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ColtraneConsidered by many to be his finest single album, Coltrane finds John Coltrane displaying all of the exciting elements that sparked brilliance and allowed his fully formed instrumental voice to shine through in the most illuminating manner. On tenor saxophone, he's simply masterful, offering the burgeoning sheets of sound philosophy into endless weavings of melodic and tuneful displays of inventive, thoughtful, driven phrases. Coltrane also plays a bit of soprano saxophone as a primer for his more exploratory work to follow. Meanwhile, bassist Jimmy Garrison, drummer Elvin Jones, and especially the stellar McCoy Tyner have integrated their passionate dynamics into the inner whole of the quartet. The result is a most focused effort, a relatively popular session to both his fans or latecomers, with five selections that are brilliantly conceived and rendered. "Out of This World," at over 14 minutes in modal trim, is a powerful statement, stretched over Tyner's marvelous and deft chords, the churning rhythms conjured by Jones, and the vocal style Coltrane utilizes as he circles the wagons on this classic melody, including a nifty key change. "Tunji" is a mysterious, easily rendered piece in 4/4 which speaks to the spiritual path Coltrane tred, a bit riled up at times while Tyner remains serene. Hard bop is still in the back of their collective minds during "Miles' Mode," a sliver of a melody that jumps into jam mode in a free-for-all blowing session, while the converse is to be found in Mal Waldron's "Soul Eyes," the quintessential ballad and impressive here for the way Coltrane's holds notes, emotion, and expressive intellectuality. On soprano you can tell Coltrane is close to taking complete control of his newly found voicings, as a playful, jaunty "The Inch Worm" in 3/4 time is only slightly strained, but in which he finds complete communion with the others. Even more than any platitudes one can heap on this extraordinary recording, it historically falls between the albums OlÉ Coltrane and Impressions -- completing a triad of studio efforts that are as definitive as anything Coltrane ever produced, and highly representative of him in his prime.--Michael G. Nastos
This Impulse Reissue Series vinyl features Audiophile Remastering, 180 gram Virgin Vinyl, Original Liner notes and deluxe gatefold packaging.
John Coltrane, trumpet
Elvin Jones, drums
Jimmy Garrison, bass
McCoy Tyner, piano1. Out Of This World
2. Soul Eyes
3. The Inch Worm
5. Miles' Mode$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
iFi Audio Retro LS3.5 Speakers
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
Treble That Is Literally, Smooth As Silk
Mid-Range And Bass That Leaves The Listener In Awe
The Open Cell Structure Is Unmatched For Sound Absorption
As Close To "No Post" As It Gets
The LS3.5 is iFi's 3.0 reboot of the classic BBS LS3/5A which is still now, half a century after its launch still in high demand and revered. iFi has taken the design back to its basic underpinnings and then re-engineered the LS3.5 ground-up for the 21st century. From designing the drivers (not OEM) to the cabinet terminals, where we were dissatisfied, we manufactured our own. This is the iFi level of attention to detail.
The Retro LS3.5 is in many ways a synthesis of the best of the BBC LS3/5A and dash of the Le Petite. We eliminated their respective drawbacks using the very latest technological advancements available. So think of the iFi LS3/5A as BBC LS3/5a+Le Petite with an injection of factor X.
iFi's brand-new tweeter that is smooth as silk, literally
Silk is smooth, so why not make a tweeter from the ground-up using it at the core? The iFi 28mm tweeter is horn-loaded and uses a neodymium magnet. It is very much a 21st century product - that is, at the advanced edge of tweeter technology. The silk dome combines the lack of resonances at the top of the operating range (as found on metal domes) with excellent dynamics in band. The small neodymium magnet structure shifts cavity resonances outside the audible range. Being horn-loaded, it matches perfectly with the wideband driver to create a mammoth sound field.
The tweeter is used only at the very top end of the audible range; the whole range from 59Hz - 8kHz covering the fundamentals of all instruments except those with very low bass notes and all the formants (the tone forming harmonics of instruments) is covered by the wideband driver, without any electrical or mechanical crossover.
This avoids any damage to the phase/impulse response for this critical range. The simple arrangement of the crossover for the tweeter (first order at appx. 10kHz acoustic crossover) and the tweeters waveguide, which insets it for time-alignment with the wideband driver further preserves phase/impulse response.
Ground-up paper cone wideband driver
Natural material for a natural sound. The paper cone 115mm wideband driver by iFi performs more akin to a full-range driver.
In many ways the wideband driver is very traditional, both magnet and basket. Stamped steel baskets can dissipate energy much faster than cast ones. It harks back to the "golden era" of driver design in the 1970's. Modern finite element modeling and modern materials have improved the driver in many areas (especially efficiency and bandwidth) over classics like the KEF B-110 which was originally used in the LS3/5A.
The wideband driver rolls off after 8kHz. And it reaches down to 59Hz (with correct placement).
Time-Aligned to perfection
The iFi LS3.5 has a coherency that is based upon the simple fact from the outset, the tweeter and driver are perfectly time-aligned. Simply put, this means if one was looking at a cross-section of the LS3.5, the acoustic centre of the tweeter and the wideband driver as precisely vertically-aligned. This means sound waves from both units arrive at ear of the listener at the same time (as opposed to at different times). This is an oft overlooked weakness of many speakers, but not in the iFi LS3.5.
Multi-chamber Voigt design with tuned enclosure
There are two-chambers in one. The enclosure is maybe best considered a variant of multiple reflex, also, by breaking up the larger volume into two smaller different volume/size sections resonance frequencies are spread and tuned to higher frequencies, where the Amino-plastic open cell foam we use for damping has optimal absorption.
The Acoustic Active Tuning with minimal damping drawn from the musical instrument manufacturing sector further assists with dissipating resonance frequencies higher - just think of the LS3.5 as a musical instrument.
This is why the LS3.5 is a speaker that makes music.
Bamboo is best
Bamboo is a grass - hence it is a sustainable material and exceptionally environmentally friendly. It is 2x lighter and 3x stronger than wood. The aforementioned Voigt design coupled with the "stiff as steel" bamboo enclosure and the extra reinforcement by the division plus the acoustic tuning - all combined, makes for a remarkably low sonic signature of the box. This is critical as the use of the single paper driver needed for the wide bandwidth cannot be counted upon to block resonances from inside the box passing through the way a heavy and slower plastic cone is able to.
Hence for environmental and sonic reasons, it made perfect sense to use it as a speaker cabinet material. The LS3.5 is 5x more costly to manufacture than standard MDF cabinets. A simple knuckle tap shows its complete lack of colouration - which is easily audible from the first note.
Advanced Amino-plastic open cell foam
For the very minimal internal damping duties, we scoured the world for the most advanced acoustic materials and settled on the Advanced Amino-plastic open cell foam material. The open-cell surface guarantees that sound waves are not reflected as an echo but can penetrate the cell structure unhindered. The sound energy is reduced in the cell structure, giving an excellent sound absorption capacity.
From our listening tests the ability to ensure the deepest and cleanest bass along with a mid-range that is spell-binding placed it heads and shoulders above all others.
Despite its much higher cost, we just had to have it in the LS3.5.
Binding posts that carry the signal unhindered
Leaving no stone unturned, we sourced a binding post that had the purest copper count, had the maximum surface area contact and had to be gold-plated for long-term enjoyment. Rest assured that even the banana speaker connectors we developed from the ground-up!
The silver-plated copper speaker cables and the gold-plated copper speaker connectors means the sound quality is simply unbeatable and means the LS3/5A can play with the "big boys".$809.00Speakers (Pair) Buy Now
Live At The Village Vanguard Again!Live At The Village Vanguard Again! is a jazz album by saxophonist John Coltrane. Recorded in May 1966, the album shows Coltrane playing in the free jazz style that characterized his final recordings.
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.1. Naima
2. Introduction to My Favorite Things
3. My Favorite Things$24.99180 Gram Audiophile Virgin Vinyl LP -Sealed Buy Now
Sun ShipSun Ship is a jazz album recorded on August 26, 1965, by tenor saxophonist John Coltrane. The album extended the free jazz ideas of Transition. The relaxed, serene feel of earlier ballads like "Welcome" was transformed into a new style of ballad on "Dearly Beloved" and "Attaining". This style involved very slow tempos, drum rolls and fills, and a louder, more intense feel than traditional jazz ballads. Like "Psalm" (from A Love Supreme), there is no real tune, just a scale or series of tones used to build an improvised theme.
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.
John Coltrane - tenor saxophone, soprano
McCoy Tyner - piano
Jimmy Garrison - bass
Elvin Jones - drums1. Sun Ship
2. Dearly Beloved
5. Ascent$24.99180 Gram Audiophile Virgin Vinyl LP -Sealed Buy Now
PsychicemotusPsychicemotus was released in 1965 and features Yusef Lateef on various flutes and tenor saxophone, Georges Arvanitas on piano, bassist Reggie Workman, and drummer James Black. And while the Coltrane era of modal and free jazz was in full swing, Lateef always followed his own muse, and continued looking forward while looking back to ancient music.1. Psychicemotus
2. Bamboo Flute Blues
4. Why Do I Love You?
5. First Gymnopedie
6. Medula Sonata
7. I'll Always Be In Love With You
8. Ain't Misbehavin'$24.99Vinyl LP - Sealed Buy Now
A Love SupremeRanked 47/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
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.
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 ThielePart 1 - Acknowledgement
Part 2 - Resolution
Part 3 - Pursuance
Part 4 - Psalm$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Cloven HoofIncludes A Full-Color Insert Featuring Several Previously-Unpublished Photos From The Original 1983 Album Photo Shoot As Well As Full Lyrics
Extensive Liner Notes By Bassist And Founding Member, Lee Payne
Album Has Been Restored From Original Masters And Remastered By Anders Peterson @ GS Mastering & Post, Sweden
For the first time since its original release in 1984, Wax Maniax is very proud to bring the essential debut album from NWOBHM cult-metal legends CLOVEN HOOF back to vinyl!
Originally formed in the heart of the industrial West Midlands, England in 1979, CLOVEN HOOF went through various line up changes until Spring 1982 when the band line up consisted of Lee Payne bass guitar, David Potter vocals, Steve Rounds lead guitar and Kevin Pountney drums. The band's first demo tape was given the thumbs up from no lesser than Robert Plant (Led Zeppelin) who took a copy of the tape into national Radio One, and Rob Halford (Judas Priest) who got it played on a radio station in Phoenix, Arizona. The band self-released "The Opening Ritual", a four track mini album in July of 1982, and the EP stayed in the "Sounds" and "Kerrang!" heavy metal charts for six weeks peaking at number 18. Articles in "Kerrang!" and "Noise" magazine were followed by renkown Sounds writer and Kerrang! Magazine founder Geoff Barton putting the band atop his prestigious "Breaking through in '82" feature and play list.
"The Opening Ritual" attained extensive radio air play worldwide but it wasn't until Tommy Vance played tracks off the EP on his legendary "Friday Rock Show" program on Radio One in the UK that interest in Cloven Hoof began to soar. 1983 saw Cloven Hoof touring throughout the United Kingdom, earning themselves a sizeable underground cult following. Soon afterwards the group were taken under the wing of ex-Judas Priest manager David Hemmings and an offer to sign the band from CBS Records soon followed.
Personality conflicts within the band, followed by the untimely death of manager David Hemmings put a strain on relations with CBS and the offer was withdrawn. In order to keep the momentum built by the band's live appearances and radio play going, the band instead looked to leading UK independent heavy metal label Neat Records where a deal was quickly struck. The band entered the label's Impulse Studio with reknown producer Keith Nichol (Venom, Satan, Raven, etc..) to record their self-titled debut album which was met with great adulation by the heavy metal press. Shortly thereafter, frontman Dave Potter left the band to join French metal unit "H-Bomb". Cloven Hoof soldiered on, releasing a live album in 1986 with new frontman Rob Kendrick (Trapeze, Budgie) followed by a second studio album in 1988 featuring an all-new lineup including Russ North of post-Budgie group Tredegar on vocals. Three more full-length studio albums would follow, the most recent released in 2014. The band continues to soldier on to this day with Lee Payne at the helm, enjoying a strong cult following both young and old, ushered in by the internet age that has seen their 1984 debut album topping lists of the best and most influential heavy metal albums of all time.1. Cloven Hoof
3. March of the Damned
4. The Gates of Gehenna
5. Crack the Whip
6. Laying Down the Law
7. Return of the Passover$22.99Vinyl LP - Sealed Buy Now
The Passion Of Charlie ParkerFeaturing Ben Monder, Madeleine Peyroux, Melody Gardot, Gregory Porter, And More
On this Impulse! release, Charlie Parker's music is uniquely re-imagined by living legends of the modern jazz scene. Produced by Larry Klein, and including artists like Ben Monder, Madeleine Peyroux, Melody Gardot, and Gregory Porter, this 'musical play' follows the narrative arc of Bird's life. This release aims to sound "like something that outlines the shape of what Bird might be doing in this time, were he still alive and playing these songs".LP 1
1 Meet Charlie Parker (Chan's Overture) [Vocal Version Of Ornithology]
2 The Epitaph Of Charlie Parker (The Funeral) [Vocal Version Of Visa]
3 Yardbird Suite (A Genius In His Youth) [Vocal Version]
4 So Long (Exodus To New York City) [Vocal Version Of K.C. Blues]
5 Every Little Thing (The Song Of The Acolyte) [Vocal Version Of Bloomdido]
6 Central Avenue (A Dark Journey To Los Angeles) [Interlude]
1 Los Angeles (The Dealer's Song) [Vocal Version Of Moose The Mooche]
2 Live My Love For You (Chan's Love Song) [Vocal Version Of My Little Suede Shoes]
3 Fifty Dollars (Angels And Demons) [Vocal Version Of Segment]
4 The King Of 52nd Street (Chan's Declaration) [Vocal Version Of Scrapple From The Apple]
5 Salle Pleyel (The Journey To Paris) [Interlude]
6 Après Vous (The Apotheosis Of Charlie Parker) [Vocal Version Of Au Privave]$25.99Vinyl LP - 2 LPs Sealed Buy Now
Treasure IslandTreasure Island, released in early 1974, was the second of two albums pianist and composer Keith Jarrett recorded for Impulse Records -- the first was Fort Yawuh, issued a year earlier. Cut at Generation Sound Studios in New York City, the band consisted of Jarrett on piano and soprano saxophone, Dewey Redman on tenor, bassist Charlie Haden, and drummer Paul Motian.1. The Rich (And The Poor)
2. Blue Streak
3. Fullsuvollivus (Fools Of All Of Us)
4. Treasure Island
5. Introduction And Yaqui Indian Folk Song
6. Le Mistral
7. Angles (Without Edges)
8. Sister Fortune$24.99Vinyl LP - Sealed Buy Now
In Greenwich VillageThis LP is Ayler's first Impulse set. There are two selections a piece from a pair of live appearances with Ayler having a rare outing on alto on the emotional For John Coltrane and the more violent Change Has Come while backed by cellist Joel Friedman, both Alan Silva and Bill Folwell on basses and drummer Beaver Harris. The other set features trumpeter Donald Ayler, violinist Michel Sampson, Folwell and Henry Grimes on basses and Harris.1. For John Coltrane
2. Change Has Come
3. Truth Is Marching In
4. Our Prayer$24.99Vinyl LP - 2 LPs Sealed Buy Now
I Just Dropped By To Say HelloThe second Impulse session for ballad singer Johnny Hartman followed his classic collaboration with John Coltrane. Hartman is heard in peak form throughout these 11 pieces, which include In the Wee Small Hours of the Morning, Sleepin' Bee, Stairway to the Stars, & even Charade. Tenor saxophonist Illinois Jacquet is on five of the songs, guitarists Kenny Burrell & Jim Hall help out on a few tunes, & Hartman is accompanied by pianist Hank Jones, bassist Milt Hinton, & drummer Elvin Jones.1. Charade
2. In The Wee Small Hours Of The Morning
3. Sleepin' Bee
4. Don't You Know I Care
5. Kiss Run
6. If I'm Lucky
7. I Just Dropped By To Say Hello
8. Stairway To The Stars
9. Our Time
10. Don't Call It Love
11. How Sweet It Is To Be In Love$24.99Vinyl LP - Sealed Buy Now
BalladsBefore this ballad album was released, John Coltrane's critics and jazz fans classed him as an 'avant-gardist', a modernist, an angry, wild young man who made his tenor saxophone scream out. Tongues wagged that free jazz could be made by just anyone who hung a horn around his neck.
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.
- 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 Thiele1. Say It (Over And Over Again)
2. You Don't Know What Love Is
3. Too Young To Go Steady
4. All Or Nothing At All
5. I Wish I Knew
6. What's New
7. It's Easy To Remember$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
CrescentJohn Coltrane's 1964 release, Crescent brilliantly represents the musical values 'Trane' was reaching for at a very crucial time in the tenor legend's career. The album not only re-emphasizes Coltrane's expressive power as a composer, it further underlines the fact that his lyricism is as direct and as free of posturing as any in jazz history. In excellent support here are Jimmy Garrison on double bass, Elvin Jones on drums and McCoy Tyner on piano.1. Crescent
2. Wise One
3. Bessie's Blues
4. Lonnie's Lament
5. The Drum Thing$24.99180 Gram Audiophile Virgin Vinyl LP -Sealed Buy Now
John Coltrane & Johnny Hartman1. 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$24.99180 Gram Audiophile Virgin Vinyl LP -Sealed Buy Now
Duke Ellington & John Coltrane1. In A Sentimental Mood
2. Take The Coltrane
3. Big Nick
5. My Little Brown Book
7. The Feeling Of Jazz$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Journey in Satchidananda1. Journey In Satchidanada
3. Stopover Bombay
4. Something About John Coltrane
5. Isis & Osiris$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
World GalaxyAlice Coltrane had become a musical world unto herself by the time she issued World Galaxy, recorded in late 1971. With jazz-rock fusion taking over the mainstream and the terminal avant-garde heading over to Europe, Coltrane stubbornly forged an insistent, ever-evolving brand of spiritual jazz that bore her own signature as much as it did her late husband's influence.1. My Favorite Things
2. Galaxy Around Olodumare
3. Galaxy In Turiya
4. Galaxy In Satchidananda
5. A Love Supreme$24.99Vinyl LP - Sealed Buy Now
AscensionTrane is joined by Pharoah Sanders, Freddie Hubbard and four other horn players for an explosion of fiery solos and free improvisation on this famous 1965 session. Recorded with three tenors (Trane, Pharoah Sanders, Archie Shepp), two altos (Marion Brown, John Tchicai), two trumpet players (Freddie Hubbard, Dewey Johnson), two bassists (Art Davis, Jimmy Garrison), the lone McCoy Tyner on piano, and Elvin Jones on the drums, this large group is both relentless and soulful simultaneously.1. Ascension [Pt. 1]
2. Ascension [Pt. 2]$24.99Vinyl LP - Sealed Buy Now
Liberation Music OrchestraA fascinating reissue that comfortably straddles the lines of jazz, folk, and world music, working up a storm by way of a jazz protest album that points toward the Spanish Civil War in particular and the Vietnam War in passing. Haden leads the charge and contributes material, but the real star here may in fact be Carla Bley, who arranged numbers, wrote several, and contributed typically brilliant piano work.1. The Introduction
2. Song Of The United Front
3. El Quinto Regimento / Los Cuatro Generales / Viva La Quince Brigada
4. The Ending To The First Side
5. Song For Chè
6. War Orphans
7. The Interlude (Drinking Music)
8. Circus '68 '69
9. We Shall Overcome$24.99Vinyl LP - Sealed Buy Now
The SorcererGabor Szabo's quintet featuring Jimmy Stewart was one of the guitarist's very best units. Live performances like this, recorded at Boston's Jazz Workshop, document some of the excitement the group stirred in 1967-1968. The playing seems inspired, and the interplay within the group is something to behold -- even when performing lightweight tunes like The Beat Goes On.1. The Beat Goes On
2 .Little Boat
4. What Is This Thing Called Love?
6. Stronger Than Us
8. Comin' Back$24.99Vinyl LP - Sealed Buy Now
Charlie Watts Meets The Danish Radio Big BandBefore Charlie Watts became the best-known drummer on the planet with The Greatest rock 'n' Roll Band in the World he lived for a few months in Denmark. According to English trumpeter and flugelhorn player, Gerard Presencer, who is also a member of the Danish Radio Big Band, it was something he only found out about by chance when he and Charlie talked on the telephone in 2009
"I landed a job with Danish Radio Big Band in 2009. A week or two after arriving in Copenhagen I got a call from Charlie. Later the idea dawned upon me for a return to his Jazz days over here after nearly 50 years. I spoke with my boss at the Danish Radio Big Band and went about putting this live project together. We agreed upon a week in Copenhagen in October 2010."
They rehearsed for 4 days, then played a concert on the fifth day at the newly opened Danish Radio Concert Hall in Copenhagen. This concert was recorded for broadcast by Danish National Radio. Charlie and his long-time bassist Dave Green went to record shops and strolled around the city, with no need for security guards. Charlie made it clear that he did not want to be placed on a big riser above the band, as he found that this did not help the musicians to bond.
In choosing the material, it was important to focus on the groove. According to Prescencer, "Having Dave Green on bass as special guest was an essential ingredient, as these two boyhood friends (next door neighbours growing up in Wembley, North London) have unspoken psychic connections that bassists and drummers, so there are times on this recording where their abundant empathy makes the rest of the band comfortable enough to really play out and take chances."
The album includes seven tracks, including two Mick and Keith compositions, 'Paint it Black' and 'You Can't Always Get What You Want', both arranged by Prescencer and another one, 'Faction' that is based on another Stones' classic. There are also two by Charlie himself, both written with fellow drummer Jim Keltner.
A day or two after the broadcast Prescencer began to think that the concert was so good it deserved to be heard more widely. "The Danish Radio needed very little convincing to hand over the recordings to me to work on, as well as Søren Frost our regular drummer and rhythm section consultant from the big band and the brilliant recording engineer, Lars C. Bruun. So, after several years work on this, we have produced this collection of music from our gig."
Charlie Watts meets the Danish Radio Big Band is the kind of album that many jazz fans had probably given up hope of hearing. In the glory days of big band jazz and arrangers like Oliver Nelson coming up with brilliant music, albums like this were, if not commonplace, at least more readily available. The truth is there is nothing commonplace about this album, it is a sheer delight.
Anyone who knows Charlie, knows how much he loves jazz. A few years ago when he and I were looking at a photo of the Stones playing in the 1960s he pointed at a particular cymbal and said, "I've still got that cymbal, but I don't use it on Stones' gigs, it's too good for them. I just use it on my jazz gigs." There's no doubt, that's the cymbal you hear on the first part of the 'Elvin Suite'.
Charlie Watts is one of the great ambassadors for jazz and every jazz lover will relish this record, and the fact that Charlie is involved may bring jazz to the attention of some that are not sure if they like jazz. Listen to this and you know you do.1. Elvin Suite - Part 1
2. Elvin Suite - Part 2
3. Faction (AKA Satisfaction)
4. I Should Care
5. You Can't Always Get What You Want
6. Paint It Black
7. Molasses$25.99Vinyl LP - 2 LPs Sealed Buy Now
Art Blakey!!!!! Jazz Messengers!!!!!Import
Art Blakey discovered and championed young talented musicians such as Clifford Brown, Lou Donaldson, Keith Jarrett and Wynton Marsalis to name but a few. But he also delivered the message of hard bop through thousands of performances at festivals right down to the smallest club. Lively, joyous performances, the very highest technical standards and somnambulistic music-making characterize this recording. Right from the very start it is clear that these jazz ambassadors have a new message for us. The hard-beat recordings win in lyricism thanks to the gentle sound of Curtis Fuller's trombone, something that was often missing in the powerful Blue Note sound. Four jazz evergreens give the musicians the time and opportunity to display their soloistic talents. The real climax, however, is to be found in the harmonic layering of the three winds which lend the themes new appeal. The message was broadcasted many times until the death of Art Blakey, but the history of jazz would have been a great deal poorer without these milestone recordings on the Impulse label. Art Blakey certainly knew how to delight his audience with fire, originality, a wealth of ideas and great humor. All these attributes are applicable to the six titles on this album.
Lee Morgan (trumpet)
Curtis Fuller (trombone)
Wayne Shorter (tenor saxophone)
Robert H. "Bobby" Timmons (piano)
Jymie Merritt (bass)
Art Blakey (drums)
Recording: June 1961 at Rudy van Gelder's Recording Studios, Englewood Cliffs, N.J., USA by Rudy van Gelder Production: Bob Thiele1. Alamode
4. You Don't Know What Love Is
5. I Hear A Rhapsody
6. Gee Baby, Ain't I Good To You$27.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
TFCFTFCF, the 8th album from Liars, is another unexpected chapter in the saga of the group. The album's reinvention of the Liars paradigm - blurring the lines between electronic and acoustic, between the experimental impulse and the addictive pop sensibility - is evidence that Liars' creative energies remain as healthy as ever.1. The Grand Delusional
2. ClichÉ Suite
3. Staring At Zero
4. No Help Pamphlet
5. Face to Face With My Face
6. Emblems of Another Story
7. No Tree No Branch
8. Cred Woes
9. Coins in My Caged Fist
10. Ripe Ripe Rot
11. Crying Fountain$22.99Vinyl LP - Sealed Buy Now
Deaf, Dumb, Blind (Summun, Bukmun, Umyun) (Awaiting Repress)Deaf Dumb Blind (Summun Bukmun Umyun) is an album by the American jazz saxophonist Pharoah Sanders. It was recorded at A & R Studios in New York City on July 1, 1970, and originally released on Impulse Records in the same year. The album's title is bilingual: Summun Bukmun Umyun is Arabic for Deaf Dumb Blind.1. Summun Bukmun Umyun
2. Let Us Go Into The House Of The Lord$16.99Vinyl LP - Sealed AWAITING REPRESS Buy Now