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  • Hot Rats Hot Rats Quick View

    $24.99
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    Hot Rats

    By 1969, after releasing a 'mother lode' of Mothers of Invention classics, leader Frank Zappa was ready to breakthrough other musical barriers that were still holding popular music in a conservative headlock.


    Being one if not the first album to be recorded using 16 tracks (twice the number being used at the time on both sides of the Atlantic), Hot Rats became a leading edge in both modern recording technology and the evolution of jazz/rock-fusion. Mostly instrumental, it features six original compositions; three loose jam pieces, the remainder being tight ensemble arrangements. Some of the finest players around come together in varying combinations, all-the-while showcasing Frank Zappa's guitar virtuosity.


    Among others, Lowell George of Little Feat-fame lends guitar, jazz violinists extraordinaire Don 'Sugarcane' Harris and Jean-Luc Ponty plus fellow Mother Ian Underwood's keyboard and woodwind work, complete the leader's advanced vision. Last but not least, the legendary Captain Beefheart brings his unique pipes to the infamous Willie The Pimp.


    Soon to become a concert staple and fan favorite thereafter, Peaches En Regalia is truly a modern jazz standard, eventually covered by the likes of Phish and The Dixie Dregs. Also included are Son of Mr. Green Genes, Little Umbrellas, The Gumbo Variations and It Must Be A Camel. Mastered and cut directly from the original analog master tape by Bernie Grundman under the supervision of Gail Zappa.

    1. Peaches en Regalia
    2. Willie the Pimp
    3. Son of Mr. Green Genes
    4. Little Umbrellas
    5. The Gumbo Variations
    6. It Must Be a Camel
    Frank Zappa
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Incredible Jazz Guitar of Wes Montgomery (Awaiting Repress) The Incredible Jazz Guitar of Wes Montgomery (Awaiting Repress) Quick View

    $21.99
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    The Incredible Jazz Guitar of Wes Montgomery (Awaiting Repress)

    Airegin
    D-Natural Blues
    Polka Dots And Moonbeams
    Four On Six
    West Coast Blues
    In Your Own Sweet Way
    Mister Walker
    Gone With The Wind
    Wes Montgomery
    $21.99
    Vinyl LP Reissue - Sealed AWAITING REPRESS Buy Now
  • Boss Guitar Boss Guitar Quick View

    $21.99
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    Boss Guitar

    Before he moved away from straight-ahead jazz and starting playing what is now known as smooth jazz, Wes Montgomery was one of bop's finest guitarists. Montgomery's bop period ended much too soon, but thankfully, he recorded his share of rewarding bop albums when he was still bop-oriented -- and one of them is Boss Guitar, which Orrin Keepnews produced in 1963. It's a trio recording, employing Mel Rhyne on organ and Jimmy Cobb on performances that have held up well over time; Montgomery shows how expressive a ballad player he could be on the standards For Heaven's Sake and Days of Wine and Roses, but the fast tempo exuberance of The Trick Bag (a Montgomery original) serves him equally well. Montgomery swings the blues with pleasing results on Fried Pies (another Montgomery original), while Consuelo Velázquez's Besame Mucho (which is usually played at a slow ballad tempo) is successfully transformed into medium-tempo Latin jazz. Boss Guitar is among the bop-oriented Montgomery albums that should continue to be savored after all these years.


    - Alex Henderson (All Music Guide)

    1. Besame Mucho
    2. Dearly Beloved
    3. Days of Wine and Roses
    4. The Trick Bag
    5. Canadian Sunset
    6. Fried Pies
    7. The Breeze And I
    8. For Heaven's Sake
    Wes Montgomery
    $21.99
    Vinyl LP - Sealed Buy Now
  • The New Boss Guitar The New Boss Guitar Quick View

    $21.99
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    The New Boss Guitar


    Special Vinyl Reissue


    George Benson was only 21 when, on May 1, 1964, he recorded his first album as a leader, The New Boss Guitar of George Benson. At that point, the
    guitarist had yet to become a huge name in jazz, although many of those who knew Benson agreed that he showed great potential. This is an impressive
    debut. The guitarist had developed a distinctive, recognizable sound on his instrument, and he plays with both feeling and technique on five Benson
    originals (including the sly Shadow Dancers, the exuberant Rock-A-Bye, and the earthy blues I Don't Know) as well as interpretations of Easy Living
    and Will You Still Be Mine. This album is historically important as well as rewarding.


    George Benson is the legendary guitarist, singer/songwriter who is the recipient of 10 Grammy Awards!


    This is a 'MUST-HAVE' for all George Benson Fans, as well as a pivotal addition to any vinyl collection given its historical importance as one of Benson's
    first significant recordings.

    1. Shadow Dancers
    2. The Sweet Alice Blues
    3. I Don't Know
    4. Just Another Sunday
    5. Will You Still Be Mine?
    6. Easy Living
    7. Rock-A-Bye
    8. My Three Sons
    George Benson & The Brother Jack McDuff Quartet
    $21.99
    Vinyl LP - Sealed Buy Now
  • Guitar Trio (Pre-Order) Guitar Trio (Pre-Order) Quick View

    $19.99
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    Guitar Trio (Pre-Order)

    Reunited 13 years after their spectacular original album for Columbia this recording consists of three originals by
    McLaughlin and Di Meola and two by DeLucia. A version of the standard Manha de Carnival is a duet with
    McLaughlin and Di Meola. An all acoustic performance of flamencal infused jazz, with a touch of bossa nova.

    1. La Estiba
    2. Beyond the Mirage
    3. Midsummer Night
    4. Manha de Carnaval
    5. Letter from India
    6. Espiritu
    7. Le Monastere dans les Montagnes
    8. Azzura
    9. Cardeosa
    Paco DeLucia, Al DiMeola & John McLaughlin
    $19.99
    Vinyl LP - Sealed PRE-ORDER Buy Now
  • Mister Guitar (Speakers Corner) Mister Guitar (Speakers Corner) Quick View

    $34.99
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    Mister Guitar (Speakers Corner)

    At a time when rock 'n' roll-crazy teenagers in the USA and elsewhere were dancing their feet off to the beat of Elvis Presley and Bill Haley, probably no one was interested as to where this music actually originated. The focal point of the folk movement was Tennessee: it was here that everyone came who had used their grandfathers' songs and fiddle tunes to create the pop-oriented Nashville Sound, a sound which became American music's trademark and export hit.



    Chet Atkins is one of the people who helped to create this special sound and who kept an Argus-eyed watch on its originality and development. In addition to the recordings he made in his own studio, he was also a producer and studio guitarist for RCA.



    This album features Chet Atkins as "Mister Guitar", who - as a soloist - only allowed a small and highly discreet rhythm group to accompany him. The result is a refreshingly pure and unadulterated steel-string sound without frills and padding and so has little in common with the commercial country music of the masses. With his relaxed, technically perfect and highly variable playing technique, Atkins shows us what the New World has to offer in the way of folk music: highly melodic numbers which delight the ear with the simplest of means.





    Musicians:



    • Chet Atkins (guitar) and band




    Recording: 1959 in Nashville, Tennessee, by Bob Farris and Bill Porter

    Production: Chet Atkins




    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    and that the lacquer discs are newly cut.


    1. I Know That You Know
    2. Rainbow
    3. Hello Bluebird
    4. Siesta
    5. Country Style
    6. Show Me The Way Go Home
    7. Im Forever Blowing Bubbles
    8. Backwoods
    9. Country Gentleman
    10. Slinkey
    11. Jessie
    12. Concerto In C Minor
    Chet Atkins
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Jazz U.S.A (Discontinued) Jazz U.S.A (Discontinued) Quick View

    $13.99
    Buy Now
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    Jazz U.S.A (Discontinued)

    One of Sonny Criss' classic albums for Imperial, 1956's Jazz U.S.A. is a brilliant collection of impeccably recorded L.A. bop from the '50s. Criss had a tone like nobody else on the alto and he's at the height of his powers here, settling into an amazing groove with a sense of power, confidence and sophistication. Features Criss on alto sax, Kenny Drew on piano, Barney Kessel on guitar, Bill Woodson on bass and Chuck Thompson on drums. Tracks include West Coast Blues, Criss Cross, Ham's Blues and Blue Friday among others.
    1. Willow Weep for Me
    2. These Foolish Things
    3. Blue Firday
    4. Sunday
    5. More than You Know
    6. Easy Living
    7. Alabamy Bound
    8. Something's Gotta Give
    9. West Coast Blues
    10. Criss-Cross
    11. Ham's Blues
    12. Sweet Georgia Brown
    Sonny Criss
    $13.99
    Vinyl LP - Sealed Buy Now
  • H.R. Is A Dirty Guitar Player H.R. Is A Dirty Guitar Player Quick View

    $24.99
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    H.R. Is A Dirty Guitar Player

    In the pantheon of under-the-radar American guitar heroes, Howard Roberts looms large. A remarkably versatile musician who was one of Los Angeles' most in-demand session players from the early 1950s through the 1970s, Roberts' career encompassed an incredible array of studio assignments. He recorded with a dizzying assortment of acts, including Elvis Presley, Frank Sinatra, the Beach Boys, the Monkees, Dean Martin, Sonny and Cher, the Jackson 5, Peggy Lee, Eddie Cochran, Chet Atkins and the Electric Prunes. He also played on countless film and television soundtracks; his guitar work is featured prominently in the iconic theme music of The Twilight Zone, The Munsters and I Dream of Jeannie.


    Roberts was also an accomplished musical educator, co-founding Hollywood's Guitar Institute of Technology, writing a regular instructional column on jazz improvisation for Guitar Player magazine, and penning several highly-regarded guitar instruction books. As a guitar teacher, one of his students was a teenaged Phil Spector, for whom Roberts would later work as a session man.


    Impressive as his session resume is, for many guitar aficionados, the real highlights of Howard Roberts' body of work are the instrumental albums he released under his own name throughout his career. One of his best-loved solo releases is the memorably titled H.R. Is A Dirty Guitar Player, originally released by Capitol Records in 1963. Recorded at the legendary Studio A in the Capitol Tower, with a band that includes fellow studio legends Chuck Berghofer and Earl Palmer on bass and drums, H.R. Is A Dirty Guitar Player is a potent showcase for Roberts' fluid, swinging guitar work. The material offers ample opportunity for the artist to demonstrate his versatility, encompassing pop standards 9Lerner, Loewe If Ever I Would Leave You), bossa nova (Antonio Carlos Jobim's One Note Samba) and jazz (tunes by Herbie Hancock, Count Basie and Duke Ellington), along with such Roberts originals as Smolderin', Turista, Deep Fry and Dirty Old Bossa Nova.


    Long unavailable in its original form, this vintage instrumental gem has been restored to its original vinyl glory by Sundazed Music. The album has been sourced from the original stereo masters and pressed on 180 gram vinyl, with complete original cover art.
    1.Watermelon Man
    2. Smolderin'
    3. Liâl Darlin'
    4. Turista
    5. If Ever I Would Leave You
    6. One O'Clock Jump
    7. Deep Fry
    8. Rough Ridin'
    9. Satin Doll
    10. Smokin'
    11. One Note Samba
    12. Dirty Old Bossa Nova
    Howard Roberts
    $24.99
    180 Gram Audiophile Virgin Vinyl LP- Sealed Buy Now
  • The Fastest Guitar In The Country The Fastest Guitar In The Country Quick View

    $24.99
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    The Fastest Guitar In The Country

    Here at last is the album that christened Jimmy Bryant with the distinct moniker of Fastest Guitar in the Country." After a run of success with steel guitarist Speedy West on Capitol Records, Jimmy Bryant signed a solo contract with Imperial Records in the mid '60s. While Bryant's recordings with West established him as a fretboard genius, it was the 1967 release of The Fastest Guitar in the Country that left the disc jockey world wondering if his lighting speed was legitimate. Naysayers were left in awe as they witnessed Bryant's dizzying technique at a DJ convention in Nashville.


    Bryant's frenzied fretboard flair is in full effect on his rendition of the classic "Sugar Foot Rag" and "Little Rock Getaway" bearing evidence as to why this is one of the most electrifying instrumental recordings of all time. Never before reissued, this collection of jazz-fueled country pickin' is the ultimate testament of Jimmy Bryant's gift to the guitar world. Sourced from the original Imperial stereo masters, Sundazed is proud to release this ultra-rare album on 180g vinyl.

    1. Twelfth Street Rag
    2. Little Rock Getaway
    3. Caravan
    4. Down Yonder
    5. Georgia Boogie
    6. Orange Blossom Special
    7. Tico-Tico
    8. Indiana (Back Home Again In Indiana)
    9. Ten Wheels
    10. Stumbling
    11. Voxwagon
    12. Sugarfoot Rag
    Jimmy Bryant
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Live At The Jazz Mill Live At The Jazz Mill Quick View

    $24.99
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    Live At The Jazz Mill

    Pressed On Red Vinyl


    Unearthed tape from a jazz icon. Thanks to a 21-year-old with a tape machine, we can all experience the majesty of guitar legend Barney Kessel at his 1954 best!


    Even if you don't know Barney Kessel, you know Barney Kessel -- as a first-string member of the group of LA session musicians nicknamed The Wrecking Crew, Kessel's guitar is heard on just about every LA-based hit you'd care to name from the 60s, including songs by the Monkees and The Beach Boys' legendary Smile LP. And that's Kessel's playing on the famous fight music from the Star Trek TV series. He was regarded as the very best of the session guitarists by just about everyone around, and guitarists everywhere site him as an influence.


    But before he played rock and roll, Kessel was a jazz pioneer -- as one of the leading lights of the hard-bop movement, his jazz guitar was legendary, and he was ranked the No. 1 guitarist in Down Beat and Playboy for numerous years. He played with Sonny Rollins and Oscar Peterson (and Chico Marx -- yes, that Chico Marx!) as well as leading his own super-tight group. On albums such as The Poll Winners, Kessel defined the bop style with a jazz power trio, creating a body of work that made him a legend.


    Live At The Jazz Mill is a unique artifact -- recorded on a tape recorder by young jazz fan Jack Miller, this live recording catches Barney Kessel in the middle of his run at the Jazz Mill with a great four-piece band. The collection, gleaned from a couple of nights' best recordings, features Kessel's spirited take on such Songbook classics as Get Happy and Stardust, not to mention the Gershwin great Embraceable You. It's pressed on red vinyl and wrapped in a sleeve which captures the unique vibe of jazz graphics of the 1950s. Get with Barney Kessel, and get with a true pioneer of the jazz form!

    1. Strike Up The Band
    2. How About You
    3. Get Happy
    4. Stardust
    5. Seven Come Eleven
    6. Rose Room
    7. Somebody Loves Me
    8. Embraceable You
    Barney Kessel
    $24.99
    Colored Vinyl LP - Sealed Buy Now
  • Great Jazz Standards (Pure Pleasure) Great Jazz Standards (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    Great Jazz Standards (Pure Pleasure)

    Great Jazz Standards was recorded when Evans was red-hot from two successes with Miles Davis, Miles Ahead and Porgy And Bess.
    Evans' signature brass choir is in place - creatively voiced, spaciously arranged, a supple, multi-coloured, sonically surprising counterpoint to a succession of superb soloists. The added bonus, for Evans' projects, is the foregrounding of saxophone and clarinet soloists Steve Lacy and Budd Johnson.
    Lacy and the original swing-to-bop missing link, Johnson, are the ones who will make the hair on your neck curl. Lacy's solos on Monk's Straight No Chaser and John Lewis' Django must be some of the finest pre-free improvisations he recorded, already heading from quirky to out-there. Johnson's clarinet solo on Don Redman's spooky, swing-meets-whole tone classic, Chant Of The Weed, and slow-burning, stirring tenor solo on Evans' La Nevada are some of the finest the all-but-forgotten genius ever recorded. Trumpeter Johnny Coles, has the inevitable misfortune of being compared to Miles Davis and being found to be ... different. Sunny, open and extroverted, he may not be a stylist of Davis' proportions, but he's an enjoyable alternative foil for Evans' arrangements.
    A magnificent but neglected album, and still coming up fresh as daisies.




    Musicians:



    • Budd Johnson (tenor saxophone, clarinet)

    • Steve Lacy (soprano saxophone)

    • Al Block (woodwinds)

    • Johnny Coles, Allen Smith (trumpet)

    • Jimmy Cleveland (trombone)

    • Bill Barber (tuba)

    • Gil Evans (piano)

    • Chuck Wayne (guitar)

    • Dick Carter (bass)

    • Elvin Jones (drums)



    Recording: February 1959

    Production: Richard Bock




    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.



    Gil Evans
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Jazz Workshop (Speakers Corner) The Jazz Workshop (Speakers Corner) Quick View

    $37.99
    Buy Now
    x

    The Jazz Workshop (Speakers Corner)

    As a soloist, Al Cohn was not such an inspired tenor sax player as his colleague Zoot Sims. But he was a superb arranger, an unprofitable yet highly important function when it comes to such workshops. And though Manny Albam also played the baritone sax, his real instrument was the pen. He arranged not only jazz, but also film music and musicals. His arrangements were multi-faceted and tailor-made to suit the accomplishments of the individual instrumentalists.

    For this particular Jazz Workshop, the record company RCA-Victor could afford the services of excellent session musicians: Joe Newman and Freddie Green came from the Basie Band, Al Cohn, Bernie Glow, and Nick Travis from the Woody Herman Band, and the studio musicians Dick Katz, Buddy Jones, and Osie Johnson were present at all times of day and night anyway.

    As long as you don't expect fierce battles between five tenors, or six tweeters on the trumpet, then you will enjoy this LP with its swinging, relaxed improvisations on such works as Rosetta, Linger Awhile, and I'm Coming Virginia - and you will realise that Lester Young's sound has been heard, cultivated and further developed by these musicians.

    Four trumpets, a tenor sax, and then a piano, guitar, bass, and drums into the bargain - that's certainly no common ensemble, but it certainly is a good reason to purchase this LP. And for certain, this album has been missing in your collection to this day.

    This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.

    Musicians:
    Al Cohn (tenor saxophone, arranger)
    Manny Albam (arranger)
    Joe Newman, Bart Valve, Bernie Glow, Joe Wilder, Phil Sunkel (trumpet)
    Nick Travis (trumper, trombone)
    Dick Katz (piano)
    Freddie Green (guitar)
    Buddy Jones (bass)
    Osie Johnson (drums)

    Recording: May 1955 in Webster Hall, New York City, in mono
    Production: Jack Lewis

    About Speakers Corner

    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.

    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.

    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.

    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.

    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.

    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.

    1. Rosetta
    2. The Song Is Ended
    3. Linger Awhile
    4. Every Time
    5. Haroosh
    6. Just Plain Sam
    7. I'm Coming Virginia
    8. Cohn Not Cohen
    9. Foggy Water
    11. Sugar Cohn
    12. Alone Together
    Al Cohn
    $37.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Passionate Guitars Passionate Guitars Quick View

    $17.99
    Buy Now
    x

    Passionate Guitars

    Musicians:

    Bucky Pizzarelli-guitar

    John Pizzarelli-guitar

    Gene Bertoncini-guitar

    Ray Kennedy-piano

    Butch Miles-drums

    Martin Pizzarelli-double bass


    Bucky Pizzarelli joins his son (and fellow guitarist) John (whose trio includes brother Martin Pizzarelli on bass and pianist Ray Kennedy), plus fellow guitarist Gene Bertoncini and drummer Butch Miles for this swinging session that covers many different styles of jazz, though bossa nova is the flavor of the day. In addition to the usual standards from the genre, Latin-flavored arrangements of cool jazz (Gerry Mulligan's "Line for Lyons"), swing ("I Found a New Baby"), and standards (George and Ira Gershwin's "'S Wonderful") work every bit as well."- Ken Dryden, All Music Guide (4 Stars)

    Besame Mucho
    Triste
    One Note Samba
    Girl from Ipanema
    Line for Lyons
    I Found a New Baby
    Orchids in the Moonlight
    Maybe This Summer
    'S Wonderful
    Day in the Life of a Fool
    Meditation
    Bucky Pizzarelli and John Pizzarelli
    $17.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Wonderful World Of Jazz (Pure Pleasure) The Wonderful World Of Jazz (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    The Wonderful World Of Jazz (Pure Pleasure)

    There is nothing hurried about this disc. That said, the music is focused and will stretch your mind. Lewis employed masterful melodic improvisers here: Paul Gonsalves, Eric Dolphy, Jim Hall among others. Listen to Body And Soul as it builds powerfully and the soloists explore every possible melodic theme, where the quiet power of these master musicians is almost too much to take. Listen to I Remember Clifford where the players are essentially the MJQ with Jim Hall replacing Milt Jackson. This set swings, but oh-so-elegantly. Just like Mr. Lewis. - S.C.Berry


    Whether you're an old-time jazz afficionado or new to the genre, this album is essential. In my opinion, Lewis' lovely solo on Body & Soul makes his version virtually definitive - 15 minutes of bliss. The rest of the album, particularly Afternoon In Paris, is at the same level. Wonderful is the perfect title for this record. - E Barrios

    Musicians:



    • John Lewis (piano)

    • Eric Dolphy (alto saxophone)

    • James Rivers (bassoon)

    • Paul Gonsalves (tenor saxophone)

    • Herb Pomeroy (trumpet)

    • Gunther Schuller (french horn)

    • Jim Hall (guitar)

    • George Duvivier (bass)

    • Connie Kay (drums)



    Recording: July and September 1960

    Production: Nesuhi Ertegun & Tom Dowd



    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. Body And Soul
    2. I Should Care
    3. Two Degrees East, Three Degrees West
    4. Afternoon In Paris
    5. I Remember Clifford
    John Lewis
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Jazz Winds From A New Direction (Speakers Corner) Jazz Winds From A New Direction (Speakers Corner) Quick View

    $34.99
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    Jazz Winds From A New Direction (Speakers Corner)


    Hank Garland wasn't the first Country and Western guitarist to discover jazz as a new way of playing. Mundell Lowe (who knows him these days?) and Tal Farlow (whose Verve recordings have long become classics) are just two such musicians who are better known to jazz fans.


    Garland's shining example Charlie Christian was his inspiration when he was invited to participate in a super session, and the LP Jazz Winds From A New Direction became a smash hit. With Joe Morello, the drummer responsible for the tricky, odd meter and Joe Benjamin, who had been instructed by Gerry Mulligan and performs harmonic magic even without a piano, and then Gary Burton, a newcomer (only 17 years old and completely unknown at the time!) on the vibraphone, these six numbers are a real phenomenon with regard to musicality, style and recording technique.


    Unfortunately it was to remain a unique jazz session, for Hank Garland could never aspire to such heights again after his tragic car accident. That's why jazz fans should snap at the chance to grab this newly mastered LP: it enriched the musical horizon of the musicians during the recording, and is guaranteed to bewitch the listener of today.



    Musicians:



    • Hank Garland (guitar)

    • Gary Burton (vibraphone)

    • Joe Benjamin (bass)

    • Joe Morello (drums)




    Recording: 1961



    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.


    1. All The Things You Are
    2. Three-Four, The Blues
    3. Move
    4. Always
    5. Riot-vhous
    6. Relaxing
    Hank Garland
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Lightnin's Boogie - Live at The Rising Sun Celebrity Jazz Club Lightnin's Boogie - Live at The Rising Sun Celebrity Jazz Club Quick View

    $26.99
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    Lightnin's Boogie - Live at The Rising Sun Celebrity Jazz Club

    Gatefold Packaging


    On June 23, 1977, Sam 'Lightnin' Hopkins walked onto a small stage in a smoke & whisky
    filled club in Montreal and proceeded to lay down arguably his last great performance
    before his death 5 years later.


    "Lightnin's Boogie - Live at The Rising Sun Celebrity Jazz Club" - remastered and available
    on vinyl for the first time - reveals a master blues man still in full control of his many
    talents and working the crowd to "Get Up Off O' Yo'".


    Lightnin' Hopkins is considered one of the greatest blues guitarists and singers of all
    time and, according to the New York Times, "perhaps the greatest single influence on
    rock guitar players."

    LP 1
    1. Trouble In Mind
    2. Mercy
    3. Cook My Breakfast
    4. Hard To Love A Woman
    5. Get Up Off O' Yo'
    6. Katie Mae


    LP 2
    1. Goin' To Louisiana
    2. Forgot What To Say
    3. Lightnin's Boogie
    4. I'm Coming Home
    5. Early In The Morning Blues
    6. My Babe
    7. Rock Me Baby

    Lightnin' Hopkins
    $26.99
    180 Gram Audionphile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Black Night Is Falling - Live at The Rising Sun Celebrity Jazz Club Black Night Is Falling - Live at The Rising Sun Celebrity Jazz Club Quick View

    $22.99
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    Black Night Is Falling - Live at The Rising Sun Celebrity Jazz Club

    Black Night Is Falling finds John Lee Hooker in fine voice and backed by a driving band composed of John Garcia on guitar, Steve Jones on bass, and Larry Wild Man Martin on drums, with the end result being an excellent example of Hooker at his best. Highlights include impressive romps through Hooker's signature tunes, Boom Boom, which simply blazes with raw energy here, and One Bourbon, One Scotch, One Beer, which is delivered as a wonderfully paced barroom cautionary tale. This is what the live Hooker sounded like with a sympathetic band behind him, a band that luckily wasn't afraid to push him a little. After the first song, Hooker says "I want to tell you one thing. This is the best blues club in town", and from it's opening in 1975, and for more than a decade later, The Rising Sun Celebrity Jazz Club brought the best blues, jazz, Cajun, and salsa players from around the world to Montreal.
    1. Chicken And Gravy
    2. It Serves Me Right To Suffer
    3. Boom Boom
    4. Black Night Is Falling
    5. One Bourbon, One Scotch, One Beer
    6. One Room Country Shack
    John Lee Hooker
    $22.99
    Vinyl LP - Sealed Buy Now
  • So Much Guitar! So Much Guitar! Quick View

    $27.99
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    So Much Guitar!

    Import


    Limited 180gm audiophile vinyl repressing of this Jazz classic. So Much Guitar marked Wes' first recording with pianist Hank Jones. So Much Guitar was the only session on which both musicians could really interact. It was also Wes' first recording session with Ron Carter, with whom he would collaborate on three more albums. Wax Time.

    Twisted Blues
    Cotton Tail
    I Wish I Knew
    I'm Just a Lucky So and So
    Repetition
    Somethin' Like Bags
    While We're Young
    One for My Baby (And One More for the Road)
    'Round Midnight*


    *Bonus Track

    Wes Montgomery
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • So Much Guitar! So Much Guitar! Quick View

    $21.99
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    So Much Guitar!

    Wes Montgomery appeared as leader or co-leader on a dozen Riverside albums, in a wide variety of formats
    ranging from organ trios to one with full string orchestra. Some of the most rewarding simply placed him in a studio with a superior rhythm section and let him deal with a mixture of ballads, blues, and swingers. This album, his fourth for the label, is a notable example of this straightforward approach. It features the flawless support of Ron Carter and Hank Jones.
    1. Twisted Blues
    2. Cotton Tail
    3. I Wish I Knew
    4. I'm Just A Lucky So And So
    5. Repetition
    6. Something Like Bags
    7. While We're Young
    8. One For My Baby (And One More For The Road)
    Wes Montgomery
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • Jazz, Folk Songs, Spirituals, & Blues Jazz, Folk Songs, Spirituals, & Blues Quick View

    $27.99
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    Jazz, Folk Songs, Spirituals, & Blues

    Import


    Recorded on in 1958 in Los Angeles, CA, Jazz, Folk Songs, Spirituals, & Blues is a rare album by the one-man-band and well-known folk musician Jesse Fuller. Although Fuller always played music on the side, becoming a master of the 12-string guitar (between working for the railroads, lumber companies, or the circus), he did not make his first recording until 1955, when he was already 50 years old. Frustrated by his inability to get a band together, Fuller devised a way to play all the instruments himself, constructing a one-man band system that allowed him to sing and accompany himself on the twelve-string guitar, harmonica, kazoo, cymbals & a homemade instrument he called the "fotdella" (played with the big toe of the right foot which hit pedals causing padded hammers to strike against the instrument's six strings). This brilliant and unique album in the blues arena includes Fuller's rendition of traditional blues numbers like "Take This Hammer" and "Linin' Track" as well as his own compositions like "Fingerbuster" and "99 Years".

    1. Take This Hammer
    2. Linin' Track
    3. I'm Going To Meet My Loving Mother
    4. Tiger Rag
    5. Memphis Boogie (Fuller)
    6. Raise A Ruckus
    7. By And By
    8. Fingerbuster (Fuller)
    9. Stagolee
    10. 99 Years (Fuller)
    11. Hesitation Blues
    Jesse Fuller
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Ballade Of The Nocturnal Commune (Jazz Poetry SuperJam #2) Ballade Of The Nocturnal Commune (Jazz Poetry SuperJam #2) Quick View

    $10.99
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    Ballade Of The Nocturnal Commune (Jazz Poetry SuperJam #2)


    7" Vinyl Single Reissued On White Vinyl In A Limited Edition Of 300


    Curated, Analogue Mastered And Cut At Gearbox Studio


    Two tracks from the same sessions but not featured on the album Banbusted Nuclear Detergent Blues GB1520


    Michael Horovitz - vocals & anglo-saxophone

    Paul Weller - electric organ & optigan

    Graham Coxon - guitar & drums

    Damon Albarn - harmonium & Hammond organ

    Michael Horovitz / Damon Albarn / Graham Coxon / Paul Weller
    $10.99
    Colored 7 Vinyl Single - Sealed Buy Now
  • Transition Transition Quick View

    $15.99
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    Transition

    On December 6h 2011 Steve Lukather started working on his new solo album, Transition. One of the original founding members of the multi-million selling rock band Toto, Lukather showcases his innate feel for rock and jazz guitar music, along with his impeccable song writing talents. Transition features extraordinary guitar playing performed across some of the most heartfelt songs of Steve's career.
    1. Judgement Day
    2. Creep Motel
    3. Once Again
    4. Right The Wrong
    5. Transition
    6. Last Man Standing
    7. Do I Stand Alone
    8. Rest of the World
    9. Smile
    Steve Lukather
    $15.99
    Vinyl LP - Sealed Buy Now
  • Monk, Trane, Miles & Me Monk, Trane, Miles & Me Quick View

    $18.99
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    Monk, Trane, Miles & Me

    Coryell made his HighNote debut with this All-Star line-up and pays tribute to the jazz giants
    who influenced him and helped him develop his unique jazz guitar style which has made him the
    touchstone against which all other jazz guitarists are measured. With the great John Hicks on piano,
    saxman Willie Williams, drummer Yoron Israel laying down the foundation and the imaginative bass-ics of Santi Debriano, Larry pours some new wine into the old bottles with innovative takes on classic tunes by Monk, Trane, Miles and, of course, Larry Coryell.
    1. Star Eyes
    2. Trinkle Tinkle
    3. All Blues
    4. Naima
    5. Fairfield County Blues
    6. Up Against the Wall
    Larry Coryell
    $18.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • I Can See Your House From Here I Can See Your House From Here Quick View

    $59.99
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    I Can See Your House From Here

    Pressed By Pallas In Germany


    Released For The First Time On Vinyl


    Some collaborations between jazz giants seem to have been disappointing for whatever reason. John Scofield and Pat Metheny have such distinct approaches to jazz guitar, who could have foreseen what such a project would end up like?


    It's no surprise that their collaboration sounds so relaxed, fluid, and musically serene, writes AllMusic.com Listeners shouldn't necessarily expect a series of slashing duels, but it's certainly not vapid new age or retrograde fusion. Scofield and Metheny divide compositional duties and play masterful, expressive solos. Guitar fans will be especially impressed with the mastering, which makes Scofield and Metheny's guitars sound right in the room. Even those who don't like sessions without horns, brass, or keyboards shouldn't spurn this one; it still has plenty of muscle.

    1. Acidhead
    2. Ideofunk
    3. Jungle Fiction
    4. I Brake 4 Monster Booty
    5. Animal Farm
    6. Offspring
    7. Tomorrow Land
    8. Uberjam
    9. Polo Towers
    10. Snap Crackle Pop
    11. Lucky For Her
    John Scofield
    $59.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
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