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  • Things Are Getting Better Things Are Getting Better Quick View

    $21.99
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    Things Are Getting Better

    If you ever needed proof that altoist Cannonball Adderley deserves to be considered one of the absolute masters of the jazz idiom, look no further than
    Things Are Getting Better, which provides ample evidence for his canonical stature. On this date, Adderley teams up with Modern Jazz Quartet cofounder
    and vibraphonist extraordinaire Milt Jackson to create a lively, varied set of sonic atmospheres. They are backed by the all-star ensemble of
    Wynton Kelly on piano, Percy Heath on bass, and the legendary Art Blakey on drums. The standout track, Sounds for Sid, finds Adderley grooving hard
    with an R&B flavor, flashing his virtuosic instrumental chops, and demonstrating in the process why this cut stands as one of the very best representations
    of Adderley's early work. Essential listening for all manner of jazz enthusiasts, Things Are Getting Better has something for everyone and deserves a
    place in every self-respecting jazz fan's vinyl collection.
    1. Blues Oriental
    2. Things Are Getting Better
    3. Serves Me Right
    4. Groovin' High
    5. The Sidewalks of New York
    6. Sounds for Sid
    7. Just One of Those Things
    Cannonball Adderley & Milt Jackson
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • In A New Setting (Speakers Corner) In A New Setting (Speakers Corner) Quick View

    $34.99
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    In A New Setting (Speakers Corner)

    The vibraphonist presents himself in a new setting in this recording from 1964. Clearly Milt Jackson wanted to free himself occasionally from the straightjacket of the Modern Jazz Quartet. Sonny's Blues is proof of this: it is percussive and swinging, and without the eagle eyes of John Lewis in the background. This time the young McCoy Tyner, who had worked with John Coltrane (A Love Supreme was recorded in the same month), was at the piano. Jimmy Heath, responsible for the drive not only as a composer but also as instrumentalist, and Bob Cranshaw on the bass, contribute important impetus to the short blues, ballad-like and bop themes. None of the twelve numbers became a real jazz hit, but each has kept its own individual charm to this day.
    If you set value on an excellent product being excellently packaged then you are well advised to purchase this LP. Unlike the CD version in its jewel case, this album is now being re-released with its original gatefold cover from the truly beautiful Limelight series, for which the designer alone should have received a Grammy.



    Musicians:



    • Jimmy Heath (tenor saxophone)

    • Milt Jackson (vibraphone (vibes))

    • McCoy Tyner (piano)

    • Bob Cranshaw (bass)

    • Connie Kay (drums)



    Recording: December 1964

    Production: Luchi De Jesus



    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.


    This title is not eligible for discount.

    1. Sonny's Blues
    2. I'm Gonna Laugh You Out Of My Life
    3. Spanish Fly
    4. No Moon At All
    5. Slow Death
    6. Clay's Blues
    7. Lazy Melody
    8. Project-S
    9. Ev-ry Time We Say Goodbye
    10. That's In
    11. Ineffable
    Milt Jackson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Plenty, Plenty Soul Plenty, Plenty Soul Quick View

    $29.99
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    Plenty, Plenty Soul

    his superior reissue combines together two sessions led by vibraphonist Milt Jackson. The first side of Plenty, Plenty Soul, which features a nine-piece group, is highlighted by the contributions of the exuberant altoist Cannonball Adderley, while the flip side has a sextet that is not hurt by the solos of tenor-saxophonist Lucky Thompson. With pianist Horace Silver helping out on both sessions, these all-star dates still sound fresh and enthusiastic decades later.Mastered from original analog tapes and pressed on 180 gram vinyl, this is THE essential pressing of this classic LP.
    1. Plenty, Plenty Soul
    2. Boogity Boogity
    3. Heartstrings
    4. Sermonette
    5. The Spirit-Feel
    6. Ignunt Oil
    7. Blues at Twilight
    Milt Jackson
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bags Meets Wes! Bags Meets Wes! Quick View

    $27.99
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    Bags Meets Wes!

    Milt Jackson was 38 when, in December 1961, he co-led this superb hard-bop date with the distinctive guitarist Wes Montgomery. A jazzman who was as opinionated as he was gifted, Jackson wouldn't hesitate to tell you exactly what he thought of a musician -- so when he praised Montgomery, you knew his praise was genuine. Not surprisingly, the boppers prove to be quite compatible on Bags Meets Wes, which finds them co-leading an all star-quintet that also includes pianist Wynton Kelly, bassist Sam Jones, and drummer Philly Joe Jones (who shouldn't be confused with swing drummer Jo Jones). Although Jackson and Montgomery prove what lyrical ballad players they could be on the standard Stairway to the Stars, ballads aren't a high priority on this album. Instead, the improvisers put more of their energy into the blues -- and the 12-bar format serves them well on Sam Sack, Blue Roz, and S.K.J. Equally strong are hard-swinging versions of Montgomery's Jingles and Benny Golson's Stablemates.

    -All Music Guide
    1. S.K.J.
    2. Stablemates
    3. Stairway to the Stars
    4. Blue Roz
    5. Sam Sack
    6. Jingles
    7. Delilah
    8. Love Walked In*


    *Bonus Track

    Wes Montgomery
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bean Bags Bean Bags Quick View

    $24.99
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    Bean Bags

    1959's Bean Bags features a meeting of greats with vibraphonist Milt Jackson and tenor saxophonist Coleman Hawkins. Assisted by a top-notch quartet (pianist Tommy Flanagan, guitarist Kenny Burrell, bassist Eddie Jones, and drummer Connie Kay), Bean Bags features a pair of excellent Jackson originals to go along with a couple of fine ballads.
    1. Close Your Eyes
    2. Stuffy
    3. Don't Take Your Love From Me
    4. Get Happy
    5. Sandra's Blues
    6. Indian Blues
    Milt Jackson and Coleman Hawkins
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bags & Trane (Mono Remaster) Bags & Trane (Mono Remaster) Quick View

    $21.99
    Buy Now
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    Bags & Trane (Mono Remaster)

    Mono Remaster


    Vibraphonist Milt Jackson and tenor saxophonist John Coltrane make for a surprisingly complementary team on this 1959 studio session, their only joint recording. With fine backup by pianist Hank Jones, bassist Paul Chambers, and drummer Connie Kay, Bags and Trane stretch out on two of Jackson's originals (including The Late Late Blues) and three standards: a romping Three Little Words, The Night We Called It a Day, and the rapid Be-Bop.


    - Scott Yanow (AllMusic.com)

    1. Bags & Trane (Mono Version)
    2. Three Little Words (Mono Version)
    3. The Night We Called It A Day (Mono Version)
    4. Be-Bop (Mono Version)
    5. The Late Late Blues (Mono Version)
    John Coltrane & Milt Jackson
    $21.99
    Vinyl LP Mono - Sealed Buy Now
  • Montreux '77 Montreux '77 Quick View

    $21.99
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    Montreux '77

    All star jam from Montreux featuring Milt Jackson - vibes, Clark Terry - trumpet & flugelhorn, Ronnie Scott - sax, Oscar Peterson - piano, Joe Pass - guitar, Niels Pedersen - bass and Bobby Durham on drums. Tracks include: Cote D'Azur, Pennies From Heaven, and two others.
    1. Cote D'Azur
    2. Pennies From Heaven
    3. Samba De Orfeu
    4. God Bless The Child
    The Pablo All-Stars Jam
    $21.99
    Vinyl LP - Sealed Buy Now
  • Concorde Concorde Quick View

    $21.99
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    Concorde

    The very first long-playing record ever recorded by the Modern Jazz Quartet, Concorde (1955) provides a vehicle for stunningly refined playing by
    legendary vibraphonist Milt Jackson, pianist John Lewis, bassist Percy Heath, and drummer Connie Kay in his maiden voyage behind the kit with the
    MJQ. The centerpiece of the session is undoubtedly the Gershwin Medley, which features interpretations of Soon, For You, For Me Forevermore,
    Love Walked In and Our Love Is Here To Stay that are nothing short of definitive. This landmark album, recorded by the inimitable Rudy Van Gelder,
    captures the cool, thoughtful sound of the Modern Jazz Quartet at their best and is an absolute MUST-HAVE on vinyl for all manner of jazz listeners.
    1. Ralph's New Blues
    2. All Of You
    3. I'll Remember April
    4. Gershwin Medley: Soon / For You, For Me, Forevermore / Love Walked In / Our Love Is Here To Stay
    5. Softly, As In A Morning Sunrise
    6. Concorde
    The Modern Jazz Quartet
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • Bags Meets Wes Bags Meets Wes Quick View

    $21.99
    Buy Now
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    Bags Meets Wes

    When Wes Montgomery made his first amazing impact on the New York jazz scene at the end of the 1950s, a great many established stars actively sought out to record with him. Milt Jackson was one of the few for whom the guitarist felt an equal affinity. For one thing, they shared a strong love for the blues and Wes had learned, through years of playing with his brother Buddy, to value the vibes/guitar sound. To support this memorable meeting of thoroughly compatible jazz masters, Riverside assembled one of the most cohesive recording rhythm sections of its day in Wynton Kelly, Sam Jones and Philly Joe Jones.
    1. S.K.J.
    2. Stablemates
    3. Stairway to the Stars (take 6)
    4. Blue Roz
    5. Sam Sack
    6. Jingles (take 9)
    7. Delilah (take 4)
    Milt Jackson & Wes Montgomery
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • Wizard Of The Vibes Wizard Of The Vibes Quick View

    $19.99
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    Wizard Of The Vibes

    Wizard of the Vibes was originally released in 1952 by premiere jazz vibraphonist, Milt "Bags" Jackson. The
    Thelonious Monk Quintet and The Modern Jazz Quartet plus Lou Donaldson are featured on this recording. Wizard of the Vibes will be reissued in its original 10" form as part of an overall Blue Note vinyl initiative spearheaded by current Blue Note Records President, Don Was.
    1. Tahiti
    2. Lillie
    3. Criss Cross
    4. Willow Weep For Me
    5. What's New
    6. Bags' Groove
    7. On The Scene
    8. Eronel
    Milt Jackson
    $19.99
    10 Vinyl LP - Sealed Buy Now
  • Quintet/ Sextet Quintet/ Sextet Quick View

    $21.99
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    Quintet/ Sextet

    Dr. Jackle
    Minor March
    Bitty Ditty
    Changes
    Miles Davis & Milt Jackson
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • Movin' and Groovin' (45RPM) Movin' and Groovin' (45RPM) Quick View

    $54.99
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    Movin' and Groovin' (45RPM)

    This 1960 trio date was pianist Parlan's first of many great releases for Blue Note. The Pittsburgh native, who overcame polio as a child that left his right hand crippled, had gained some serious props with his contributions on two of Charles Mingus' best albums the year prior (Mingus Ah Um, Blues And Roots), and was now ready to step out on his own. Choosing to tackle mostly standards, Parlan channels his idol Bud Powell's classic trio dates with the able assistance of Blue Note regulars Sam Jones, bass and drummer Al Harewood. The result is an eclectic mix, interpreting the works of Tadd Dameron, Duke Ellington, Milt Jackson and Burke-Van Heussen plus a Parlan original, Up In Cynthia's Room, which became one of his signature pieces.


    Horace Parlan, piano
    Al Harewood, drums
    Sam Jones, bass


    This title is not eligible for discount.

    1. C Jam Blues
    2. On Green Dolphin Street
    3. Up in Cynthia's Room
    4. Lady Bird
    5. Bags' Groove
    6. Stella By Starlight
    7. There is No Greater Love
    8. It Could Happen to You
    Horace Parlan
    $54.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Plenty, Plenty Soul Plenty, Plenty Soul Quick View

    $24.99
    Buy Now
    x

    Plenty, Plenty Soul

    Although his name will forever be associated with the celebrated Modern Jazz Quartet, vibraphonist Milt Jackson's discography includes multiple sessions as a leader, many of which are now regarded as jazz classics. Among the crown jewels of his discography was the album Plenty, Plenty Soul, which was given a rating of five stars in Down Beat magazine in 1957, a collection of original compositions and the arrangements of the one and only Quincy Jones. A stone cold classic featuring Cannonball Adderly, Horace Silver, Art Blakey and more. Pressed on 180 gram audiophile vinyl.
    1. Plenty, Plenty Soul (Milt Jackson - Quincy Jones)
    2. Boogity Boogity (Quincy Jones)
    3. Heartstrings (Mils Jackson)
    4. sermonette (Julian Cannonball Adderley)
    5. The Spirit-Feel (Milt Jackson)
    6. Ignunt Oil (Milt Jackson)
    7. Blues At Twilight (Quincy Jones)
    Milt Jackson
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Soul Brothers Soul Brothers Quick View

    $29.99
    Buy Now
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    Soul Brothers


    Features Alto Sax Performances By Ray Charles, And Milt Jackson's Only Recording On Guitar


    Mastered From The Original Master Tapes By Bernie Grundman


    Press On 180gram Audiophile-grade Vinyl At Pallas In Germany


    The rare opportunity to hear Milt Jackson step out
    from behind his familiar vibraphones to play piano,
    and partner Ray Charles, in addition to manning the
    88s, blow on the alto saxophone for two numbers,
    shouldn't be missed. Particularly on this LP, which
    portrays the 1957 collaboration within a huge, naturally
    vibrant soundstage. Mastered from the original master
    tapes and press on 180 gram vinyl, this edition lays
    bare the relaxed, bluesy, often-boppish jazz on display
    from these two giants. With stellar support, the two
    headliners treat this affair as a backroom woodshedding
    session.

    1. How Long Blues
    2. Cosmic Ray
    3. The Genius After Hours
    4. Charlesville
    5. Bags of Blues
    6. 'Deed I Do
    7. Blue Funk
    Milt Jackson & Ray Charles
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Django Django Quick View

    $21.99
    Buy Now
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    Django

    Originally released on Prestige in 1955, but actually recorded during three disparate sessions that occurred sporadically from 1953-1955, Django features some of the earliest recorded output from the Modern Jazz Quartet which includes Milt Jackson (vibraphone), John Lewis (piano), Percy Heath (bass) and Kenny Clarke (drums).


    The warm, sophisticated nature of the material here is readily apparent from the get go courtesy of opener and album namesake, Django, a fine dedication to the memory of guitar virtuoso Django Reinhardt. The set is rounded out by graceful takes on Gillespie's One Bass, the Gershwin's But Not For Me, Vernon Duke's Autumn In New York and a handful of accomplished Lewis originals.

    1. Django
    2. One Bass Hit
    3. La Ronde Suite/Piano
    4. La Ronde Suite/Bass
    5. La Ronde Suite/Vibes
    6. La Ronde Suite/Drums
    7. The Queen's Fancy
    8. Delaunay's Dilemma
    9. Autumn In New York
    10. But Not For Me
    11. Milano
    The Modern Jazz Quartet
    $21.99
    Vinyl LP - Sealed Buy Now
  • Fontessa (Speakers Corner) Fontessa (Speakers Corner) Quick View

    $34.99
    Buy Now
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    Fontessa (Speakers Corner)

    The famous critic and jazz expert Ralph J. Gleason quite rightly mentioned two highly distinctive men in his liner notes - John Donne and Pablo Picasso. Almost four hundred years and a great deal of seawater separate the two exceptional artists from England and Spain. Nevertheless the four black US-Americans who make up the Modern Jazz Quartet bridge the gap between time and continents effortlessly.


    And what's more, blues is also to be heard - and bebop! And evergreens from the Broadway shows of the Thirties too!


    In contrast to some of the other rather more dawdling and laid-back MJQ LPs, Fontessa offers diversified and intense music. Nothing is routine, perhaps because the drummer Connie Kay had replaced Kenny Clark just one year previously. But maybe too because Milt Jackson's blues influence inspired John Lewis perceptibly to forget all about discipline. All seven numbers are true gems. But if you want a special hint, just listen to Bluesology. Well, perhaps the present author is too much of a Milt Jackson fan. Be that as it may, the music magazine Rolling Stone gave this LP a five-star rating!


    Musicians:


    • John Lewis (piano)
    • Milt Jackson (vibraphone)
    • Percy Heath (bass)
    • Connie Kay (drums)


    Recording: January and February 1956 by Rudy Van Gelder in mono

    Production: Nesuhi Ertegun


    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.



    This title is not eligible for discount.

    1. Versailles (Porte de Versailles)
    2. Angel Eyes
    3. Fontessa
    4. Over the Rainbow
    5. Bluesology
    6. Willow Weep for Me
    7. Woody 'N You
    The Modern Jazz Quartet
    $34.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • The Atlantic Years In Mono (Box Set) The Atlantic Years In Mono (Box Set) Quick View

    $149.99
    Buy Now
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    The Atlantic Years In Mono (Box Set)


    Fully Remastered In Glorious Mono


    Packaged In An Elegant Cloth-Bound Box


    12" X 12", 32-Page, Perfect-Bound Booklet


    While John Coltrane first gained attention for his revolutionary 'sheets of sound' technique, it was the deep spirituality of his music that really made his recordings as a bandleader such classics. The albums this giant of music recorded for Atlantic in 1959 and 1960 really represent the heart of his legacy.


    John Coltrane's life will be the subject of a new documentary (tentative title: Chasin' Trane), out later this year, and now, for the first time since their original release, this box set gathers his mono recordings from the Atlantic vaults.


    Features:


    • Packaged in an elegant cloth-bound box.
    • Fully remastered in glorious mono.
    • Original studio albums in glossy tip-on LP sleeves, replicating the original artwork and labels. Giant Steps (1960), Bags & Trane (1961) with Milt Jackson, Ole Coltrane (1962), Coltrane Plays The Blues (1962), The Avant Garde (1966) with Don Cherry.
    • One LP of outtakes and a replica of the original 'My Favorite Things Part I & II' 7" single, a hit for John Coltrane in 1961.
    • A 12" x 12", 32-page, perfect-bound booklet, with period photos by Lee Friedlander and liner notes.
    • Liner notes by Grammy-winning jazz writer Ashley Kahn.

    LP 1: GIANT STEPS
    1. Giant Steps
    2. Cousin Mary
    3. Countdown
    4. Spiral
    5. Syeeda's Song Flute
    6. Naima
    7. Mr P.C.


    LP 2: BAGS & TRANE (with Milt Jackson)
    1. Bags & Trane
    2. Three Little Words
    3. The Night We Called It A Day
    4. Be-Bop
    5. The Late Late Blues


    LP 3: OLE COLTRANE
    1. OlÉ
    2. Dahomey Dance
    3. Aisha


    LP 4: COLTRANE PLAYS THE BLUES
    1. Blues To Elvin
    2. Blues To Bechet
    3. Blues To You
    4. Mr. Day
    5. Mr. Syms
    6. Mr. Knight


    LP 5: THE AVANT-GARDE (with Don Cherry)
    1. Cherryco
    2. Focus On Sanity
    3. The Blessing
    4. The Invisible
    5. Bemsha Swing


    LP 6: THE COLTRANE LEGACY
    1. 26-2
    2. Original Untitled Ballad
    3. Untitled Ballad
    4. Centerpiece
    5. Stairway To The Stars
    6. Blues Legacy


    7 Single: MY FAVORITE THINGS
    1. My Favorite Things Part I
    2. My Favorite Things Part II

    John Coltrane
    $149.99
    Vinyl LP + 7 Single Box Set Mono - 6 LPs Sealed Buy Now
  • Concert of the Century - A Tribute to Charlie Parker Concert of the Century - A Tribute to Charlie Parker Quick View

    $26.99
    Buy Now
    x

    Concert of the Century - A Tribute to Charlie Parker


    First Time Available On Wide Release Vinyl


    Pristinely Restored 1980 Live Recording


    6 Of The Greatest Jazz Legends In Their Prime


    180 Gram Audiophile 2LP Vinyl With Gatefold


    On a cold November evening in 1980, 3000 jazz fans filled the Salle Wilfrid Pelletier Hall of Place des Arts
    in Montreal, Quebec to attend what promised to be, a swinging evening featuring six of the biggest names
    in bebop. Billed The Concert of the Century - A Tribute to Charlie Parker, and under the direction of
    Dizzy Gillespie - one of the best jazz trumpeters of all time - the event featured legendary performers:
    Hank Jones - piano, Ray Brown - bass, Milt Jackson - vibes, Philly Joe Jones - drums and James Moody
    on tenor sax and flute. Local club owner Roue Doudou Boicel, who produced the concert, had the foresight
    to record the concert in its entirety. A limited quantity bootleg LP of the concert soon appeared and then
    disappeared from the marketplace, those tapes lay dormant for over 30 years.


    This historic recording opens with rapturous applause that sets the tone with Dizzy's own "Blues 'N' Boogie.
    "Also featured are several classic standards - some more well known then others - including "Darben The
    Redd Foxx," "Time On My Hands," "Get Happy," "The Shadow Of Your Smile" and "Stardust." All the players are
    at the top of their game and having a blast, as evidenced by the banter and repartee between songs.


    Concert of the Century, pristinely restored and remastered, features two tracks that weren't on the original
    pressing from the early '80s - Ralph Rainger's "If I Should Lose You" and an incredible eight minute bass
    solo by Ray Brown.

    LP 1
    1. Blue 'n' Boogie
    2. If I Should Lose You
    3. Darben the Redd Foxx
    4. Time On My Hands


    LP 2
    1. Get Happy
    2. The Shadow of Your Smile
    3. Bass Solo/Manhã de Carnaval/Work Song (featuring Ray Brown)
    4. Stardust

    Dizzy Gillespie
    $26.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Pyramid (Pure Pleasure) Pyramid (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Pyramid (Pure Pleasure)

    With such a tight group as the MJQ is is impossible to single out individual musicians which probably accounts for their long lived success.
    This is a strong recording from the Modern Jazz Quartet, with inventive versions of John Lewis' Vendome. Ray Brown's Pyramid, Jim Hall's Romaine, and Lewis' famous Django, along with cooking jams on How High The Moon and It Don't Mean A Thing. The MJQ had become a jazz institution by this time, but they never lost their creative edge, and their performances (even on the remakes) are quite stimulating, enthusiastic, and fresh. - Scott Yanow/AMG

    Musicians:



    • John Lewis (piano)
    • Milt Jackson (vibraphone)
    • Percy Heath (bass)
    • Connie Kay (drums)


    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.


    This title is not eligible for discount.

    1. Vendome
    2. Pyramid
    3. It Don't Mean A Thing (If It Ain't Got That Swing)
    4. Django
    5. How High The Moon
    6. Romaine
    The Modern Jazz Quartet
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Wild Women Don't Have The Blues (Pure Pleasure) Wild Women Don't Have The Blues (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Wild Women Don't Have The Blues (Pure Pleasure)

    Although singer Nancy Harrow made a strong impression with this debut recording, she did not lead another record date until 1978 other than a lesser-known effort for Atlantic in 1966. Obviously the years of obscurity were not deserved, for this set is a near-classic. Harrow is heard in her early prime singing such veteran songs as All Too Soon, On the Sunny Side of the Street, the seven-minute Blues for Yesterday, and the title cut (originally done by Ida Cox in the 1920s). A more modern stylist (although influenced by Billie Holiday a little) than the material she performed at the time, Harrow is joined by such top mainstream players as trumpeter Buck Clayton (who provided the arrangements), tenorman Buddy Tate, trombonist Dickie Wells, and pianist Dick Wellstood. Highly recommended, Harrow's debut date has plenty of spirit and enthusiasm.




    Musicians:



    • Nancy Harrow (vocal)

    • Buck Clayton (trumpet, conductor, arranger)

    • Buddy Tate (tenor saxophone)

    • Dickie Wells (trombone)

    • Tom Gwaltney (clarinet, alto saxophone)

    • Danny Bank (baritone saxophone)

    • Dick Wellstood (piano)

    • Kenny Burrell (guitar)

    • Milt Hinton (bass)

    • Oliver Jackson (drums)




    Recording: November 1960 at Nola Penthouse Studios, New York City, by Bob d'Orleans

    Production: Nat Hentoff




    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.




    This title is not eligible for discount.

    1. Take Me Back Baby
    2. All Too Soon
    3. Cant We Be Friends
    4. On The Sunny Side Of The Street
    5. Wild Women Dont Have The Blues
    6. Ive Got The World On A String
    7. I Dont Know What Kind Of Blues Ive Got
    8. Blues For Yesterday
    Nancy Harrow
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Aretha With The Ray Bryant Combo (Speakers Corner) Aretha With The Ray Bryant Combo (Speakers Corner) Quick View

    $37.99
    Buy Now
    x

    Aretha With The Ray Bryant Combo (Speakers Corner)

    As is well known, early relationships are not always blessed, and it is certainly no secret that the collaboration between Aretha Franklin and Columbia's record producer John H. Hammond did not last long. Hammond's later attempts to candy Franklin's irrepressible natural voice with sugary arrangements and studio gimmicks did not go down well with the public. On the first Franklin disc from Columbia, however, it was honeymoon all the way. With a successful mix of pop and jazz standards, the super talent - Aretha had just turned 18 years old - brought her vocal chords to vibrate. Fired on with youthful Élan, these evergreens sound so fresh, new and intoxicating that the question of their genre is quite irrelevant. From a seesawing R & B (Won't Be Long) via bell-like waves of melody (Over The Rainbow) right up to the freely styled, jazzy Gershwin classic It Ain't Necessarily So - everything is right there! The Ray Bryant Trio - augmented with winds - proves itself a formidable ensemble with true presence yet unobtrusive accompaniment. If you compare the mature performances of Aretha Franklin in her subsequent years with Atlantic, you will soon recognize that the later 'First Lady of Soul' was in full command of her profession right from the very beginning.


    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:

    Aretha Franklin(vocals, electric piano)

    Quentin Jackson, Tyree Glenn (trombone)

    Al Sears (tenor saxophone)

    Ray Bryant (piano)

    Lord Westbrook, Skeeter Best (guitar)

    Milt Hinton, Bill Lee (bass)

    Belton Evans, Sticks Evans, Osie Johnson (drums)


    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.


    This title is not eligible for discount.

    1. Won't Be Long
    2. Over The Rainbow
    3. Love Is The Only Thing

    4. Sweet Lover

    5. All Night Long

    6. Who Needs You?

    7. Right Now

    8. Are You Sure

    9. Maybe I'm A Fool

    10. It Ain't Necessarily So

    11. (Blue) By Myself

    12. Today I Sing The Blues
    Aretha Franklin
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Wonderful World Of Jazz (Pure Pleasure) (Out Of Stock) The Wonderful World Of Jazz (Pure Pleasure) (Out Of Stock) Quick View

    $34.99
    x

    The Wonderful World Of Jazz (Pure Pleasure) (Out Of Stock)

    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.



    This title is not eligible for discount.

    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 Temporarily out of stock
  • Sunflower (Pure Pleasure) (Out Of Stock) Sunflower (Pure Pleasure) (Out Of Stock) Quick View

    $34.99
    x

    Sunflower (Pure Pleasure) (Out Of Stock)

    his superior reissue combines together two sessions led by vibraphonist Milt Jackson. The first side of Plenty, Plenty Soul, which features a nine-piece group, is highlighted by the contributions of the exuberant altoist Cannonball Adderley, while the flip side has a sextet that is not hurt by the solos of tenor-saxophonist Lucky Thompson. With pianist Horace Silver helping out on both sessions, these all-star dates still sound fresh and enthusiastic decades later.Mastered from original analog tapes and pressed on 180 gram vinyl, this is THE essential pressing of this classic LP.


    This title is not eligible for discount.

    1. For Someone I Love (What's Your Story)
    2. What Are You Doing the Rest of Your Life?
    3. People Make the World Go Round
    4. Sunflower
    Milt Jackson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
  • Bags And Trane (Out Of Stock) Bags And Trane (Out Of Stock) Quick View

    $49.99
    x

    Bags And Trane (Out Of Stock)

    Mastered from the Original Master Tapes


    The Only Full-Album Collaboration Between Iconic Vibraphonist and Definitive Saxophonist


    Featuring Pianist Hank Jones, Bassist Paul Chambers, and Drummer Connie Kay


    It's a shame more classic hard-boppers weren't unified for multiple collaborations. Vibraphonist Milt Jackson and saxophone virtuoso John Coltrane recorded just once together, and this 1959 date makes one wish they reunited for several return engagements. Lighthearted, upbeat, and joyously fluid, Bags & Trane plays like a private after-hours session of friends hanging back and toying with the music.


    In collaborating with pianist Hank Jones, bassist Paul Chambers, and drummer Connie Kay, the headliners go for broke, expanding the parameters of two Jackson originals as well as three standards, including Dizzy Gillespie's Be-Bop and the staple The Night We Called It a Day. Upbeat tempos and spirited interplay pulses throughout.


    Mastered from the original master tapes, ORG Music's reissue presents this heralded release in exacting sound, with the instruments given full range and true-to-life imaging that takes you right into New York City's Atlantic Recording Studios when the pieces were recorded in January 1959. What a delight!

    1. Bags & Trane
    2. Three Little Words
    3. The Night We Called It a Day
    4. Be-Bop
    5. The Late Blues
    Milt Jackson & John Coltrane
    $49.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Temporarily out of stock
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