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  • The Hottest New Group In Jazz (Pure Pleasure) The Hottest New Group In Jazz (Pure Pleasure) Quick View

    $34.99
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    The Hottest New Group In Jazz (Pure Pleasure)

    The premier jazz vocal act of all time, Lambert, Hendricks & Ross revolutionized vocal music during the late '50s and early '60s by turning away from the increasingly crossover slant of the pop world to embrace the sheer musicianship inherent in vocal jazz. Applying the concepts of bop harmonies to swinging vocal music, the trio transformed dozens of instrumental jazz classics into their own songs, taking scat solos and trading off licks and riffs in precisely the same fashion as their favorite improvising musicians. Vocal arranger Dave Lambert wrote dense clusters of vocal lines for each voice that, while only distantly related, came together splendidly. Jon Hendricks wrote clever, witty lyrics to jazz standards like Summertime, Moanin', and Twisted, and Annie Ross proved to be one of the strongest, most dexterous female voices in the history of jazz vocals. Together Lambert, Hendricks & Ross paved the way for vocal groups like Manhattan Transfer while earning respect from vocalists and jazz musicians alike.



    Musicians:



    • Dave Lambert (vocals)

    • Joe Hendricks (vocals)

    • Annie Ross (vocals)

    • Harry Edison (trumpet)

    • Gildo Mahones (piano)

    • Ike Isaacs (bass)

    • Jimmy Wormworth (drums)



    Recording: 1959



    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. Charleston Alley
    2. Moanin'
    3. Twisted
    4. Bijou
    5. Cloudburst
    6. Centerpiece
    7. Gimme That Wine
    8. Sermonette
    9. Summertime
    10. Everybody's Boppin'
    Lambert, Hendricks & Ross
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • New Jazz Conceptions New Jazz Conceptions Quick View

    $21.99
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    New Jazz Conceptions

    A significant date in the history of legendary pianist Bill Evans' recording career, New Jazz Conceptions marks his maiden voyage as a leader and finds
    the then 27-year-old pianist already sounding much different than the usual Bud Powell-influenced keyboardists of the time. Recorded in 1956, more than
    a year before he joined the Miles Davis Sextet, this set finds Evans flashing his own unique chord voicings in a lyrical, swinging style. Three selections
    here are taken solo (including the original version of his classic Waltz for Debby), while the other eight are performed in a trio with bassist Teddy Kotick
    and drummer Paul Motian (including his future theme Five, Speak Low, and No Cover, No Minimum). A strong start to a significant career and a must
    -have for fans of classic piano trios.
    1. I Love You
    2. Five
    3. I Got It Bad and That Ain't Good
    4. Conception
    5. Easy Living
    6. Displacement
    7. Speak Low
    8. Waltz for Debby
    9. Our Delight
    10. My Romance
    11. No Cover, No Minimum
    Bill Evans
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • Jazz Winds From A New Direction (Speakers Corner) Jazz Winds From A New Direction (Speakers Corner) Quick View

    $34.99
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    x

    Jazz Winds From A New Direction (Speakers Corner)


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


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


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



    Musicians:



    • Hank Garland (guitar)

    • Gary Burton (vibraphone)

    • Joe Benjamin (bass)

    • Joe Morello (drums)




    Recording: 1961



    About Speakers Corner



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



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



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



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



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



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


    1. All The Things You Are
    2. Three-Four, The Blues
    3. Move
    4. Always
    5. Riot-vhous
    6. Relaxing
    Hank Garland
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Jazz Goes To College Jazz Goes To College Quick View

    $34.99
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    x

    Jazz Goes To College

    Import

    In the spring of 1954 Jazz-great Dave Brubeck did a tour of North American college campuses. Paul Desmond (alto sax), Bob Bates (bass), and Joe Dodge (drums) joined him and their support of Brubeck is uniformly flawless, ultimately producing what many consider as the most memorable music in the artist's cannon.


    Indeed the genre gets schooled as the quartet leans in with striking energy and finesse. Enjoyed among college students in the 1950s and early 1960s both the tour and album brought Jazz to a whole new generation.

    1. Balcony Rock
    2. Out Of Nowhere
    3. Le Souk
    4. Take The "a" Train
    5. The Song Is You
    6. Don't Worry 'bout Me
    7. I Want To Be Happy
    Dave Brubeck Quartet
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Legrand Jazz (Awaiting Repress) Legrand Jazz (Awaiting Repress) Quick View

    $27.99
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    Legrand Jazz (Awaiting Repress)

    Import


    French composer and pianist Michel Legrand's album Legrand Jazz in its entirety, featuring his first recorded collaboration with Miles Davis.


    Legrand Jazz compiled three June 1958 New York sessions featuring many of the finest jazz musicians in the history of the genre. Featuring John Coltrane, Bill Evans, Herbie Mann, Ben Webster, Hank Jones, Paul Chambers & Max Roach, among others.


    One Pressing Limited Edition

    1. Wild Man Blues(Louis Armstrong-Jelly Roll Morton)
    2. Round Midnight(Thelonious Monk-Cootie Williams-Bernie Hanighen)

    3. The Jitterbug Waltz (Fats Waller)

    4. Django (John Lewis)

    5. Nuages (Django Reinhardt)

    6. Round Midnight (Thelonious Monk-Cootie Williams-Bernie Hanighen)

    7. Rosetta (Earl Hines-William Henri Woode)

    8. Dont Get Around Much Anymore (Duke Ellington-Sidney Keith Russell)

    9. Blue And Sentimental (Count Basie-Mack David-Jerry Livingston)

    10. Stompin At The Savoy (Benny Goodman-Chick Webb-Edgar M. Sampson)

    11. A Night In Tunisia (Dizzy Gillespie-Frank Paparelli)

    12. In A Mist (Bix Beiderbecke)

    Michel Legrand & Miles Davis
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Sex 'n' Jazz (Expanded) Sex 'n' Jazz (Expanded) Quick View

    $39.99
    Buy Now
    x

    Sex 'n' Jazz (Expanded)

    Limited Edition Of 1,000 Numbered Copies On White Vinyl, Black Vinyl Thereafter

    180-Gram Audiophile Vinyl

    Gatefold Sleeve With Deluxe Spot Varnish

    Remastered Expanded Edition

    Featuring Marvin Gaye And Paul Carrack

    First Time On Vinyl!

    Originally released in March 2007, Sex 'n' Jazz, starring Marvin Gaye, Paul Carrack, and Erik Truffaz, immediately captured the public's attention and became an overnight success for Dutch groove jazz band Gare du Nord. Tracks like Marvin & Miles, You're My Medicine and Beautiful Day would become instant classics and kick-started a new jazz pop wave in The Netherlands.

    The appeal of the album was also recognized by jazz label Blue Note and in 2009 a remixed version of the album hit the shelves. With the key tracks, originally mixed in the chill mode, dramatically remixed in club soul style, the blue label parachuted Sex 'n' Jazz into platinum heaven.

    This 2017 expanded edition brings together both the Blue Note remix album master and the original vintage album master from early 2007 for the very first time. State of the art remastered, this landmark edition of Sex 'n' Jazz sounds as crispy as ever. This must be the ultimate fan experience to celebrate the 10th Anniversary of the trendsetting club soul masterwork and its prelude.

    Ten years after its original release, the album is now available on vinyl for the first time. The first limited, individually numbered edition is pressed on white vinyl. Only 1,000 copies available.

    Further decades may pass and public taste may change, but it will always be just the right time for Sex 'n' Jazz.

    LP 1
    1. Somethin' In My Mouth (Sex 'n' Jazz 1)
    2. Marvin & Miles
    3. Ride On (Featuring Paul Carrack)
    4. Cool Summer Breeze
    5. Beautiful Day
    6. You're My Medicine (feat. Marvin Gaye)
    7. More Medicine
    8. Chet's Chat
    9. Quiet Storm
    10. I Want Love
    11. Lobster For Love (Sex 'n' Jazz 2)
    12. Hey, Mr. Glider (feat. Erik Truffaz)
    13. Hot Glue


    LP 2
    1. Marvin & Miles
    2. Somethin' In My Mouth (Sex 'n' Jazz 1)
    3. Ride On
    4. You're My Medicine
    5. More Medicine
    6. Summer Breeze
    7. Beautiful Day
    8. Chet's Chat
    9. Lobster For Love (Sex 'n' Jazz 2)
    10. Hey, Mr. Glider
    11. Quiet Storm
    12. I Want Love
    13. Hot Glue

    Gare du Nord
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Art Blakey!!!!! Jazz Messengers!!!!! Art Blakey!!!!! Jazz Messengers!!!!! Quick View

    $49.99
    Buy Now
    x

    Art Blakey!!!!! Jazz Messengers!!!!!

    Art Blakey discovered and championed young talented musicians such as Clifford Brown, Lou Donaldson, Keith Jarrett and Wynton Marsalis to name but a few. But he also delivered the message of hard bop through thousands of performances at festivals right down to the smallest club. Lively, joyous performances, the very highest technical standards and somnambulistic music-making characterize this recording. Right from the very start it is clear that these jazz ambassadors have a new message for us. The hard-beat recordings win in lyricism thanks to the gentle sound of Curtis Fuller's trombone, something that was often missing in the powerful Blue Note sound. Four jazz evergreens give the musicians the time and opportunity to display their soloistic talents. The real climax, however, is to be found in the harmonic layering of the three winds which lend the themes new appeal. The message was broadcasted many times until the death of Art Blakey, but the history of jazz would have been a great deal poorer without these milestone recordings on the Impulse label. Art Blakey certainly knew how to delight his audience with fire, originality, a wealth of ideas and great humor. All these attributes are applicable to the six titles on this album.


    Musicians:

    Lee Morgan (trumpet)

    Curtis Fuller (trombone)

    Wayne Shorter (tenor saxophone)

    Robert H. "Bobby" Timmons (piano)

    Jymie Merritt (bass)

    Art Blakey (drums)


    Recording: June 1961 at Rudy van Gelder's Recording Studios, Englewood Cliffs, N.J., USA by Rudy van Gelder Production: Bob Thiele



    This title is not eligible for discount.

    1. À la Mode
    2. Invitation
    3. Circus
    4. You Don't Know What Love Is
    5. I Hear a Rhapsody
    6. Gee Baby, Ain't I Good to You
    Art Blakey
    $49.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Art Blakey!!!!! Jazz Messengers!!!!! Art Blakey!!!!! Jazz Messengers!!!!! Quick View

    $27.99
    Buy Now
    x

    Art Blakey!!!!! Jazz Messengers!!!!!

    Import


    Art Blakey discovered and championed young talented musicians such as Clifford Brown, Lou Donaldson, Keith Jarrett and Wynton Marsalis to name but a few. But he also delivered the message of hard bop through thousands of performances at festivals right down to the smallest club. Lively, joyous performances, the very highest technical standards and somnambulistic music-making characterize this recording. Right from the very start it is clear that these jazz ambassadors have a new message for us. The hard-beat recordings win in lyricism thanks to the gentle sound of Curtis Fuller's trombone, something that was often missing in the powerful Blue Note sound. Four jazz evergreens give the musicians the time and opportunity to display their soloistic talents. The real climax, however, is to be found in the harmonic layering of the three winds which lend the themes new appeal. The message was broadcasted many times until the death of Art Blakey, but the history of jazz would have been a great deal poorer without these milestone recordings on the Impulse label. Art Blakey certainly knew how to delight his audience with fire, originality, a wealth of ideas and great humor. All these attributes are applicable to the six titles on this album.


    Musicians:

    Lee Morgan (trumpet)

    Curtis Fuller (trombone)

    Wayne Shorter (tenor saxophone)

    Robert H. "Bobby" Timmons (piano)

    Jymie Merritt (bass)

    Art Blakey (drums)


    Recording: June 1961 at Rudy van Gelder's Recording Studios, Englewood Cliffs, N.J., USA by Rudy van Gelder Production: Bob Thiele

    1. Alamode
    2. Invitation
    3. Circus
    4. You Don't Know What Love Is
    5. I Hear A Rhapsody
    6. Gee Baby, Ain't I Good To You
    Art Blakey
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Feeling Of Jazz The Feeling Of Jazz Quick View

    $29.99
    Buy Now
    x

    The Feeling Of Jazz

    1962 Set from Duke Ellington and His Orchestra Contains New Material and Fresh Interpretations of Classics


    Spectacular Audiophile Restoration Series Resurrects UK Label Black Lion: Mastered at Bernie Grundman Studios by Chris Bellman and Pressed at Pallas


    EQ Notes and Curation Performed by Iconic Engineer Steve Hoffman; LPs EQ'd and Set Up by Bernie Grundman


    Conceived, Designed, and Manufactured for Collectors and Enthusiasts: Vinyl Jacket Features Exclusive Art


    Age never slowed Duke Ellington. Recorded at four different sessions in 1962 at Bell Studio in 1962, The Feeling of Jazz is one of the rarest titles America's greatest composer ever released, and contains both never-before-heard originals as well as reinterpretations of Ellington classics. Performed by the Duke Ellington Orchestra, which included players such as Paul Gonsalves, Johnny Hodges, Harold Baker, and Jimmy Hamilton, the material contains a wealth of spot-on solos and stop-on-a-dime changes.


    Originally released by the UK label Black Lion, an imprint that specialized in resurrecting rare gems from US jazz and blues legends, The Feeling of Jazz represents a critical juncture in Ellington's career and a can't-miss opportunity for collectors and enthusiasts to get closer to the man and his music. Helmed by ORG, this historical reissue is afforded the ultimate in audiophile production standards, resulting in sonics and presentation befitting the museum-like worth of this record's existence.


    Mastered from the original master tapes at Bernie Grundman Studios by Chris Bellman and pressed at Pallas, the 180g LP was curated by legendary engineer Steve Hoffman and eq'd by Grundman himself. A better team you cannot find; every step involved serious quality-control measures to guarantee gorgeous sound. The superb vinyl jacket features exclusive artwork. This is what being a collector is all about. The title isn't widely known, but this reissue preserves historically significant music that will be enjoyed by generations to come.


    Jazz fans, audiophiles, and music fanatics, don't sleep on this extraordinary treasure.

    1. Taffy Twist
    2. Flirtibird
    3. Smada
    4. What Am I Here For
    5. Take the 'A' Train
    6. I'm Gonna Go Fishin'
    7. Boo-Dah
    8. Black and Tan Fantasy
    9. The Feeling of Jazz
    10. Jump for Joy
    11. I Let a Song Go Out of My Heart/Don't Get Around Much Anymore
    Duke Ellington
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Jazz Reunion (Pure Pleasure) Jazz Reunion (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Jazz Reunion (Pure Pleasure)

    It is strange that two such individual musicians as Pee Wee Russell and Coleman Hawkins were kept apart for some 32 years but it is a fact that not since 1929 had they met in a recording studio. Pee Wee Russell's unique, and sometimes derided approach was praised as ahead of its time, and cited by some as an early example of free jazz. Coleman Hawkins, at the time of this 1961 Jazz Reunion record date dismissed any idea that Russell was now playing modern, claiming that he had always played that way. The greatly imaginative improvisations of Russell when at his best remain an inspiration to jazz clarinetists.



    On this album the whole group move with an elasticity which only comes when exactly the right mood is attained by all the musicians taking part. Pee Wee plays with deep passion throughout and Hawkins was never heard in better blowing form than this. His virile, robust solos are as forceful as anything he recorded in his long distinguished career. Emmett Berry's solos are models of tasteful improvisation. Brookmeyer displays a pretty turn of wit and builds his solos with ingenuity. With excellent arrangements by Nat Pierce and some lovely cymbal work from Jo Jones this really is a beauty.




    Musicians:



    • Coleman Hawkins (tenor saxophone)

    • Pee Wee Russell (clarinet)

    • Emmett Berry (trumpet)

    • Bob Brookmeyer (trombone)

    • Nat Pierce (piano)

    • Milt Hinton (bass)

    • Jo Jones (drums)




    Recording: February 1961 at Nola Penthouse Studio, 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.



    1. If I Could Be With You (One Hour Tonight)

    2. Tin Tin Deo
    3. Mariooch
    4. All Too Soon
    5. 28th And 8th
    6. What Am I Here For
    Pee Wee Russell & Coleman Hawkins
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • 20 Jazz Funk Greats 20 Jazz Funk Greats Quick View

    $23.99
    Buy Now
    x

    20 Jazz Funk Greats

    Pressed On Limited Edition Green Colored Vinyl


    Mute are delighted to announce a limited edition green LP reissue
    of 20 Jazz Funk Greats, the landmark 1979 album from industrial
    music pioneers Throbbing Gristle.


    The impetus for the record apparently came about from Genesis
    P-Orridge's mum's request that the band record something
    "nice". The tame cover photo shows the nattily dressed band -
    white disco jacket, comfy slacks, mini-skirt - stood amid flowers
    on a clifftop. The chosen scene of natural beauty was Beachy
    Head, a notorious suicide spot.


    20 Jazz Funk Greats' cheerful breaching of lounge jazz and
    disco contains some of the band's prettiest moments on songs
    like the breathy "Hot on the Heels of Love". Similarly "Tanith"
    and "Exotica" are gentle interludes in which TG's usual jagged
    punctuations are kept to a minimum. You could be fooled into
    thinking this was indeed easy-listening industrial.


    Pitchfork wrote that "20 Jazz Funk Greats finds the band waking
    up from D.O.A's dark night of the soul and feeling curiously
    frisky. Snacking on not only the titular funk and jazz, the band
    also takes touristic zig zags through exotica, rock and disco",
    ultimately describing it as a "kitsch detour toward mutant disco".
    Uncut Magazine wrote that "musically, it turned away from the
    precipice; not exactly jazz and funk, but sublimating TG's noise
    elements within electronic rhythms and proto-exotica." Dusted
    Magazine described the album as "a deliberate attempt to toy
    with the ideas behind marketing strategy and the purpose of
    musical genres."


    Pitchfork ranked 20 Jazz Funk Greats at number 91 in its list of
    the 100 greatest albums of the 1970s. UK magazine Fact named
    it the best album of the 1970s, writing that "This album is a
    rupture. It's an open crack into the unpronounceable dimensions
    into which tumble important streams of 20th century pop, art
    and underground culture, to seethe around each other, mingling,
    festering, sprouting new and unpredictable forms which in turn
    would ooze out to infest vast sections of what comes after."

    1. 20 Jazz Funk Greats
    2. Beachy Head
    3. Still Walking
    4. Tanith
    5. Convincing People
    6. Exotica
    7. Hot On The Heels Of Love
    8. Persuasion
    9. Walkabout
    10. What A Day
    11. Six Six Sixties
    Throbbing Gristle
    $23.99
    Colored Vinyl LP - Sealed Buy Now
  • Jazz Waltz (Pure Pleasure) Jazz Waltz (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Jazz Waltz (Pure Pleasure)

    Shorty Rogers' Jazz Waltz is exactly that, an exploration of ten compositions played in waltz settings. Only these big-band charts are hardly the waltzes heard on Lawrence Welk's long-running television series. Rogers kicks off with a swinging number (I'm Gonna Go Fishin') written by Duke Ellington for the soundtrack to the film Anatomy Of A Murder and featuring the leader's rich flÜgelhorn. The lyrical take of the centuries-old folk melody Greensleeves alternates between the tense rhythm section and Bud Shank's gorgeous flute solo. Rogers' delightful Be As Children almost sounds as if it was adapted from a gospel song. The brisk treatment of Ellington's Echoes of Harlem, featuring Paul Horn on flute, is refreshing. Only Bobby Scott's A Taste of Honey is the least bit disappointing, simply because this arrangement isn't quite as adventurous as the rest of the album. Originally issued by Reprise in 1962 and out of print for decades. -Ken Dryden/AMG


    Musicians:


    • Bud Shank (alto saxophone)
    • Bill Perkins, Bob Cooper (tenor saxophone)
    • Paul Horn (alto saxophone, flute)
    • Shorty Rogers (flugelhorn)
    • Bill Hood (bassoon)
    • Al Porcino (trumpet)
    • Joe Burnett (trumpet, flugelhorn)
    • Harry Betts (trombone)
    • Lou Levy (piano)
    • Larry Bunker (vibraphone)
    • Joe Mondragon (bass)
    • Mel Lewis (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. I'm Gonna Go Fishin'
    2. Greensleeves
    3. Walk On The Wild Side
    4. Witchcraft
    5. Be As Children
    6. Jazz Waltz
    7. Echoes Of Harlem
    8. A Taste Of Honey
    9. Terence's Farewell
    10. The Streets Of Laredo
    Shorty Rogers & His Giants
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • New Soil New Soil Quick View

    $49.99
    Buy Now
    x

    New Soil

    New Soil wasn't the first session Jackie McLean recorded for Blue Note, but it was the first one released, and as the title suggests, the first glimpses of McLean's desire to push beyond the limits of bop are already apparent. They're subtle, of course, and nowhere near as pronounced, as they would be in just a few years' time, but as with the 1959 material later issued on Jackie's Bag hints of Ornette Coleman's stream-of-consciousness melodic freedom are beginning to find their way into McLean's improvisations. His playing is just a touch more angular than the ear expects, especially given the very bluesy nature of pieces like McLean's 11-minute vamp, Hip Strut, and pianist Walter Davis Jr.'s infectious boogie-woogie Greasy. Coleman's influence is most apparent on McLean's Minor Apprehension, where the freewheeling, Coleman-esque main theme is paralleled by trumpeter Donald Byrd in a definite nod to Don Cherry.


    Jackie McLean, alto sax
    Donald Byrd, trumpet
    Paul Chambers, bass
    Walter Davis Jr., piano
    Pete LaRoca, drums


    This title is not eligible for discount.

    1. Hip Strut
    2. Minor Apprehension
    3. Greasy
    4. Sweet Cakes
    5. Davis Cup
    Jackie McLean
    $49.99
    180 Gram Audiophile Virgin Vinyl 45RPM LP - 2 LPs Sealed Buy Now
  • New Faces - New Sounds New Faces - New Sounds Quick View

    $19.99
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    New Faces - New Sounds

    Part Of The Blue Note 75 Anniversary LP Reissue Campaign


    Melle recorded for Blue Note from 1952-56, his modernist period.

    1. October
    2. Cyclotron

    3. Venus

    4. Under Capricorn

    5. The Gears

    6. Mars

    7. Four Moons

    8. Sunset Concerto
    Gil Melle
    $19.99
    10 Vinyl LP Reissue - Sealed Buy Now
  • Portrait In Jazz (Awaiting Repress) Portrait In Jazz (Awaiting Repress) Quick View

    $21.99
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    Portrait In Jazz (Awaiting Repress)

    Bill Evans made two albums in 1959 that had a profound impact on jazz history Kind of Blue with Miles Davis and this debut disc by Evans first permanent working unit. The fluidity and interdependence these three developed forever changed the face of the piano trio, introducing new notions of shading, balance, and poetic lyricism, not to mention the superhuman virtuosity of the tragically short-lived bassist Scott LaFaro.
    1. Come Rain Or Come Shine
    2. Autumn Leaves
    3. Witchcraft
    4. When I Fall In Love
    5. Peri's Scope
    6. What Is This Thing Called Love?
    7. Spring Is Here
    8. Some Day My Prince Will Come
    9. Blue In Green
    Bill Evans Trio
    $21.99
    Vinyl LP Reissue - Sealed AWAITING REPRESS Buy Now
  • The Jazz Age (Awaiting Repress) The Jazz Age (Awaiting Repress) Quick View

    $24.99
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    x

    The Jazz Age (Awaiting Repress)

    If there was ever a musical icon and a decade destined to come together it is Bryan Ferry and the Roaring Twenties. The artist as creative powerhouse with a dazzling career of endless surprise, delight and innovation, and the decade - a time of modernity, decadence and bright young things - all driven on by the thrill of it all.


    So what better way to celebrate and mark the 40th year anniversary of Ferry's incredible career as a singer and songwriter, than by rearranging his own compositions and have them performed in a 1920's style by his very own Jazz Orchestra? It began as an idea, fueled by Ferry's fascination of that time between the wars known as The Jazz Age. He decided the songs were to be all completely instrumental reinterpretations. A lot of the music I listen to nowadays is instrumental, he explains and I wanted to let my songs have a different life, a life without words.


    He put together his very own jazz orchestra comprised of many of the great British jazz players from his past tribute to the 1930's, the album As Time Goes By - including his long-term musical director Colin Good, with whom Ferry worked closely on these new arrangements. The 13 songs have been chosen from 11 albums, from his very first release Roxy Music (1972) to his recent solo record Olympia (2010)

    1. Do The Strand
    2. Love Is The Drug
    3. Don't Stop The Dance
    4. Just Like You
    5. Avalon
    6. The Bogus Man
    7. Slave To Love
    8. This Is Tomorrow
    9. The Only Face
    10. I Thought
    11. Reason Or Rhyme
    12. Virginia Plain
    13. This Island Earth
    The Bryan Ferry Orchestra
    $24.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • The Jazz Messengers (Pure Pleasure) The Jazz Messengers (Pure Pleasure) Quick View

    $49.99
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    The Jazz Messengers (Pure Pleasure)

    The very first edition of Art Blakey's Jazz Messengers was unfortunately short-lived, and as excellent as they were collectively, it was the beginning of a trend for the members of this group to come and go. Unbeknown to Blakey at the time, he would become a champion for bringing talent from the high minor leagues to full-blown jazz-star status, starting with this band featuring Detroit trumpeter Donald Byrd, East coast tenor saxophonist Hank Mobley, and pianist Horace Silver, a jazz legend ever after. It's evident that although there is much cohesion in the group, Byrd's star was on the rise the fastest, and he would leave in a short period, replaced briefly by Clifford Brown, then Kenny Dorham. What is most remarkable in this first recording for the band is how several of these selections have become classic hard bop vehicles, revered and replayed by thousands of bands over time worldwide. Nica's Dream is the best known of them all, typical of the calypso beats Blakey favored at the time, with a singsong, hummable melody led by Byrd that is pure soul personified, and drenched in unrequited blues.


    Musicians:



    • Donald Byrd (trumpet)

    • Hank Mobley (tenor saxophone)

    • Horace Silver (piano)

    • Doug Watkins (bass)

    • Art Blakey (drums)




    Recording: April and May 1956 by Tony Janick at Columbia 30th Street Studio, New York City

    Production: George Avakiandeutsch




    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.



    Side A
    1. Infra-Rae

    2. Nica's Dream

    3. It's You or No One


    Side B
    4. Ecaroh

    5. Carol's Interlude

    6. The End of a Love Affair

    7. Hank's Symphony



    Side C
    8. Weird-O*
    9. Ill Wind*
    10. Late Show*


    Side D
    11. Deciphering The Message*
    12. Carol's Interlude


    *Bonus tracks not on original LP.

    Art Blakey
    $49.99
    180 Gram Audiophile Virgin Vinyl LP -2 LPs Sealed Buy Now
  • Great Jazz Standards (Pure Pleasure) Great Jazz Standards (Pure Pleasure) Quick View

    $34.99
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    x

    Great Jazz Standards (Pure Pleasure)

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




    Musicians:



    • Budd Johnson (tenor saxophone, clarinet)

    • Steve Lacy (soprano saxophone)

    • Al Block (woodwinds)

    • Johnny Coles, Allen Smith (trumpet)

    • Jimmy Cleveland (trombone)

    • Bill Barber (tuba)

    • Gil Evans (piano)

    • Chuck Wayne (guitar)

    • Dick Carter (bass)

    • Elvin Jones (drums)



    Recording: February 1959

    Production: Richard Bock




    About Pure Pleasure



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



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



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



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



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



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



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

    $37.99
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    The Jazz Workshop (Speakers Corner)

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

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

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

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

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

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

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

    About Speakers Corner

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

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

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

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

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

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

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

    $19.99
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    x

    New Faces - New Sounds From Germany

    Now reissued on 10" vinyl, the Jutta Hipp Quintet's New Faces - New Sounds From Germany was originally
    recorded in Frankfurt, Germany and released in April of 1954.
    1. Cleopatra
    2. Don't Worry 'Bout Me
    3. I Don't Stand A Ghost Of A Chance
    4. Mon Petite
    5. What's New
    6. Blue Skies
    7. Laura
    8. Variations
    Jutta Hipp
    $19.99
    10 Vinyl LP - Sealed Buy Now
  • Black Fire! New Spirit! Black Fire! New Spirit! Quick View

    $31.99
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    x

    Black Fire! New Spirit!

    Soul Jazz Records' new release Black Fire! New Spirits! Explores deep, radical and spiritual jazz in the USA in the period between 1957-75. In the 1960s and into the 1970s, jazz music in the USA was in an almost constant state of revolution, with the music and lives of African-American artists radicalised by the advent of the civil rights movement, Black Power, and a new spiritual awakening. For over 20 years now Soul Jazz Records have been exploring this rich area of deep and spiritual jazz music with an array of albums such as Freedom, Rhythm and Sound, Universal Sounds of America, New Thing, Soul Jazz Love Strata East and more. Soul Jazz Records have also released a steady stream of reissues of lost and classic deep jazz releases over the years from artists such as Art Ensemble of Chicago, Steve Reid, Pharaoh Sanders and others. This new album features groundbreaking and revolutionary artists such as Don Cherry, Archie Shepp, The Last Poets and Yusef Lateef as well as many rare and deep lost tracks from lesser known artists such as Creative Artists Ensemble, Granchan Moncur, Lloyd McNeill, Tyrone Washington and others.
    1. Yusef Lateef - Chang, Chang, Chang
    2. The Last Poets - It's A Trip
    3. Don Cherry - Utopia And Visions
    4. Richard Davis - Dealin'
    5. Archie Shepp And Jeanne Lee - Blase
    6. Harold McKinney And The Creative Profile - In The Moog
    7. Grachan Moncur III And The Jazz Composers Orchestra - Angela's Angel
    8. Creative Arts Ensemble - Flashback Of Time
    9. David Lee Jr - Second Line March
    10. Lloyd McNeill And Marshall Hawkins - The Banjo Lesson
    11. Tyrone Washington - Universal Spiritual Revolt
    12. Pheeroan Ak Laff - Tzaddi Vau (Part 1)
    13. Joe Henderson - Black Narcissus
    14. Doug Hammond - Spaces And Things
    Various Artists
    $31.99
    Vinyl LP - 3 LPs Sealed Buy Now
  • New York Days New York Days Quick View

    $25.99
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    New York Days

    New York Days features Italy's highly inventive jazz musicians Enrico Rava and protÉgÉ Stefano Bollani,
    together with three leading American jazzmen: master drummer Paul Motian, bassist Larry Grenadier,
    and, in his ECM debut, saxophonist Mark Turner. A magical European/American collaboration, recorded in the jazz capital of the world.


    The album is both a transatlantic project and a kind of 'homecoming'. Rava found his musical direction
    while living in New York in the late 60s/early 70s. Since then an increasingly 'Italian' lyricism has also
    made itself felt in his playing. Rava's soulful trumpet is strongly contrasted with the lean, analytical playing of Mark Turner. Bollani's playful harmonic imagination shapes bridges between them. Larry Grenadier is "present and focused in "every moment" as Rava says, and Paul Motian is as idiosyncratically creative as ever.


    The Rava/Bollani/Motian trio album of 2004, Tati was a popular and critical success. New York Days,
    take the combination to the next level.

    1. Lulù
    2. Improvisation I
    3. Outsider
    4. Certi Angoli Segreti
    5. Interiors
    6. Thank You, Come Again
    7. Count Dracula
    8. Luna Urbana
    9. Improvisation II
    10. Lady Orlando

    11. Blancasnow
    Enrico Rava
    $25.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • A New Constellation A New Constellation Quick View

    $24.99
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    A New Constellation

    Quantic Presents The Western Transient is the latest project from Will "Quantic" Holland, bringing together a handpicked band of some of his favorite American musicians to realize a set of new compositions paying homage to the rich, lively and intimate quality of the classic soul and jazz recordings. The resulting album, 'A New Constellation', is out on Tru Thoughts, in characteristically mercurial fashion this new outing sees Holland following up the explosive, worldly electronic and vocal direction of his hugely acclaimed last solo album, 'Magnetica', with a suite of traditionally recorded pieces that capture the spontaneous beauty in the old ways of music making.
    1. Latitude
    2. Jumble Sale
    3. A New Constellation
    4. Requiescence
    5. Nordeste
    6. Bicycle Ride
    7. Creation (East L.A.)
    8. Mirzan
    9. The Orchard
    10. Latitude (To The Point Version)
    Quantic
    $24.99
    Vinyl LP - Sealed Buy Now
  • With The New Yorkers With The New Yorkers Quick View

    $27.99
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    With The New Yorkers

    Import

    1. The Best Things In Life Are Free (DeSylva-Brown-Henderson)
    2. Engos, The Bloos (Sonny Stitt)
    3. It Might As Well Be Spring (Rodgers-HammersteinII)
    4. Cherokee (Ray Noble)
    5. I Didn't Know What Time It Was (Rodgers-Hart)
    6. Body And Soul (Green-Heyman)
    7. People Will say We're In Love (Rodgers-HammersteinII)
    8. Bloosey (Sonny Stitt)
    9. Steeplechase (Charlie Parker)
    Sonny Stitt
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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