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In The Wee Small Hours'
In The Wee Small Hours (Awaiting Repress)Expanding on the concept of Songs for Young Lovers!, In the Wee Small Hours was a collection of ballads arranged by Nelson Riddle. The first 12 album recorded by Sinatra, Wee Small Hours was more focused and concentrated than his two earlier concept records. It's a blue, melancholy album, built around a spare rhythm section featuring a rhythm guitar, celesta, and Bill Miller's piano, with gently aching strings added every once and a while. Within that melancholy mood is one of Sinatra's most jazz-oriented performances -- he restructures the melody and Miller's playing is bold throughout the record. Where Songs for Young Lovers! emphasized the romantic aspects of the songs, Sinatra sounds like a lonely, broken man on In the Wee Small Hours. Beginning with the newly written title song, the singer goes through a series of standards that are lonely and desolate. In many ways, the album is a personal reflection of the heartbreak of his doomed love affair with actress Ava Gardner, and the standards that he sings form their own story when collected together. Sinatra's voice had deepened and worn to the point where his delivery seems ravished and heartfelt, as if he were living the songs.
- Stephen Thomas Erlewine (All Music)1. In the Wee Small Hours of the Morning
2. Mood Indigo
3. Glad to Be Unhappy
4. I Get Along Without You Very Well
5. Deep in a Dream
6. I See Your Face Before Me
7. Can't We Be Friends?
8. When Your Lover Has Gone
9. What Is This Thing Called Love?
10. Last Night When We Were Young
11. I'll Be Around
12. Ill Wind
13. It Never Entered My Mind
14. Dancing on the Ceiling
15. I'll Never Be the Same
16. This Love of Mine$22.99Vinyl LP - Sealed AWAITING REPRESS 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
Songs For Swingin' Lovers (Bonus Track)Import
Ranked 306/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Songs for Swingin' Lovers! is the tenth studio album recorded by the American singer Frank Sinatra for Capitol Records, it was arranged by Nelson Riddle and released in March 1956.
It took an alternative tack after In the Wee Small Hours (1954), recording existing pop standards in a hipper, jazzier fashion, revealing an overall exuberance in the vein of Songs for Young Lovers and Swing Easy!. The original cover had Sinatra facing away from the young couple, but in 1957 Capitol altered the cover with a new image of Sinatra facing the couple.
The album was the first ever number one album in the UK.1. You Make Me Feel So Young
2. It Happened In Monterey
3. You're Getting To Be A Habit With Me
4. You Brought A New Kind Of Love To Me
5. Too Marvelous For Words
6. Old Devil Moon
7. Pennies From Heaven
8. Love Is Here To Stay
9. I've Got You Under My Skin
10. I Thought About You
11. We'll Be Together Again
12. Makin' Whoopie
13. Swingin' Down The Lane
14. Anything Goes
15. How About You?
*Bonus Track$27.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Texas Oil Patch SongsPressed On Petro-Blue Colored Vinyl
Drillin' & Drivin' Rig Ringers!
Country singer and disc jockey Slim Willet's ode to tool-pushin'! Texas Oil Patch Songs was issued in 1959 by the artist on his own Winston label, and now is an impossibly-rare LP to dig up-and this Modern Harmonic edition is faithful to the original, including all twelve tracks, liner notes, and restored artwork! And on petro-blue vinyl!
Ahh the "Concept Album" Critics write of Sinatra's In The Wee Small Hours or of groundbreaking 60's rock opera opuses but while the big studios set the scene for rainy night walks or drug-fueled psychedelic trips, a Great Lost Treasure from the Great Texas Oil Fields lay buried deep in the bargain bins of Saint Peters' Holy Blood Of The Christ Thrift Store! For sure, Slim Willet's mighty collection of blue collar, well-digging classics stood little chance to begin with - only a few hundred were pressed - and, well, oil songs never really caught on in the way the similar trucking-songs boom would several years later. Maybe had Slim put this out during the great Gas Station/Truck Stop 8-Track Market of the 70's this could have been a hit album. But, with Slim's passing in 1966, it was never to be.
Slim Willet (born Winston Lee Moore) was certainly a Big Fish in a Small Pond in the Independent Country Music World of the late 40s & early 50s. He's best known for penning "Don't Let The Stars Get In Your Eyes," a hit song for Ray Price, Skeets McDonald and Perry Como, all. Slim worked for many years with Bill McCall at 4-Star, made a stack of records as a singer, started his own Winston label, managed Dean Beard and various other hillbilly and rockabilly artists, but never really hit the big time. His greatest masterpiece, 1959's Texas Oil Patch Songs, was never fully appreciated until now. For all the tool pushers, roughnecks, derrick men & chain hands, THIS is your soundtrack."
- G-Minus Mark1. Rig Moving Man
2. Toolpusher (on a Rotary Rig)
3. Oil Patch Girls
4. El Paso Gas
5. Off Shore Drillin' Rig
6. Boom Town Man
7. Smell That Sweet Perfume
8. Johnny Don't Drill Any More
9. Drill Bit Honky Tonk
10. Morning Tower
11. Haywire Jones
12. Roughneck$24.99Colored Vinyl LP - Sealed Buy Now
Includes 1 Bonus Track
By the time that jazz icon/bandleader/percussionist Art Blakey and his Jazz Messengers began recording for Riverside in the fall of 1962, Blakey had already been the spiritual center of the group for nearly 15 years. The unprecedented caliber of performers who had already passed through the revolving-door personnel reads like a who's who of 20th century jazz. On Caravan -- his first of several notable sides for the venerable label -- he is joined by a quintet of concurrent and future all-stars. Likewise, it could be argued that each has never again been presented in such a fresh or inspired setting as on these recordings. In order to establish with any authority just how heavy (even for purveyors of hard bop) the players in this band are, they need only to be named: Curtis Fuller (trombone), Freddie Hubbard (trumpet), Wayne Shorter (tenor sax), Cedar Walton (piano), and Reggie Workman (bass). With Blakey (drums) firmly at the helm, these Jazz Messengers deliver a scintillating synergy that doesn't sacrifice intensity for the sake of cadence. The trademark give-and-take that graces the laid-back and sophisticated pop and jazz standards Skylark and In the Wee Small Hours of the Morning likewise is responsible for the palpable energy brought to the sizeable contributions from Shorter and Hubbard -- which make up half of the album's material. The title and leadoff track liquefies Duke Ellington's original arrangement and ignites it, fueling this extended fiery interpretation. Hubbard's first solo harks back to his own recording of Caravan, which can be heard on the Impulse release Artistry of Freddie Hubbard and was recorded earlier the same year. Coincidentally, that disc also features Curtis Fuller as well as a rare non-Sun Ra-related appearance from John Gilmore (tenor sax). Blow for blow, however, this reading has more than just an edge -- it possesses the entire blade. The melody snakes in and out of Blakey's strident flurry of syncopation. Another highlight is Shorter's interjectory solo, recalling his ability to succeed John Coltrane in Miles Davis' coterie. Among the original compositions, Shorter's upbeat Sweet 'n' Sour stands out as the most cohesive and ensemble-driven, although the singular group dynamic is well applied to the lively This Is for Albert as well. By contrast, Hubbard's Thermo is more angular -- taking full advantage of the musicians' aggressive chops. The 2001 20-bit remaster from Fantasy contains two bonus tracks: take four of Sweet 'n' Sour and take two of Thermo. This release can be considered definitive Blakey, bop, and Jazz Messengers.
- Lindsay Planer (All Music)1. Caravan
2. Sweet 'n' Sour
3. In The Wee Small Hours Of The Morning
4. Sweet 'n' Sour [Alternate Take] *
5. This Is For Albert
*Bonus Track (From The Same Sessions. Not On The Original LP)$27.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Point Of No ReturnPoint of No Return on Numbered Limited Edition 180 Gram Stereo LP from Mobile Fidelity
Memories of You: Sinatra Waves Farewell to Capitol on Elegantly Dressed Standards Set from 1961
Mastered from the Original Master Tapes: Mobile Fidelity 180 Gram LP Captures Gracefulness of Ornate Orchestrations
Sinatra Reunited With Arranger Axel Stordahl, Collaborator That Spearheaded the Voice's Rise in the 1940s
Thematic Songs Address Goodbyes With Profound Sense of Sadness, Longing
Nobody says goodbye like Frank Sinatra. For his final album with Capitol, Ol' Blue Eyes elected to croon an unforgettable selection of farewell songs marked with longing, sadness, and poignancy. To make the occasion even more special, he teamed with arranger Axel Stordahl, the virtuoso that helped launch Sinatra's star at Columbia during the 1940s. The results amount to one of the finest send-off statements in history.
Mastered from the original master tapes, Mobile Fidelity's numbered limited edition 180 gram stereo LP presents the songs as they should be experienced: In rich, lush, front-to-back sound in which the strings soar and literally inhale and exhale. Sinatra's singing, as good as it's ever been during his career, comes across with unfettered transparency and tonal purity. Such is the fidelity, the music turns into aural poetry, rendering completely fluid and tube-amp warm the rushes of strings, words, and structures.
Sinatra fans continually debate which of the artist's albums rank as his best, but there's no doubting the status attached to Point of No Return. Unquestionably the most overlooked effort in the Chairman's Capitol catalog, it defies common expectation that it was made haphazardly to simply fulfill a contractual obligation. Sinatra's presence alone guarantees that isn't the case, yet Stordahl's involvement ensures this 1961 set is something very special indeed.
The chemistry between the old collaborators is immediately evident. Sinatra inhabits every phrase, feeling, and expression conveyed on the dozen standards, achieving an intimate connection with Stordahl's instrumental accents. Akin to the downbeat moods he casts on the immortal In the Wee Small Hours and Only the Lonely, the vocalist keeps calm and cool, yearning and reflecting as if he's strolling a barren downtown after midnight, a man left alone with his thoughts and memories. Somber, wistful, meditative, teary-eyed sentimental-Sinatra paints each song with the emotions they need, nothing more and nothing less.
From regal ("These Foolish Things (Remind Me of You)") to nostalgic ("I'll Be Seeing You"), relaxed ("September Song") to dramatic ("When the World Was Young"), Stordahl's treatments blush with natural ease and instinct, setting up Sinatra for countless moments of sublime beauty. Vocal pop aficionados, you don't want to miss this classic.
This title is not eligible for discount.1. (Ah, the Apple Trees) When the World Was Young
2. I'll Remember April
3. September Song
4. A Million Years Ago
5. I'll See You Again
6. There Will Never Be Another You
7. Somewhere Along the Way
8. It's a Blue World
9. These Foolish Things (Remind Me of You)
10. As Time Goes By
11. I'll Be Seeing You
12. Memories of You$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Without apology, Holly Cole is a self-declared night owl, perfectly at home in the time between dusk and dawn, a dear friend of the wee small hours. It's a fact that now finds firm and poetic expression in the title and content of her eagerly awaited new album - Night. As usual when it comes to the iconic Canadian songstress, it's an album that features a stylistically diverse and emotionally stirring collection of songs. It stands as a love letter to the night and its magic powers, a celebration of the hours where daylight's chatter has disappeared and turned into peaceful moments of creative possibility, providing a chance to see the world with different eyes and to listen with different ears. An invitation to intimacy.1. You Only Live Twice
2. Walk Away
3. Good Time Charlie's Got the Blues
4. You've Got A Secret
5. Viva Las Vegas
6. I Only Have Eyes For You
7. I Thought Of You Again
8. Love Lies
9. Whistlin' Past the Graveyard
10. If You Go Away
11. If You Could Read My Mind$41.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Bringin' ItIconic bassist Christian McBride has been doing what the title of his upcoming big band album implores for years: Bringin' It. This highly anticipated release, which follows the Christian McBride Big Band's 2011 Grammy® Award-winning debut, The Good Feeling, puts his status and skills as an all-around entertainer on full display. With a list of growing accolades including his recent appointment as Artistic Director at the Newport Jazz Festival, hosting shows on SiriusXM ("The Lowdown: Conversations with Christian") and NPR ("Jazz Night in America," as well as frequent online contributions to various programs including "All Things Considered"), speaking engagements, and occasional DJ performances under the alias DJ Brother Mister, he's more than just a bandleader: Christian McBride is transcending that title to something more complete.
If it is true that jazz is a sponge for musicians to absorb and then squeeze out what they hear to produce their own sound, McBride has been "bringin' it" for quite a long time. From his amazing quintet, Inside Straight, to his avant-garde leaning quartet, New Jawn, the contemporary sound of his fusion group, A Christian McBride Situation, to the critically acclaimed music he's made with his trio, the bassist has always disseminated his own unique 360-degree view of jazz.
While the music played by the Christian McBride Big Band is on the cutting edge of 21st century large ensemble music, the orchestra's presentation, like its sound, respects the past while looking forward. Danny Ray, the legendary stage announcer for James Brown, travels with the group to give the leader an old-school intro before playing his thoroughly modern music. "I love having the show aspect of it as well, with Danny Ray there, and being able to create somewhat of a show while also having Melissa there as our vocalist."
That would be Melissa Walker, who graces Bringin' It on two tracks: "Upside Down," originally done by Brazilian superstar Djavan, and the unlikely slick arrangement of "Mr. Bojangles." In addition to maintaining a career in jazz, Walker is also the co-founder of Jazz House Kids, the award winning jazz education center and she's Mrs. Christian McBride.
Only two tracks on this 11-song set were not arranged by the leader: the "Upside Down" arrangement was contributed by Norman Simmons, while "Optimism" is from the person he's known the longest in his band, trombonist Steve Davis. Davis has the distinction of being the very last Jazz Messenger that Art Blakey hired before he died in 1990.
"I saw that last Jazz Messengers band that Steve was in," McBride remembers. "Blakey was a huge influence on me and because of that, Steve and I share the same compositional and arranging DNA. You see, even though I've been influenced by every great big band and every great arranger I've ever heard, three of my greatest influences - not just as composers but also as improvisers - are Freddie Hubbard, Wayne Shorter and Cedar Walton. I mean before, after and during the period when they were with Art Blakey & the Jazz Messengers."
McBride played bass for Freddie Hubbard's quintet for nearly three years starting when he was 18. One of the songs he loved to play with the legendary trumpeter was "Thermo." A few years ago he brought this arrangement to a gig with Wynton Marsalis and the Jazz at Lincoln Center Orchestra. When the four trumpeters had to work hard to go over the riffs in the tune, McBride felt a certain pride. "I just thought that Freddie was somewhere up in heaven laughing," says McBride.
Perennial poll-topping arranger Maria Schneider has also been an influence on McBride. He cites times when he'd just bug her for hours, peppering her with questions, particularly on a recent trip to Europe. He honors her with his rendition of "I Thought About You." "She has an arrangement of 'Giant Steps' where she arranged the melody over a D pedal so I said let me try something like that," McBride recounts. "That's where that came from. She really gave me a lot of information and has been a great influence on me."
Another aspect that has helped the bassist find his voice as an arranger is the fact that, except for drummer Quincy Phillips, this is the exact same band that recorded with him six years ago. "These guys know my sound. They know my style. They know what my compositional and arranging DNA is. I've been able to keep the exact same unit, so like Duke Ellington used to do, I can write for my guys because I know their sound and style.
"As for my originals, they all have been recorded with my small groups," he continues on about the tracks "Gettin' To It," "Youthful Bliss," and "Used'ta Could." "As an arranger I'm still in the early stages of my development so it seems to me the best way to really make my hopeful ascension into a better arranger is to obviously take a song I've already written and try to add to that and make it a worthy large ensemble song."
While the Wes Montgomery smoker "Full House" isn't a McBride original, it is part of his development as an arranger - it's a big band chart he first created for guitarist Russell Malone at Jazz Aspen in 2009. He says he's tweaked it since then for his go-to guitarist Rodney Jones. For the McCoy Tyner classic "Sahara," the bassist channeled his 20+ years of playing with the legendary Chick Corea, for which McBride won two of his five Grammys. Another one of his Grammys came from a co-op project with Tyner. "I always thought of Chick, in his early years, as being a branch from the tree of McCoy Tyner, if you will," he commented.
McBride's work ethic is evident in the challenge he set for himself on the steamy old ballad "In The Wee Small Hours of the Morning." "I decided to torture myself by writing that arrangement in the key of B. To me that's a very pretty key, but it is a very hard key for a double bass because I get to play no open strings," McBride explains. "When I play it live, every bass player in the house comes to me and says, 'is that in B? Why do you do that?' Maybe it's because I'm crazy, but I really wanted to do something difficult and keep myself on my toes."
Planning to keep this group simmering while he simultaneously resurrects his Inside Straight band and introduces his new trio, Tip City, McBride is most excited to embrace the golden age of big bands while they continue bringin' it with more gigs and their first European tour. "With my big band I try to combine all of my journeys and goals as a musician and then try to put it in a wrapper of show business," the five-time Grammy® Award-winner comments. "I really think in that sense I'm following something of a big band tradition."1. Gettin' To It
3. Youthful Bliss
4. I Thought About You
6. Upside Down
7. Full House
8. Mr. Bojangles
9. Used 'ta Could
10. In The Wee Small Hours Of The Morning
11. Optimism$34.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
In 1960, pop vocalist Julie London was really cranking out albums for the successful label Liberty Records. The success of her 1955 hit Cry Me a River put Liberty into overdrive and London responded by making some of the strongest records of her career. Her ability to interpret a song was at its strongest in the late '50s and early '60s, as is evidenced on the shimmering Around Midnight. While some of her best recordings were front of small jazz combos, Around Midnight proves that London was just as effective in front of larger orchestras and bands. The drowsy Black Coffee and lazy Lush Life typify the late-night feel of the album, leading right into The Wee Small Hours of the Morning. [Julie...At Home was released in 1996 as a two-fer as Julie...At Home/Around Midnight.]
- Zac Johnson (All Music Guide)1. 'Round Midnight
2. Lonely In Paris
4. Black Coffee
5. Lush Life
6. In The Wee Small Hours Of The Morning
7. Don't Smoke In Bed
8. You And The Night And The Music
9. Something Cool
10. How About Me?
11. But Not For Me
12. The Party's Over
13. A Foggy Day$32.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Lullaby180 Gram Heavy Vinyl with a Digital Download Card
Pressed by RTI in California
Includes Insert with Lyrics
Justin's first collection of original nighttime songs for families, Lullaby is for those wee small hours just before bedtime with elegant moments of chamber music, snatches of 70s soft rock, and sleepy bossa nova and R&B grooves. Featuring members of the Chicago Symphony Orchestra, Poi Dog Pondering, and the Not Ready for Naptime Players, this record marks a temporary departure from Justin's signature power pop into the land of storks and sleepy polar bears.
Lullaby is available on beautiful 180 gram heavy vinyl with a digital download card. Create new memories and young audiophiles with this delicious slice of analog lovingly pressed by RTI in California. Includes Insert with Lyrics.1. Count Them As They Go
2. What the Stork Sent
3. Nothing On You
4. Heart of Gold
5. Doing It All for You
6. Polar Bear
7. No Matter How Far
8. Easier To Do
9. A Wild One
10. Lullaby$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now