "Jazz Workshop", the record company RCA-Victor could afford the services of excellent session musicians: Joe Newman and Freddie Green came from the Basie Band, Al Cohn, Bernie Glow, and Nick Travis from the Woody Herman Band, and the studio musicians Dick Katz, Buddy Jones, and Osie Johnson were present at all times of day and night anyway.
As long as you don't expect fierce battles between five tenors, or six tweeters on the trumpet, then you will enjoy this LP with its swinging, relaxed improvisations on such works as "Rosetta", "Linger Awhile", and "I'm Coming Virginia" - and you will realise that Lester Young's sound has been heard, cultivated and further developed by these musicians.
Four trumpets, a tenor sax, and then a piano, guitar, bass, and drums into the bargain - that's certainly no common ensemble, but it certainly is a good reason to purchase this LP. And for certain, this album has been missing in your collection to this day.
This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.
Al Cohn (tenor saxophone, arranger)
Manny Albam (arranger)
Joe Newman, Bart Valve, Bernie Glow, Joe Wilder, Phil Sunkel (trumpet)
Nick Travis (trumper, trombone)
Dick Katz (piano)
Freddie Green (guitar)
Buddy Jones (bass)
Osie Johnson (drums)
Recording: May 1955 in Webster Hall, New York City, in mono
Production: Jack Lewis
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.1. Rosetta
2. The Song Is Ended
3. Linger Awhile
4. Every Time
6. Just Plain Sam
7. I'm Coming Virginia
8. Cohn Not Cohen
9. Foggy Water
11. Sugar Cohn
12. Alone Together
$37.99180 Gram Audiophile Virgin Vinyl LP Mono - SealedBuy Now
Classic Jazz LP
One Pressing Limited Edition
Deluxe Inner SleevesSide 1:†Blixed (Bill Potts) 3:48Kimís Kaper (Bill Perkins) 3:13Rolling Stone (Bob Brookmeyer) 3:08Sioux Zan (Nat Pierce) 3:08The Walrus (Al Cohn) 2:48Blue Skies (Irving Berlin) 3:12†Side 2:†Gay Blade (Bob Brookmeyer) 3:17Three Of A Kind (Nat Pierce) 3:13Hags! (Bill Potts) 3:19Pro-Ex (Bill Perkins) 3:04Strange Again (Bill Potts) 3:19Cap Snapper (Al Cohn) 3:39Memories Of You (Eubie Blake-Andy Razaf) 3:02*†*Bonus Track: From The Same Sessions. Not On The Original LP.$27.99180 Gram Audiophile Virgin Vinyl LP - SealedBuy Now
The Prestige All-Stars: Tenor Conclave (Mono)1956's Tenor Conclave collects four unique tenor saxophone greats from disparate "schools" of jazz including John Coltrane, Hank Mobley, Al Cohn and Zoot Sims. With the fantastic Red Garland Trio holding down the rhythm section, the one-of-a-kind collective finds common ground and then some here on two Mobley originals and a pair of old standards.
This title is not eligible for discount.1. Bob's Boys
2. Just You, Just Me
3. Tenor Conclave
4. How Deep Is the Ocean
$34.99200 Gram Audiophile Virgin Vinyl Mono LP - SealedBuy Now