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  • Fontessa Fontessa Quick View

    $27.99
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    Fontessa

    Import


    This LP has a particularly strong all-around set by the Modern Jazz Quartet. While John Lewis' Versailles and an 11-minute Fontessa show the seriousness of the group (and the influence of Western classical music), other pieces (such as Bluesology, Woody 'N You and a pair of ballads) look toward the group's roots in bop and permit the band to swing hard.

    -All Music Guide

    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
    8. Woody 'N You (alternate take)*


    *Bonus Track

    The Modern Jazz Quartet
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Pyramid (Pure Pleasure) Pyramid (Pure Pleasure) Quick View

    $34.99
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    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.

    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
  • Plenty, Plenty Soul Plenty, Plenty Soul Quick View

    $24.99
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    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
  • The Ivory Hunters The Ivory Hunters Quick View

    $27.99
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    The Ivory Hunters

    Import


    When Bill Evans agreed to do a two piano date with Bob Brookmeyer, eyebrows surely must have raised. Pairing a rising superstar of modern jazz with a gentleman known for playing valve trombone and arranging charts might have been deemed by some as a daunting task. Fortunately for the keyboardists, this was a good idea and a marvelous concept, where the two could use the concept of counterpoint and improvisation to an enjoyable means, much like a great chess match. For the listener, you are easily able to hear the difference between ostensible leader Evans in the right channel of the stereo separation, and the accompanist Brookmeyer in the left. The opener Honeysuckle Rose gives a basic idea of what to expect, as Evans leads out, Brookmeyer counters his moves, and they trade riffs in an inventive bridge. The Way You Look Tonight is similar as Brookmeyer is more playful in his chiming chords and second melody line. The energy level is very good here, as well as on the democratic, funky contemporary intro to the easy swing of It Could Happen to You and I Got Rhythm, jam-packed with fun plus risk-taking. There's a different give and take during The Man I Love, and they turn the lamp down low on a delicate version of As Time Goes By as the pianists trade leads, and bassist Percy Heath adopts a more pronounced role. It is Heath and drummer Connie Kay, on loan from the Modern Jazz Quartet, who precisely and firmly cement rhythmic elements, allowing the pianists to use space, harmony, wit and wisdom to full effect. Some have called this an effort based more on gimmick and showmanship, but if you agree to listen closely, the depth and substance of Evans and Brookmeyer reveals a lot of soul, invention, and musicians simply having a real good time. It would be nice to hear any alternate takes from this marvelous date.

    -All Music Guide

    1. Honeysuckle Rose
    2. As Time Goes By
    3. The Way You Look Tonight
    4. It Could Happen to You
    5. The Man I Love
    6. I Got Rhythm
    Bill Evans
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • 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
  • Django Django Quick View

    $21.99
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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
  • With The Modern Jazz Quartet With The Modern Jazz Quartet Quick View

    $21.99
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    With The Modern Jazz Quartet

    1. The Stopper
    2. In A Sentimental Mood
    3. No Moe
    4. Almost Like Being In Love
    Sonny Rollins
    $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
  • 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.

    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
  • Miles Davis And The Modern Jazz Giants Miles Davis And The Modern Jazz Giants Quick View

    $21.99
    Buy Now
    x

    Miles Davis And The Modern Jazz Giants

    Here are tracks from one of the truly classic sessions, in which a combination of jazz giants gathered in Rudy Van
    Gelder's studio on a chilly Christmas Eve in 1954. With Thelonious Monk and three quarters of the Modern Jazz
    Quartet (Jackson, Heath, and Clarke) as his accomplices, Miles Davis blends sophisticated harmonic knowledge
    with raw, spontaneous invention to produce extraordinary music. This is a strong addition to any jazz collection.
    1. The Man I Love [Take 2]
    2. Swing Spring
    3. 'Round Midnight
    4. Bemsha Swing
    5. The Man I Love [Take 1]
    Miles Davis
    $21.99
    Vinyl LP - Sealed Buy Now
  • Free Jazz Free Jazz Quick View

    $49.99
    Buy Now
    x

    Free Jazz

    Mastered from the Original Master Tapes


    Features a Double Quartet: One Band in Each Stereo Channel with Two Simultaneously Playing Rhythm Sections


    Features Don Cherry, Scott LaFaro, Eric Dolphy, Charlie Haden, Freddie Hubbard Among Other Musicians


    Modern improvisational jazz starts here. With one quartet placed in the left stereo channel and another situated in the right, Free Jazz unloads with two simultaneously playing rhythm sections and a 37-minute-plus title cut devised entirely on the spot.


    Distinctive from the copycat attempts that followed, this 1960 magnum opus claims melody and harmony, solidifying Ornette Coleman's reputation as a compositional genius. Of course, the presence of Don Cherry, Scott LaFaro, Billy Higgins in the left channel and Coleman, Freddie Hubbard, Charlie Haden, and Ed Blackwell in the right doesn't hurt.


    Mastered from the original master tapes, ORG Music's analog edition has turned this classic into an audiophile spectacular. Due to the presentation of the recording in two distinct stereo channels, this album supremely benefits from the label's mastering efforts and decision to expand the music into wider grooves. Prepare for a mind-blowing experience.

    1. Free Jazz- Part 1

    Ornette Coleman


    2. Free Jazz - Part 2

    Ornette Coleman

    Ornette Coleman
    $49.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Wizard Of The Vibes Wizard Of The Vibes Quick View

    $19.99
    Buy Now
    x

    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
  • Fontessa (Speakers Corner) Fontessa (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    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.


    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
  • Chet Chet Quick View

    $21.99
    Buy Now
    x

    Chet

    Includes Bonus Track!


    Every musician has his area of expertise and for Chet Baker that area was the ballad. Therefore, this album dedicated entirely to ballads, gives listeners a chance to hear Baker doing what he does bestand when Chet Baker does what he does best, he does it better than any other trumpet player in the history of jazz. For this session, recorded on 30 December 1958 at NYCs Reeves Sound Studios, the poster child of West Coast cool jazz (who had just turned 29) assembled a superlative East Coast sextet that featured the unusual front-line combination of flute (Herbie Mann), trumpet (Baker) and baritone (Pepper Adams), departing occasionally from this format, however, to showcase the guitar playing of Kenny Burrell. Pianist Bill Evans, Philly Joe Jones (drums), Paul Chambers (bass), all well-known for their association with Miles Davis, and all some of the top names in jazz are also featured here, along with drummer Connie Kay of the Modern Jazz Quartet. This album represents some of the last studio work Baker did before emigrating permanently to Europe. It also includes one of Bakers own compositions, Early Morning Mood, recorded at the same studio and with the same line-up on 19 January 1959, as a bonus track.

    Side A:
    1. Alone Together
    2. How High The Moon
    3. It Never Entered My Mind
    4.Tis Autumn
    5. If You Could See Me Now


    Side B:

    1. September Song
    2. Youd Be So Nice To Come Home To
    3. Time On My Hands
    4. You And The Night And The Music
    5. Early Morning Good

    Chet Baker
    $21.99
    Vinyl LP - Sealed Buy Now
  • Stitt Plays Bird (Speakers Corner) Stitt Plays Bird (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Stitt Plays Bird (Speakers Corner)

    It is widely known that Sonny Stitt didn't want to be taken for Charlie 'Bird' Parker and changed from playing the alto to the tenor saxophone. Although false rumours pop up every now and then, the truth is that at the beginning of the 1940s Stitt independently developed the same be-bop licks as Parker without ever having heard him.
    For Stitt Plays Bird Sonny had to unearth his old instrument and insert a new mouthpiece because Atlantic Records and their entrepreneurial president Ahmet Ertegun hoped for big sales figures. Which actually proved true.


    One half of the modern jazz quartet provided the melodic and rhythmic basis for improvisations on eight 'hits' by Charlie Parker and one composition by his first employer Jay McShann. Added to this are the subtle, sensitive scatterings from Jim Hall and the emphatic beat from Richard Davis, both of which lend delicacy and pulse to the numbers. It's hard to recommend a special track, but Scrapple From The Apple is just awesome! All the numbers are based on standards - just which they are can be found in the informative liner notes by the be-bop expert Ira Gitler. Atlantic's logo "Full Dynamic Frequency Spectrum" is no longer a swindle in this new pressing and at last one can enjoy all nine titles in all their sonic glory.


    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:



    • Sonny Stitt (alto saxophone)
    • John Lewis (piano)
    • Jim Hall (guitar)
    • Richard Davis (bass)
    • Connie Kay (drums)



    Recording: January 1963 at Atlantic Studios, New York City, by Tom Dowd

    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.


    1. Ornithology
    2. Scrapple From The Apple
    3. My Little Suede Shoes
    4. Parker's Mood
    5. Au Privave
    6. Ko-Ko
    7. Confirmation
    8. Hootie Blues
    9. Constellation
    Sonny Stitt
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Modes and Blues: 8th February 1964 Modes and Blues: 8th February 1964 Quick View

    $25.99
    Buy Now
    x

    Modes and Blues: 8th February 1964


    Live At Ronnie Scott's


    This is a previously unreleased mono recording of Modes and Blues from the Tubby Hayes Quintet's weekly Ronnie Scott's residency on 8th February 1964. Regarded as one of the masterworks of British modern jazz, Modes and Blues shows the Quintet at the very height of its powers, channelling the new musical flavours and inspiration that Tubby Hayes had absorbed from the cutting edge of jazz and the new directions of John Coltrane.


    Recorded with Hayes' approval by Les Tomkins on his Ferrograph tape recorder, this is one of the most engrossing of all his stretch-out epics. Hayes digs in deep with marathon and breathtaking soloing, trumpeter Jimmy Deuchar delivers his characteristically lyrical improvisation, and there's dynamic interplay and drive from the great Terry Shannon, Freddy Logan and Allan Ganley rhythm section.


    The Quintet had barely a few months left to run at the time of this performance, splitting in August 1964, fearing its music had atrophied into self-parody. Modes and Blues is among its many triumphs, a performance that shows how high the band had set the aspirational bar for British modernism, and, as such, is as much a cultural document as a musical souvenir.

    1. Modes and Blues (Part One)
    2. Modes and Blues (Part Two)
    Tubby Hayes Quartet
    $25.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Arms & Hands Arms & Hands Quick View

    $16.99
    Buy Now
    x

    Arms & Hands

    Cornetist and composer Kirk Knuffke is one of modern jazz's most skilled navigators of the divide between inside and outside, freedom and swing. On his latest album, Arms & Hands, he assembles the ideal trio to bridge that divide. Joined by bassist Mark Helias and drummer Bill Goodwin, along with special guests Brian Drye (trombone), Daniel Carter (alto saxophone), and Jeff Lederer (soprano/tenor saxophone), Knuffke creates a set of music that is both engaging and inventive.


    Helias is best known for his work with jazz experimentalists like Anthony Braxton, Cecil Taylor, Marilyn Crispell, and Gerry Hemingway, his band BassDrumBone with Hemingway and Ray Anderson, and his trio Open Loose with Tony Malaby and Tom Rainey. Goodwin, on the other hand, is recognized as a premiere straight-ahead drummer, through his decades-long relationship with saxophonist Phil Woods and credits that include such giants as Bill Evans, Tony Bennett, Dexter Gordon, Jim Hall, Gary Burton, and Art Pepper.
    The chemistry between the trio is irrefutable on Arms & Hands, which is a showcase for the immense creativity of all three musicians. Knuffke intentionally wrote compositions that took advantage of Goodwin's gift for groove and swing while remaining open enough to allow the improvisations to wander however far afield the moment might call for.


    Kirk Knuffke is a prolific composer and improviser who has worked with a host of incredible musicians including Roswell Rudd, William Parker, Uri Caine, Myra Melford, Allison Miller, Steve Swell, John Zorn, Dave Douglas, Billy Hart, Steven Bernstein, and Mary Halvorson. Internationally, he has played with ensembles at jazz festivals in Saalfeldan Austria, Willisau Switzerland, The North Sea Jazz festival in Holland, The Moers festival as well as festival dates in Canada, Mexico, Italy and France. He is currently a member of the Matt Wilson Quartet. Knuffke is also a member of the Mark Helias Quartet, the Andrew D'angelo Big Band, Josh Roseman's Extended Constellations, Kenny Wollesen's Wollesonic and Allison Miller's Boom tic Boom. Knuffke's leader debut, Big Wig, was released by Clean Feed in 2008, followed by the trio recordings Chew Your Food and Amnesia Brown and the quartet album Chorale. He has also recorded several duo CDs with pianist Jesse Stacken and one with percussionist Mike Pride, and co-led the collaborative trio Sifter with Mary Halvorson and Matt Wilson and a quartet with saxophonist Ted Brown.

    1. Safety Shoes
    2. Bright Light
    3. Pepper
    4. Chirp
    5. Umbrella
    6. Next
    7. Arms & Hands
    8. Bonderizer
    9. Atessa
    10. Thanks A Lot
    Kirk Knuffke
    $16.99
    Vinyl LP - Sealed Buy Now
  • Time Further Out: Miro Reflections Time Further Out: Miro Reflections Quick View

    $32.99
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    Time Further Out: Miro Reflections

    Time Further Out continues the Dave Brubeck Quartet's exploration of unusual time signatures that began on the ensemble's definitive 1959 album Time Out. Accompanied by an all-star cast, the esteemed pianist arranging tunes according to the number of beats per bar, in the process rewriting rhythmic rules and dance steps. In fact, the tracks are ordered by the number of beats per bar, starting with It's a Raggy Waltz and Bluette in 3/4, Charles Matthew Hallelujah in 4/4, Far More Blue and Far More Drums in 5/4, Maori Blues in 6/4, Unsquare Dance in 7/4, Bru's Boogie Woogie in 8/8, and concluding with Blue Shadows in the Street in 9/8.


    Like the original Time Out album, Time Further Out's cover features a work of modern art: a painting by Spanish artist Joan Miro. Mastered from the original analog tape by George Marino at Sterling Sounds in New York and pressed at RTI in Camarillo, California, this record has never sounded so alive or immediate. A must-have jazz benchmark.


    This title is not eligible for discount

    1. It's A Raggy Waltz
    2. Bluette
    3. Charles Matthew Hallelujah
    4. Far More Blue
    5. Far More Drums
    6. Maori Blues
    7. Unsquare Dance
    8. Bru's Boogie Woogie
    9. Blue Shadows In The Street
    Dave Brubeck
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • A Distortion Of Love (Awaiting Repress) A Distortion Of Love (Awaiting Repress) Quick View

    $49.99
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    A Distortion Of Love (Awaiting Repress)

    A Distortion of Love on Numbered Limited Edition 180 Gram LP from Mobile Fidelity


    Acclaimed Pianist/Singer's Oft-Neglected 1992 Sophomore Effort Teems With Poetic Enterprise and Intrepid Originality


    Smooth, Transparent Sonics Worthy of an Intimate Venue: One of Only Two Barber Albums to Never Have Been Reissued-Until Now


    Audiophile Favorite Steams Up Mirrors With Enchanting Melodies, Breathy Vocals, Daring Originality


    Patricia Barber's origins are commonly associated with 1994's CafÉ Blue and the follow-up, 1998's Modern Cool. Both quickly established the singer/pianist as an immediate audiophile favorite whose rare combination of astute instrumental performance, daring originality, poetic enterprise, intrepid vocals, and sculpted production announced her as an artist that both takes immense care in her music as well as in her sound. While largely unknown to many, 1992's diverse A Distortion of Love signaled the beginning of Barber's unfettered creativity.


    Half-speed mastered from the original master tapes and pressed at RTI, Mobile Fidelity's numbered, limited-edition 180 gram LP of the Chicagoan's sophomore album features the similar wowing detail and perspective-altering clarity offered on the reissue label's celebrated versions of Mythologies, The Cole Porter Mix, and the now out-of-print and extremely sought-after CafÉ Blue, Modern Cool, Companion, and Nightclub.


    Such is the attention brought to Barber's tastefully reverb-assisted singing, the quartet's stripped-down arrangements, the grand piano's resonance, the background finger snaps, and the astounding transparency of every note and breath uttered in the studio. Smoothness, balance, and neutrality abound. Through and through, this is an audiophile delight.


    While national acclaim wouldn't come to Barber until the mid-90s, it wasn't because she didn't provide notice of her monumental talent and MacArthur Grant-worthy inventiveness. On A Distortion of Love, her individuality manifests on a surprisingly eerie rendition of the standard "Summertime" and subsequent "Subway Station No. 5," a lengthy piece adorned with atmospheric nervousness, tonal shifts, and contrapuntal movements that ultimately lead into a swinging theme.


    Barber, guitarist Wolfgang Muthspiel, bassist Marc Johnson, and percussionist Adam Nussbaum achieve like-minded heights on an improvised and clever read of the Temptations' "My Girl." Here, and again especially on the aptly titled "You Stepped Out of a Dream," Barber's textured vocals seemingly float on a jet-black plain, emanating as if her lips and mouth are just feet away, the slap of the acoustic bass and patter of the drums responding in kind to her expressiveness. Whether you're familiar with this album, a longtime Barber fan, or just coming to her for the first time, Mobile Fidelity's pressing of this record will please even the sternest critics of vocal jazz.


    This title is not eligible for discount.

    1. Summertime
    2. Subway Station No. 5
    3. You Stepped Out of a Dream
    4. Parts Parallels
    5. Or Not To Be
    6. Yellow Car
    7. Yet Another In a Long Series of Yellow Cars
    8. I Never Went Away
    9. My Girl
    10. Be Myself
    Patricia Barber
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • City Of Refuge City Of Refuge Quick View

    $21.99
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    City Of Refuge

    In her relatively short musical career, Abigail Washburn has covered a lot of ground; both physically and metaphorically. Bouncing between China and Appalachia has informed much of her musical output and influenced a body of work that goes far beyond the usual claw hammer banjo repertoire.



    Her Rounder debut, City of Refuge is a sublime marriage of old-time and indie-pop. On the album Washburn pairs venerable folk elements with far-flung sounds, and the results feel both strangely familiar and unlike anything anybody's ever heard before. The album features My Morning Jacket's Car Broemel, The Decemberists' Chris Funk, Turtle Island Quartet's Jeremy Kittell, atmospheric jazz guitarist Bill Frisell, veteran Nashville studio percussionist Kenny Malone, Old Crow Medicine Show's Ketch Secor and Morgan Jahnig, Wu Fei, master of the guzheng, and the Mongolian stringband Hanggai, who managed to contribute ambient throat-singing from halfway around the world.



    The album was produced by Tucker Martine (The Decemberists, Tift Merritt, Mudhoney) and features the talents of multi-instrumentalist, singer/songwriter, Kai Welch (Tommy and the Whale). City of Refuge offers an expansive palette of supple and modern textures resulting in a remarkably harmonious piece of art.

    1. Prelude
    2. City of Refuge
    3. Bring Me My Queen
    4. Chains
    5. Ballad of Treason
    6. Last Train
    7. Burn Thru
    8. Corner Girl
    9. Dreams of Nectar
    10. Devine Bell
    11. Bright Morning Stars
    Abigail Washburn
    $21.99
    Vinyl LP - Sealed Buy Now
  • The Survivors' Suite The Survivors' Suite Quick View

    $25.99
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    The Survivors' Suite

    The Survivors' Suite, recorded in 1976, is the crowning achievement of Keith Jarrett's "American Quartet" with Dewey Redman, Charlie Haden and Paul Motian, and one of the all-time enduring masterpieces in the ECM catalogue. Melody Maker: "The Survivors' Suite is a brilliantly organized and full-blooded work which provides the perfect setting for all four talents. This is a very complete record. It creates its own universe and explores it thoroughly, leaving the listener awed and satisfied... An unashamedly ardent album, Jarrett's very finest." The Wire: "The labyrinthine composition seems to redefine 'intensity' each time it turns a corner. The drive toward the climax of Side Two is among the most moving in modern music, Dewey Redman absolutely titanic over the surging rhythms."


    Musicians:

    Keith Jarrett (piano)

    Dewey Redman (tenor saxophone, percussion)

    Charlie Haden (double bass)

    Paul Motian (drums, percussion)

    1. Beginning
    2. Conclusion
    Keith Jarrett
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mehliana: Taming the Dragon Mehliana: Taming the Dragon Quick View

    $29.99
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    Mehliana: Taming the Dragon


    Two 140-gram LPs Pressed At Pallas MFG In Diepholz, Germany


    Includes CD Of The Album


    Nonesuch Records releases the debut album from the electric duo of Brad Mehldau and Mark Guiliana, Mehliana: Taming the Dragon. The two have been performing for several years, including a brief US tour this fall and an ongoing European tour, with Mehldau playing Fender Rhodes and synthesizers and Guiliana on drums and effects, as they are on the record. Mehliana comprises 12 original tunes-six written by the duo and six written by Mehldau-and was engineered and mixed by Greg Koller (Jon Brion, Kanye West). The vinyl edition of the album includes two 140-gram LPs pressed at Pallas MFG in Diepholz, Germany, and a CD of the album.


    Brad Mehldau played in a number of different ensembles, including label mate Joshua Redman's quartet, before becoming a bandleader himself in the 1990s. The Brad Mehldau Trio, which tours the world extensively, made eight acclaimed recordings for Warner Bros., including the five widely praised Art of the Trio albums with former drummer Jorge Rossy (released as a boxed set by Nonesuch in 2011). The pianist's nine years with Nonesuch have been equally productive, beginning with the solo disc Live in Tokyo and including six trio records Day Is Done, House on Hill, Live, Ode, and Where Do You Start, as well as a collaboration with soprano RenÉe Fleming, Love Sublime; a chamber ensemble album, Highway Rider; two collaborations with label mate Pat Metheny, Metheny Mehldau and Quartet, the latter of which also includes Trio members Jeff Ballard and Larry Grenadier; a CD/DVD set of live solo performances, Live in Marciac; and collaborations with genre-crossing musicians on Modern Music, with composer/pianist Kevin Hays and composer/arranger Patrick Zimmerli. Additionally, he produced saxophonist Joshua Redman's 2013 release Walking Shadows.


    According to Modern Drummer, Mark Guiliana is "at the forefront of an exciting new style of drumming." The New Jersey native's unique and un-compromised approach to playing the drums has earned him international acclaim as both a leader and a sideman. In 2004, Guiliana created HEERNT, an "experimental-garage-jazz" trio based in New York. The band's debut record, Locked in a Basement, was called the record "the most exuberant, dramatic, beautiful, sassy, genre-busting little outing that I've heard since I don't know when" by legendary drummer Bill Bruford (Yes, King Crimson). As a sideman, Guiliana's longest partnership has been with world-renowned jazz bassist Avishai Cohen. He toured all over the world with Cohen from 2003 until 2008, performing on six studio records and a live DVD recorded at the Blue Note in Manhattan. Guiliana has also recorded and/or performed with Meshell Ndegeocello, Dhafer Youssef, Wayne Krantz, Matisyahu, Jazz Mandolin Project, Jason Lindner, Brad Shepik, Bobby McFerrin, Tigran Hamasyan, and many more. His debut solo record, Beat Music, which was co-produced by Ndegeocello, was released in the spring of 2013. Guiliana plays Gretsch drums, Sabian cymbals, Vic Firth sticks, and Evans drumheads.

    1. Taming the Dragon
    2. Luxe
    3. You Can't Go Back Now
    4. The Dreamer
    5. Elegy for Amelia E.
    6. Sleeping Giant
    7. Hungry Ghost
    8. Gainsbourg
    9. Just Call Me Nige
    10. Sassyassed Sassafrass
    11. Swimming
    Brad Mehldau & Mark Guiliana
    $29.99
    Vinyl LP + CD - 2 LPs Sealed Buy Now
  • Chris Thile & Brad Mehldau Chris Thile & Brad Mehldau Quick View

    $27.99
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    Chris Thile & Brad Mehldau

    Nonesuch Records labelmates mandolinist/singer Chris Thile and pianist Brad Mehldau, longtime admirers of each other's work, first toured as a duo in 2013. At the end of 2015, they played a two-night stand at New York City's Bowery Ballroom before going into the studio to record Chris Thile & Brad Mehldau, a mix of covers and original songs.


    Chris Thile and Brad Mehldau come from different worlds but the same species, says the New York Times. Mr. Thile is a progressive-bluegrass pacesetter; Mr. Mehldau is the most influential jazz pianist of the last 20 years. Both are team players ... Both love Bach and the Beatles, and both have developed fan bases bigger and broader (and younger) than their genre silos can accommodate.


    The two musicians first performed together in September 2011 as part of Mehldau's residency at London's Wigmore Hall. The Guardian said of that performance, Mehldau struck up his signature rocking chord vamp over which lightly struck motifs swell to sensuous extended melodies. Thile kept cajoling him with percussive snaps, flying runs, and chords strummed fast enough to sound as seamless as a purring strings section, inducing Mehldau to bat back the playful provocation with stinging rejoinders.


    MacArthur Fellow and A Prairie Home Companion host Chris Thile is the founding member of Punch Brothers, which a Boston Globe reviewer called the tightest, most impressive live band I have ever seen. The band has released four albums on Nonesuch beginning in 2008: Punch, Antifogmatic, Who's Feeling Young Now?, and The Phosphorescent Blues. Thile's other releases on the label include Sleep with One Eye Open with Michael Daves; Edgar Meyer & Chris Thile and Bass & Mandolin-the latter of which won a Grammy Award; a solo record of Bach violin sonatas and partitas; and A Dotted Line with his longtime band Nickel Creek. He also recently collaborated with Yo-Yo Ma, Stuart Duncan, and Edgar Meyer on the double Grammy Award-winning album The Goat Rodeo Sessions.


    Brad Mehldau's Nonesuch debut was the 2004 solo disc Live in Tokyo and includes six records with his trio: House on Hill, Day Is Done, Brad Mehldau Trio Live, Ode, Where Do You Start, and Blues and Ballads. His collaborative records on the label include Love Sublime, Highway Rider, Metheny Mehldau, Metheny Mehldau Quartet, Modern Music, and Mehliana: Taming the Dragon. Mehldau's additional solo albums on Nonesuch include Live in Marciac and last year's 8-LP/4-CD 10 Years Solo Live, which the New York Times says contains some of the most impressive pianism he has captured on record. Earlier this year, he released a duo album with Joshua Redman, Nearness, of which the Wall Street Journal said: Few records released this year better define what jazz sounds like today, even if there isn't a hip noun to describe it.

    1. The Old Shade Tree (Brad Mehldau & Chris Thile)
    2.Tallahassee Junction (Brad Mehldau)
    3. Scarlet Town (David Rawlings & Gillian Welch)
    4. I Cover the Waterfront (Johnny Green & Edward Heyman)
    5. Independence Day (Elliott Smith)
    6. Noise Machine (Chris Thile)
    7. The Watcher (Brad Mehldau)
    8. Daughter of Eve (Chris Thile)
    9. Fast As You Can (Fiona Apple)*
    10. Marcie (Joni Mitchell)
    11. Don't Think Twice It's Alright (Bob Dylan)
    12. Tabhair dom do Lámh (Ruaidri Dáll Ó Catháin)


    *Vinyl-only bonus track

    Chris Thile & Brad Mehldau
    $27.99
    Vinyl LP - Sealed Buy Now
  • Bringin' It (Awaiting Repress) Bringin' It (Awaiting Repress) Quick View

    $34.99
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    Bringin' It (Awaiting Repress)

    Iconic 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
    2. Thermo
    3. Youthful Bliss
    4. I Thought About You
    5. Sahara
    6. Upside Down
    7. Full House
    8. Mr. Bojangles
    9. Used 'ta Could
    10. In The Wee Small Hours Of The Morning
    11. Optimism
    Christian McBride Big Band
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
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