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  • Big Blues Big Blues Quick View

    $29.99
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    Big Blues

    Pressed On 180-Gram Audiophile-Grade LPs At Pallas Group In Germany


    Mastered From Original Analog Tapes By Bernie Grundman Mastering Studios


    Recorded At Electric Lady Studios In New York City On February 2 & 3, 1978


    Flugelhornist Art Farmer and guitarist Jim Hall had a regular group for a time in the mid-'60s but (except for one occasion) had not played together since, until this 1978 LP. This is an unusual effort for CTI in that it is a quintet set without added horns, strings or keyboards. Farmer and Hall are joined by vibraphonist Mike Mainieri, bassist Michael Moore and drummer Steve Gadd for two standards, the title cut and a jazz adaptation of a piece by Ravel. Since Farmer and Hall have long had very complementary styles (both being
    lyrical, harmonically advanced and thoughtful in their improvisations), it is little surprise that this set is a complete success.


    Now this classic recording gets ORG Music's audiophile treatment with this 180-gram vinyl reissue, mastered from original analog tapes by Bernie Grundman and pressed at Pallas Group in Germany.

    1. Whisper Not
    2. A Child Is Born
    3. Big Blues
    4. Pavane For A Dead Princess
    Art Farmer & Jim Hall
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Groovin' With Golson Groovin' With Golson Quick View

    $34.99
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    Groovin' With Golson

    Part of the ultimate audiophile Prestige stereo reissues from Analogue Productions - 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 33 1/3.


    All mastered from the original analog master tapes by mastering maestro Kevin Gray. 200-gram LPs pressed at Acoustic Sounds' state-of-the-art pressing plant, Quality Record Pressings, plated by Gary Salstrom


    Deep groove label pressings, tip-on jackets on thick cardboard stock


    Benny Golson, who came to the attention of the jazz public with Tadd Dameron's band and Dizzy Gillespie's orchestra, was a member of the Jazztet - the group he had formed with Art Farmer - at the time of this recording. Farmer is not with him in this recording but another Jazztet-mate, trombonist Curtis Fuller, is. Although this session is not as structured as the three-horn efforts of the Jazztet, there is a balance between blowing and Golson's writing that makes for a felicitous blend, whether on Golson's own My Blues House, Gene Krupa's old burner, Drum/Boogie, or Jerome Kern's Yesterdays. And with Art Blakey on drums things cook when they have to, and simmer at the right moments. With Curtis Fuller, Ray Bryant, Paul Chambers and Art Blakey.


    This title is not eligible for discount.

    1. My Blues House
    2. Drumboogie
    3. I Didn't Know What Time it Was
    4. The Stroller
    5. Yesterdays
    Benny Golson
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Cool Struttin' Cool Struttin' Quick View

    $19.99
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    Cool Struttin'


    Part Of The Blue Note 75 Anniversary Vinyl Reissue Campaign


    Cool Struttin' is jazz pianist, Sonny Clark's most soulful and classic, Blue Note album. The recording features Jackie McLean on alto sax, Art Farmer on
    trumpet, Philly Joe Jones on drums and Paul Chambers on bass. Originally released in 1958, Cool Struttin' will be re-released as part of the overall Blue
    Note 75th anniversary vinyl reissue campaign spearheaded by current Blue Note Records President, Don Was.

    1. Cool Struttin'
    2. Blue Minor
    3. Sippin' At Bells
    4. Deep Night
    Sonny Clark
    $19.99
    Vinyl LP Reissue - Sealed Buy Now
  • Manny Albam And The Jazz Greats Of Our Time Volume 1 Manny Albam And The Jazz Greats Of Our Time Volume 1 Quick View

    $24.99
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    Manny Albam And The Jazz Greats Of Our Time Volume 1

    In mid-1957, composer and arranger Manny Albam produced two albums under the title Manny Albam and the Jazz Greats of Our Time, each of which reunited spectacular jazz stars. The first volume, presented here, included the likes of Art Farmer, Gerry Mulligan, Bob Brookmeyer, Phil Woods, Zoot Sims, Al Cohn and Hank Jones. The second volume presented Richie Kamuca, Jack Sheldon, Bill Holman, Conte Candoli, Charlie Mariano, Herb Geller, Lou Levy, and Harry Sweets Edison.
    1. Blues From Neither Coast
    2. Latined Fracture
    3. Poor Dr. Millmoss
    4. Minor Matters
    5. My Sweetie Went Away (He Didn't Say Where, When Or Why)(Roy Turk - Lou Handman)
    6. All Too Soon (Duke Ellington - Carl Sigman)
    7. See Here, Miss Bromley
    Manny Albam
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Big Blues Big Blues Quick View

    $49.99
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    Big Blues


    Pressed on Two 180gram Audiophile-Grade LPs at
    Pallas Group in Germany


    Mastered from Original Analog Tapes at 45RPM by
    Bernie Grundman Mastering Studios


    Limited, Numbered Edition of 1,500 Copies


    Housed in a Stoughton Case-Wrapped Gatefold
    Jacket

    Previously Out of Press for Over 3 Decades


    Flugelhornist Art Farmer and guitarist Jim Hall had a
    regular group for a time in the mid-'60s but (except
    for one occasion) had not played together since, until
    this 1978 LP. This is an unusual effort for CTI in that
    it is a quintet set without added horns, strings or
    keyboards. Farmer and Hall are joined by vibraphonist
    Mike Mainieri, bassist Michael Moore and drummer
    Steve Gadd for two standards, the title cut and a jazz
    adaptation of a piece by Ravel. Since Farmer and Hall
    have long had very complementary styles (both being
    lyrical, harmonically advanced and thoughtful in their
    improvisations), it is little surprise that this set is a
    complete success.


    Now this classic recording gets ORG Music's
    audiophile treatment with this 180gram double LP
    45RPM reissue, mastered from original analog tapes
    by Bernie Grundman and pressed at Pallas Group in
    Germany. Each copy of this limited edition release will
    be individually numbered with a gold foil-stamp.

    1. Whisper Not
    2. A Child Is Born
    3. Big Blues
    4. Pavane For a Dead Princess
    Art Farmer & Jim Hall
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Jazztet Big City Sounds Jazztet Big City Sounds Quick View

    $27.99
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    Jazztet Big City Sounds

    Import


    180 Gram Vinyl


    Includes Bonus Track

    1. The Cool One
    2. Blues On Down
    3. Hi-Fly
    4. My Funny Valentine
    5. Wonder Why
    6. Con Alma
    7. Lament
    8. Bean Bag
    9. Five Spot After Dark
    10. Impromptune*


    *Bonus Track

    Art Farmer & Benny Golson
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Soul Of Ben Webster The Soul Of Ben Webster Quick View

    $49.99
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    The Soul Of Ben Webster

    A memorable 1958 set featuring the tenor stylings of the great Ben Webster and trumpeter Art Farmer.


    This title is not eligible for discount.

    1. Fajista
    2. Cool Train
    3. When I Fall In Love
    4. Ev's Mad
    5. Chelsea Bridge
    6. Ash
    7. Charlotte's Piccolo
    Ben Webster
    $49.99
    200 Gram Audiophile Virgin Vinyl 45 RPM LP - Sealed Buy Now
  • Cool Struttin' (Discontinued) Cool Struttin' (Discontinued) Quick View

    $15.99
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    Cool Struttin' (Discontinued)

    Recorded in 1958, this legendary date with the still-undersung Sonny Clark in the leader's chair also featured a young Jackie McLean on alto (playing with a smoother tone than he had before or ever did again), trumpeter Art Farmer, and the legendary rhythm section of bassist Paul Chambers and drummer Philly Joe Jones, both from the Miles Davis band.
    1. Cool Struttin
    2. Blue Minor
    3. Sippin At Bells
    4. Deep Night
    Sonny Clark
    $15.99
    Vinyl LP Reissue - Sealed Buy Now
  • What Is There To Say? (Awaiting Repress) What Is There To Say? (Awaiting Repress) Quick View

    $54.99
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    What Is There To Say? (Awaiting Repress)

    Numbered Limited Edition


    Mastered by Bernie Grundman from the Original Analog Master Tapes and Pressed at RTI


    Only 2500 Numbered Limited Edition Copies Housed in Deluxe Laminated Double Gatefold Jackets


    Originally released in 1959, What Is There To Say? finds baritonist/leader Gerry Mulligan in a pianoless quartet with Art Farmer (trumpet), Bill Crow (bass) and Dave Bailey (drummer). The memorable set features 8 tracks highlighted by the cuts What Is There to Say, Just in Time, Festive Minor, My Funny Valentine and Utter Chaos.


    This title is not eligible for discount.

    1. What Is There To Say

    2. Just In Time
    3. News From Blueport
    4. Festive Minor
    5. As Catch Can
    6. My Funny Valentine
    7. Blueport
    8. Utter Chaos

    Gerry Mulligan
    $54.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Memorial Memorial Quick View

    $21.99
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    Memorial

    When Brownie stood up and took his first solo on 'Philly J J,' I nearly fell off my seat in the control room. The power, range and brilliance together with the
    warmth and invention was something that I hadn't heard since Fats Navarro, stated famed jazz historian Ira Gitler, who happened to be supervising the
    1953 session that yielded part of Memorial. Indeed, trumpeter Clifford Brown is heard here in fine form in two unrelated sessions. On four selections,
    Brown coasts effortlessly along with Tadd Dameron's Orchestra, sharing the solo spotlight with Benny Golson on tenor and Gigi Gryce on alto. On the
    remainder of the album, composed from material cut in Sweden the same year, Brown is joined by fellow trumpeter Art Farmer for four Quincy Jones
    arrangements with a Swedish group that includes altoist Arne DomnÉrus, baritonist Lars Gullin, and pianist Bengt Hallberg. On whole, this is classic,
    sophisticated material that deserves a place in every jazz vinyl collection.
    1. Stockholm Sweetnin'
    2. 'Scuse These Blues
    3. Falling In Love With Me
    4. Lover, Come Back To Me
    5. Philly J. J.
    6. Dial "B" For Beauty
    7. Theme Of No Repeat
    8. Choose Now (#1)
    9. Choose Now (#2)
    Clifford Brown
    $21.99
    Vinyl LP - Sealed Buy Now
  • Whirl (Awaiting Repress) Whirl (Awaiting Repress) Quick View

    $16.99
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    Whirl (Awaiting Repress)

    Hersch's music: luxurious, free-flowing, unashamedly gorgeous jazz is idiosyncratically, unmistakably a creation of his own, David Hajdu wrote in a recent, riveting New York Times profile on Hersch's music and life. The piece detailed Hersch's recovery from a harrowing, near-death health battle and placed him in the forefront of contemporary, innovative jazz artists and chronicles his influence on many of today's brightest young musicians. Whirl is Hersch's first recording since undergoing intense physical therapy and achieving full recuperation.


    Hersch is widely considered a genius on the piano. He moved to New York from Cincinnati in the 1970s, earning his credibility as a piano prodigy at Bradley's. His list of credits as a band leader, co-leader, sideman and soloist are astounding. He has worked extensively with jazz masters Stan Getz, Joe Henderson, and Jane Ira Bloom, Art Farmer, Toots Thielemans, Gary Burton, Bill Frisell, Sam Jones and Charlie Haden and has appeared on over 100 recordings. He is also a three-time Grammy nominee

    1. You're My Everything
    2. Snow Is Falling
    3. Blue Midnight
    4. Skipping
    5. Mandevilla
    6. When Your Lover Has Gone
    7. Whirl
    8. Sad Poet
    9. Mrs. Parker of K.C.
    10. Still Here
    Fred Hersh Trio
    $16.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Sings A Song With Mulligan (Pure Pleasure) Sings A Song With Mulligan (Pure Pleasure) Quick View

    $34.99
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    Sings A Song With Mulligan (Pure Pleasure)

    Singer Annie Ross' first solo album after joining Lambert, Hendricks & Ross finds her at the peak of her powers. Ross is joined by two versions of the Gerry Mulligan Quartet with either Chet Baker or Art Farmer on trumpet, Bill Crow or Henry Grimes on bass, and drummer Dave Bailey. Annie Ross is at her best (and most appealing) on I've Grown Accustomed to Your Face, Give Me the Simple Life, How About You, and The Lady's in Love With You, but all 14 selections are quite rewarding and her interplay with baritonist Mulligan is consistently memorable.



    Musicians:



    • Annie Ross (vocal)

    • Gerry Mulligan (bassoon)

    • Chet Baker, Art Farmer (trumpet)

    • Henry Grimes (bass)

    • Dave Bailey (drums)




    Recorded December 1957 in New York and February and September 1958 in Los Angeles



    About Pure Pleasure



    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, Pure Pleasure 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 existent 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 emphasize that Pure Pleasure 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 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 and that the lacquer discs are newly cut.



    and that the lacquer discs are newly cut.


    1. I Feel Pretty
    2. I've Grown Accustomed to Your Face
    3. All of You
    4. Give Me the Simple Life

    5. This Is Always
    6. My Old Flame
    7. This Time the Dream's on Me

    8. Let There Be Love
    9. Between the Devil and the Deep Blue Sea - Gerry Mulligan, Annie Ross,
    10. How About You?
    11. I Guess I'll Have to Change My Plan
    12. This Is Always [Alternate Version]
    13. It Don't Mean a Thing (If It Ain't Got That Swing)

    14. Lady's in Love with You
    15. You Turned the Tables on Me
    16. I've Grown Accustomed to Your Face [Alternate Version]
    Annie Ross
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • In The Winner's Circle (Pure Pleasure) In The Winner's Circle (Pure Pleasure) Quick View

    $34.99
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    In The Winner's Circle (Pure Pleasure)

    Rare stuff from John Coltrane! The album features 'Trane' playing tenor on only 4 of the album's 8 tracks - making it kind of surprising that they used his name in the title - but the album is a lesser-known batch of large group recordings that offer an interesting early chapter in his career! The main force behind the album is arranger Harry Tubbs - possibly not a name that's as sexy as John Coltrane, hence the billing - but a worthy leader for the date, given the quality of the music.



    Many of the other players here are small combo heroes who can also shine brightly in bigger groups - such as Donald Byrd and Art Farmer on trumpets, Kenny Burrell on guitar, Al Cohn on baritone sax, Eddie Costa on piano and vibes, and Oscar Pettiford on bass - plus Rolf Kuhn, making an early American appearance on clarinet. Coltrane gets in some nice, but short moments on the date - but the bigger charm is the full ensemble work - on titles that include She Didn't Say Yes, Turtle Walk, At Home With The Blues, Seabreeze, and Love & The Weather.



    Musicians:



    • John Coltrane (tenor saxophone)

    • Donald Byrd, Art Farmer (trumpet)

    • Frank Rehak (trombone)

    • Gene Quill (alto saxophone)

    • Al Cohn (bassoon)

    • Rolf Kuhn (clarinet)

    • Eddie Costa (piano, vib)

    • Freddie Green, Kenny Burrell (guitar)

    • Oscar Pettiford (bass)

    • Philly Joe Jones, Ed Thigpen (drums



    Recording: September & October 1957 in New York City



    About Pure Pleasure



    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, Pure Pleasure 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 existent 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 emphasize that Pure Pleasure 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 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 and that the lacquer discs are newly cut.

    1. Lazy Afternoon
    2. Not So Sleepy
    3. Sea Breeze
    4. Love And The Weather
    5. She Didn't Say Yes
    6. If I'm Lucky
    7. At Home With The Blues
    8. Turtle Walk
    John Coltrane
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Cool Struttin' (Awaiting Repress) Cool Struttin' (Awaiting Repress) Quick View

    $54.99
    Buy Now
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    Cool Struttin' (Awaiting Repress)

    Cut at 33 1/3 RPM by Kevin Gray at Cohearent Audio from the Original Rudy Van Gelder Blue Note Master Tapes


    Pressed 180 Gram Virgin Vinyl LPs by RTI


    Top Quality Gatefold Packaging with Laminated Covers & High Quality Session Photos!


    Considered one of the great young pianists of the mid-to-late 1950s, Sonny Clark was practically the house pianist at Blue Note during 1957-62 before his tragically early death in 1963 when he was just 31. He began his career playing and recording with Teddy Charles and Wardell Gray in the early 1950s. Inspired by Bud Powell, he made a particularly strong impression during his period with clarinetist Buddy DeFranco's group. He also worked with Dinah Washington, Serge Chaloff and Sonny Criss in addition to leading his own trio. But he is most famous for his work for Blue Note In addition to leading seven albums for the label, Clark was on many sessions as a sidemen, uplifting every date with his adventurous and swinging playing. His playing was full of joyful discoveries, constant swing, and an optimistic creativity that was indescribable and quite infectious. Cool Struttin,' the pianist's most famous and rewarding album, features Sonny Clark in a quintet with altoist Jackie McLean, trumpeter Art Farmer, bassist Paul Chambers and drummer Philly Joe Jones. On this 1958 gem, Clark is featured on four lengthy performances, including Miles Davis "Sippin' At Bells" and the exotic "Deep Night." The music is filled with magical moments where the five musicians seem to think and create like one. The greatest jazz performances include moments like those heard on "Cool Struttin'" where the music has a life of its own beyond the individual players. The more one plays this superb album, the more it is obvious that this is one of the truly essential Blue Note recordings.


    Features:

    Limited Edition of Only 3500 Copies!

    Remastered from the Original Rudy Van Gelder Blue Note Master Tapes!

    Remastered by Kevin Gray at Cohearent Audio

    Pressed 180 gram Virgin Vinyl LPs by RTI

    Ultra-Durable, Extra Thick Album Jackets

    Gatefold Album with Session Photos in stunning High Resolution

    Stereo


    Musicians:

    Sonny Clark, piano

    Art Farmer, trumpet

    Jackie McLean, alto sax

    Paul Chambers, bass

    Philly Joe Jones, drums


    This title is not eligible for discount.

    1. Cool Struttin'
    2. Blue Minor
    3. Sippin' At Bells
    4. Deep Night
    Sonny Clark
    $54.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Legrand Jazz Legrand Jazz Quick View

    $34.99
    Buy Now
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    Legrand Jazz

    Numbered Limited Edition 100% Analog 180-Gram Vinyl LP!

    Limited To Only 3000 Numbered Copies!

    Features Performances By John Coltrane, Miles Davis, Herbie Mann, Bill Evans & More!

    In 1958, a young, successful French composer-arranger with a major infatuation on American jazz, worked his way to New York and convinced the very best players of the time to record an album of largely jazz standards. Michel Legrand would go on to win numerous prizes and accolades (3 Oscars, 5 Grammies, 2 Palmes D'or, etc.), but little of what followed matched the sheer brilliance of Legrand Jazz.

    Miles Davis, John Coltrane, Bill Evans, Ben Webster, Phil Woods and practically every other session man in town signed up for sessions with Legrand to record his idiosyncratic arrangements of standards (Django, Don't Get Around Much Anymore, Night in Tunisia, etc.). Instead of regurgitating then current bop styles, he reinvented the very nature of orchestral jazz band repertoire to make a unique and forward-looking statement on the genre.

    The sound of Impex's all-analog LP preserves the wide soundstage of late 50's Columbia recordings while creating intimate spaces between players on the stage for maximum definition. This rare, highly-praised recording has never sounded as good as it does now. Go big with Legrand Jazz.

    Legrand Jazz was greeted by an enthusiastic review in the magazine Down Beat. Dom Cerulli awarded it five stars out of a possible five.

    Musicians:
    Michel Legrand, Conductor, Arranger (All Songs)

    For The Jitterbug Waltz, Django, Wild Man Blues & 'Round Midnight - Recorded June 25, 1958:
    Paul Chambers (bass)
    John Coltrane (tenor sax)
    Eddie Costa (vibes)
    Miles Davis (trumpet)
    Kenny Dennis (drums)
    Bill Evans (piano)
    Barry Galbraith (guitar)
    Betty Glamann (harp)
    Herbie Mann (flute)
    Jerome Richardson (baritone sax, bass clarinet)
    Phil Woods (alto sax)

    For Nuages, Blue And Sentimental, Rosetta & Don't Get Around Much Anymore - Recorded June 27, 1958:
    Eddie Bert (trombone)
    Billy Byers (trombone)
    Jimmy Cleveland (trombone)
    George Duvivier (bass)
    Major Holly (bass, tuba)
    Hank Jones (piano)
    Don Lamond (drums)
    Herbie Mann (flute)
    Frank Rehak (trombone)
    Ben Webster (tenor sax)

    For Night In Tunisia, Stompin' At The Savoy & In A Mist - Recorded June 30, 1958:
    James Buffington (french horns)
    Donald Byrd (trumpet)
    Jimmy Cleveland (trombone)
    Don Elliot (vibes)
    Art Farmer (trumpet)
    Milt Hinton (bass)
    Osie Johnson (drums)
    Teo Macero (baritone sax)
    Nat Pierce (piano)
    Seldon Powell (tenor sax)
    Gene Quill (alto sax)
    Frank Rehak (trombone)
    Ernie Royal (trumpet)
    Joe Wilder (trumpet)
    Phil Woods (alto sax)


    This title is not eligible for discount

    1. The Jitterbug Waltz (Fats Waller)
    2. Nuages (Django Reinhardt)
    3. Night In Tunisia (Dizzy Gillespie)
    4. Blue and Sentimental (Count Basie)
    5. Stompin' At the Savoy (Benny Goodman)
    6. Django (John Lewis)
    7. Wild Man Blues (Jelly Roll Morton)
    8. Rosetta (Earl Hines)
    9. 'Round Midnight (Thelonious Monk)
    10. Don't Get Around Much Anymore (Duke Ellington)
    11. In A Mist (Bix Beiderbecke)
    Michel Legrand
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Open Book Open Book Quick View

    $18.99
    Buy Now
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    Open Book

    Fred Hersch has long been acclaimed as an exploratory artist, an outspoken activist, an influential educator and a uniquely revelatory and lyrical pianist. As one of the most expressive voices in modern jazz, Hersch has never been shy about letting listeners glimpse his most intimate thoughts and emotions. In September, however, Hersch's fans will be treated to even deeper, more revealing insights into the story of the renowned pianist when he publishes his much-anticipated memoir, Good Things Happen Slowly: A Life In and Out of Jazz. As a companion piece, Hersch decided to present an equally direct and vulnerable glimpse into his private musical thoughts with his 11th solo release, Open Book.

    The seven pieces on Open Book (set for release via Palmetto Records) offer some of the finest, most unguardedly emotional solo music that Hersch has created in a career unique for its profound poignancy and passion. Recorded in a South Korean concert hall on a superb Hamburg Steinway concert grand piano, the album captures the vital essence of the revelatory adventurousness and intense beauty that have made Hersch one of the most important solo artists in jazz. With more than 40 albums to his credit as a leader or co-leader, Hersch remarkably continues to discover new areas of inspiration and depths of feeling.

    For the last two and a half decades I've been pretty open about who I am, what I like and what I'm dealing with at times, Hersch says. But I've always got to dig deeper, and I thought this might be a chance to make an album that's a window into the kinds of things that I play at home or don't play in public all that much.

    The album arrives during a momentous month for Hersch. On September 12, the esteemed publishers Crown Archetype (Penguin Random House) will release Good Things Happen Slowly, Hersch's bravely confessional memoir. The book covers the pianist's meteoric rise in jazz from his sideman days alongside masters like Art Farmer and Joe Henderson to his gradual recognition as one of the most individualistic and innovative artists of his generation, a ten-time Grammy Award nominee and winner of countless accolades including being named a 2016 Doris Duke Artist as well as the same year's Jazz Journalists Association Pianist of the Year. But it also frankly reveals his story as the first openly gay, HIV-positive jazz musician, tracing his path through hedonistic post-Stonewall New York City to the dramatic two-month medically induced coma in 2007 from which he emerged to make some of the most stunning and captivating music of his career.

    Later that month Hersch will reprise his ambitious Leaves of Grass full-evening piece at Jazz at Lincoln Center's Appel Room, the first time the song cycle has been performed in New York City since 2005. Vocalists Kurt Elling and Kate McGarry will reprise their roles from the original project, which sets the verse of American bard Walt Whitman. The legendary poet's timeless ode to the miracle of nature and openhearted love of all beings seems especially vital in our present socio-political moment.

    The centerpiece of Open Book, and the spark that ignited the album, is the nearly 20-minute improvisation Through the Forest. Unique in Hersch's extensive discography, the stream-of-consciousness gem is a miniature masterpiece of narrative development, a compelling journey through an abstract, glimmering landscape, revealing that in his early 60s Hersch continues to take creative risks and daunting inventive leaps.

    The creation of Through the Forest was as unplanned and spontaneous as the music itself. In Seoul for a pair of solo concerts during a break in a tour of Asia with his esteemed trio, Hersch overslept during an after-breakfast nap and rushed to take the stage at JCC Art Center Concert Hall for his afternoon performance. The titular forest is, in part, a jetlag and coffee-fueled dreamscape through which Hersch wanders, applying his vivid powers of observation to unusual terrain. I was a little groggy, my defenses were down, and rather than fight it I just gave in to it, Hersch recalls. I'd never really done anything of that length in public where I had no agenda and was able to stay in that zone for such an extended period of time. I realized it was something special, something different that might be the core of an album.

    Through the Forest became the leaping-off point for an album intended to be singularly divulgent and reflective. A few months later, Hersch returned to the same hall and recorded the remainder of Open Book alone in the empty venue (with the exception of Benny Golson's classic Whisper Not, taken from a concert during that return engagement).

    The album opens with the stark musings of The Orb, taken from Hersch's autobiographical music-theater piece My Coma Dreams. A love letter to Hersch's longtime partner, AIDS activist Scott Morgan, The Orb is the final dream depicted in the show, and in this solo rendition becomes a nakedly heartfelt outpouring of raw but tender emotion. The mood then takes a turn for the playful and swinging on Whisper Not, a longtime staple of Hersch's repertoire that here becomes a vibrant, virtuoso marathon of thematic exploration.

    The piece also serves as an ideal mirror to the album's other composition from the pen of a jazz icon, Thelonious Monk's Eronel. Hersch has long been recognized as one of the premier interpreters of the Monk songbook, but despite including one of the iconic composer's pieces in every one of his sets for most of his career, Hersch had never tackled this particular tune, co-written by pianist Sadik Hakim. Monk's original stride-inflected lines come in for a dizzying array of variations in Hersch's endlessly imaginative take.

    The music of Brazil has also been a constant in Hersch's career, in particular the music of Antonio Carlos Jobim, the subject of one of the pianist's earlier solo efforts, 2009's Fred Hersch Plays Jobim. Picture in Black and White is a new addition to that repertoire, majestically transformed from a bossa nova feel to a crystalline hybrid with Chopin's last nocturne. On the other side of Through the Forest in the album's symmetrical structure comes Hersch's own classical-flavored Plainsong, a spare, lyrical piece composed in the bucolic setting of the MacDowell Colony, the inspirational artists' retreat in rural New Hampshire.

    Open Book ends on a meaningful ellipsis, Billy Joel's moving And So It Goes. In title alone it's an apt conclusion, suggesting an embrace of life as lived and hinting at its open-ended continuation. The full lyrics, which Hersch has performed in duo settings with singers including frequent collaborator Kate McGarry, remain unspoken here but obviously deeply felt in every note. I connect with the sentiment of the words, Hersch says, and it felt like a good benediction to the whole album.

    1. The Orb
    2. Whisper Not
    3. Zingaro
    4. Through The Forest
    5. Plainsong
    6. Eronel
    7. And So It Goes
    Fred Hersch
    $18.99
    Vinyl LP - Sealed Buy Now
  • Black Moon Spell Black Moon Spell Quick View

    $18.99
    Buy Now
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    Black Moon Spell

    King Tuff's new record is called Black Moon Spell.


    It was produced and recorded by Bobby Harlow at Studio B in Los Angeles, California,
    in the hot winter of 2014.


    No one involved was prepared to make a record, but an invisible hand pushed them
    to do it. Perhaps it was God or that special someone we all know and love called The
    Devil.


    God and The Devil actually have very similar interests. They both love electric guitars
    and they both want you to listen to Black Moon Spell and freak the fuck out.


    There were many strange occurrences during the recording session- Dracula landlords,
    flashes of mysterious light, haunted microphones, songs that mixed themselves,
    demonic vortexes swirling in coffee cups, etc.


    Under the Black Moon Spell you may experience euphoria, demented visions, wet
    dreams, bouts of backwards laughter, and dazed confusion resulting in primordial
    dancing.


    Fire played a very important role in the making of this album. King Tuff loves fire.
    For some reason, no one can really explain how the Black Moon Spell came to be.
    It just appeared one day and demanded heavy rock music and meatball subs.
    Backwards messages may be found on this record.


    Los Angeles, full of its screaming coyotes and creeping helicopters, surely slathered
    its sexy, twisted, hairy, polluted spirit all over Black Moon Spell. The Sunset Strip
    shat itself when it heard all these guitar solos.


    Can you feel the Black Moon Spell creeping up the back of yr neck yet?


    King Tuff would prefer not to tell you the full story of making this record because
    its long and crazy and you wouldn't believe him anyway. Also, I am King Tuff.


    Magic Jake, who played bass and is beautiful like sunshine, would like to take this
    moment to give you a hug and invite you to a tanning party on a beach of your choice.


    Old Gary, who plays drums and has the most glorious cackle, would like to take this
    moment to crack a cold one with you and invite you to watch the old ballgame with
    him.


    Old Gary was out watching the old ballgame, so a wild critter named Ty Segall played
    drums on the song "Black Moon Spell". Ty enjoys speaking in a goblin voice in his
    spare time.


    Night fell on Studio B. A Tarot card leapt from the deck and said, "No human
    judgement is of any value here." King Tuff agreed.


    Sub Pop first discovered King Tuff curled up in his palace in Vermont. It was basically
    a shit hut made of moss, mud, and glimmering stones hidden near the graveyard,
    and it was guarded by beautiful wild bullfrogs with silver fangs and baseball bats.


    Punx, Squares, Skaters, Farmers, Bartenders, Grandparents, Stoners, Carpenters,
    Hobos, Heshers, Babes, Babies, Plumbers, Strippers, Art Teachers, Teenagers, Townies,
    Moms, Dads, Truck Drivers, and Witches will all love this record.


    Every song on Black Moon Spell was written without giving a shining fuck about
    nothing.


    Listen to Black Moon Spell, turn yr volume knob up to 666, put yr lover in a 69,
    and let yr inner grinagog rear it's wicked, unwashed, smiling snake head.


    Listen to Black Moon Spell and give yr ears what they've been begging for all year;
    a heavily weird, heavenly dark, hysterically magical Rock & Roll Sexperience.


    ps. the only part of this story that isn't true is the part about the shit hut. I actually
    was living at my parents' house when I was discovered. Love, KT

    1. Black Moon Spell
    2. Sick Mind
    3. Rainbow's Run
    4. Headbanger
    5. Beautiful Thing
    6. I Love You Ugly
    7. Magic Mirror
    8. Madness
    9. Demon From Hell
    10. Black Holes in Stereo
    11. Radiation
    12. Eyes of the Muse
    13. Staircase of Diamonds
    14. Eddie's Song
    King Tuff
    $18.99
    Vinyl LP - Sealed Buy Now
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