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Groovin' With GolsonPart 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
3. I Didn't Know What Time it Was
4. The Stroller
5. Yesterdays$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
LION-WAX-L61457xArt Farmer & Benny Golson
Jazztet Big City Sounds180 Gram Vinyl
Includes Bonus Track1. The Cool One
2. Blues On Down
4. My Funny Valentine
5. Wonder Why
6. Con Alma
8. Bean Bag
9. Five Spot After Dark
*Bonus Track$27.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Blues-etteAny serious jazz collection is incomplete without this record - All Music Guide
Featuring Curtis Fuller, Benny Golson, Tommy Flanagan, Jimmy Garrison & Al Harewood.1. Five Spot After Dark
4. Minor Vamp
5. Love Your Spell Is Everywhere
6. Twelve-Inch$19.99Vinyl LP - Sealed Buy Now
Moanin'Limited Direct Metal Mastered 180 gram vinyl LP pressing of this classic album. Wax Time.
Moanin' includes some of the greatest music Blakey produced in the studio with arguably his very best band. There are three tracks that are immortal and will always stand the test of time. The title selection is a pure tuneful melody stewed in a bluesy shuffle penned by pianist Bobby Timmons, while tenor saxophonist Benny Golson's classy, slowed Along Came Betty and the static, militaristic Blues March will always have a home in the repertoire of every student or professional jazz band.1. Moanin'
2. Are You Real
3. Along Came Betty
4. The Drum Thunder Suite
5. Blues March
6. Come Rain or Come Shine$27.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Kelly BlueRecorded for Riverside, this set mostly features the influential pianist Wynton Kelly in a trio with his fellow rhythm-section mates from the Miles Davis bands, bassist Paul Chambers and drummer Jimmy Cobb. Kelly Blue and Keep It Moving add cornetist Nat Adderley, flutist Bobby Jaspar and the tenor of Benny Golson to the band for some variety.
Kelly was renowned as an accompanist, but as he shows on a set including three of his originals and four familiar standards (including Softly, As in a Morning Sunrise and Willow Weep for Me), he was also a strong bop-based soloist too. A fine example of his talents.
- Scott Yanow (All Music Guide)1. Kelly Blue
2. Softly, As in a Morning Sunrise
3. Green Dolphin Street
4. Willow Weep for Me
5. Keep It Moving
6. Old Clothes$21.99Vinyl LP - Sealed Buy Now
MemorialWhen 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)$21.99Vinyl LP - Sealed Buy Now
Special Requests (and other favorites)Kenny Burrell has appeared on so many essential jazz
recordings that jazz history and his biography seem
irretrievably intertwined. Billie Holiday's valedictory
rumination Lady Sings the Blues, Jimmy Smith's epochal funk
throwdown Back at the Chicken Shack, Tony Bennett's Carnegie
Hall debut - Kenny Burrell played guitar for them all. Even Jimi
Hendrix once remarked, Kenny Burrell - that's the sound I'm
looking for. Here is Burrell captured live at the West-Coast jazz
mecca, Catalina's, in an easy-going program of some of his
most-requested tunes along with a few of his personal favorites
thrown in. Jazz tunes by Benny Golson, Freddie Hubbard, the
Duke and others are here all given the ever-tasteful Burrell
Kenny Burrell, guitar
Justo Almario, tenor sax
Tom Ranier, piano
Tony Dumas, bass
Clayton Cameron, drums1. Killer Joe
2. Little Sunflower
3. The Summer Knows
4. Make Someone Happy
5. Bye Bye Blackbird
6. In a Sentimental Mood$18.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Bags Meets Wes!Milt Jackson was 38 when, in December 1961, he co-led this superb hard-bop date with the distinctive guitarist Wes Montgomery. A jazzman who was as opinionated as he was gifted, Jackson wouldn't hesitate to tell you exactly what he thought of a musician -- so when he praised Montgomery, you knew his praise was genuine. Not surprisingly, the boppers prove to be quite compatible on Bags Meets Wes, which finds them co-leading an all star-quintet that also includes pianist Wynton Kelly, bassist Sam Jones, and drummer Philly Joe Jones (who shouldn't be confused with swing drummer Jo Jones). Although Jackson and Montgomery prove what lyrical ballad players they could be on the standard Stairway to the Stars, ballads aren't a high priority on this album. Instead, the improvisers put more of their energy into the blues -- and the 12-bar format serves them well on Sam Sack, Blue Roz, and S.K.J. Equally strong are hard-swinging versions of Montgomery's Jingles and Benny Golson's Stablemates.
-All Music Guide1. S.K.J.
3. Stairway to the Stars
4. Blue Roz
5. Sam Sack
8. Love Walked In*
*Bonus Track$27.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Open BookFred 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
4. Through The Forest
7. And So It Goes$18.99Vinyl LP - Sealed Buy Now