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New York Is Now!
Part Of The Blue Note 75th Anniversary Vinyl Reissue Campaign
Recorded during the same session that resulted in the Love Call album (in late April and early May of 1968), New York Is Now is one of the true curiosity pieces in Ornette's catalog. With a rhythm section comprised of ex-Coltrane sidemen Jimmy Garrison and Elvin Jones as well as tenorist Dewey Redman, Ornette is, in some sense, at odds with himself here. This particular rhythm section is a lot more modally than harmonically propelled -- especially Jones, who sounds here like he doesn't know what to do with himself in the restrictive tempos -- and creates a complex set of issues for Coleman and Redman to contend with. That said, on The Garden of Souls, which opens the album, Coleman makes the most of this sprightly, energetic rhythm team and moves through quotations of Moon River, Danny Boy, and even Paul Muriat's Love Is Blue during his solo, before shifting the harmonics around and anchoring them somewhere between E flat 7 and E major. On Broadway Blues, Coleman uses Monk liberally in his melodic conception, and he and Redman have a go at turning a seven-note vamp into all sorts of knotty material for soloing -- and you can almost feel Jones smile as the tempo reaches triple time as the saxophonists race each other through it. And while this date is of only marginal interest on some level (for true hardcore Ornette-ophiles), it is pleasant and amusing if not amazing -- with the exception of For a Commercial, which features Ornette's fine violin playing above the rest of the band in the mix (what a downer). ~ Thom Jurek1. The Garden Of Souls
2. Toy Dance
3. We Now Interrupt For A Commercial
4. Broad Way Blues
5. Round Trip$19.99Vinyl LP Reissue - Sealed Buy Now
The Shape Of Jazz To ComeRanked #246 on Rolling Stone's List of the 500 Greatest Albums of All Time
Quartet Includes Don Cherry and Charlie Haden
Mastered from the Original Master Tapes on 180 Gram Vinyl
1959's landscape-shifting The Shape of Jazz to Come is true to its title. Switching from tenor to alto sax, Ornette Coleman creates free jazz, a language where chords structures are absent and harmony gives way to improvisational whims. The Atlantic set finds Coleman collaborating with Don Cherry, Charlie Haden, and Billy Higgins in making a masterful work free of any identifiable chord structures. Nonetheless, melodies remain, as do engrossing repetitions of main themes.
ORG Music brings the breakthrough arrangements and magnificent colors to life in a way no one's experienced since the LP was recorded. Mastered from the original master tapes, this life-changing music has never sounded so alive and dynamic. This is a must.1. Lonely Woman
4. Focus on Sanity
6. Chronology$49.99180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
Chappaque SuiteConrad Rook had asked Ornette Coleman to compose the music for his film Chappaqua. In june '65 David Izenzohn, Charles Moffet, tenor saxophonist Pharoah Sanders and several other musicians started recording the album.
Conrad Rook eventually decided to go for a different score for his film, as he found it was so beautiful that he feared it would overpower the imagery and action of the film.
Since its original release by Columbia in 1965, Chappaqua Suite has been out of print most of the time or available in small quantities, until nowLP 1
1. PART I
2. PART II
1. PART III
2. PART IV$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
The Shape Of Jazz To ComeImport
Ranked 246/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
An aptly titled 1959 release, Ornette Coleman's The Shape Of Jazz To Come was one of the first free jazz albums ever produced. A classic in every sense of the word!1. Lonely Woman
4. Focus On Sanity
6. Chronology$32.99Vinyl LP - Sealed Buy Now
This Is Our Music
Pressed On Two 180gram Audiophile-Grade Lps At Pallas Group In Germany
Mastered From Original Analog Tapes At 45rpm By Bernie Grundman
Housed In A Stoughton Case-Wrapped Gatefold Jacket
Ornette Coleman Quartet Features Don Cherry, Charlie Haden, & Ed Blackwell
With two landmark albums already under its belt, the
Ornette Coleman Quartet spent nearly a year out of
the studio before reconvening for This Is Our Music.
The album features Coleman on alto, Don Cherry on
trumpet, Charlie Haden on bass, and Ed Blackwell on
drums. "All in all, This Is Our Music keeps one of the
hottest creative streaks in jazz history going strong"
(AllMusic). This essential edition of Coleman's fifth
album was mastered from original analog tapes at
45RPM by Bernie Grundman, pressed on two 180gram
LPs, and is housed in an old school style Stoughton
case-wrapped gatefold jacket.1. Blues Connotation
2. Beauty Is A Rare Thing
4. Embraceable You
6. Humpty Dumpty
7. Folk Tale$49.99180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
Naked Lunch Soundtrack
Featuring Original Artwork By Rich Kelly
Celebrating Naked Lunch's 25th Anniversary
First Time Ever On Vinyl
In collaboration with Howe Records, we're excited to announce celebrating the 25th anniversary for the score to Naked Lunch. Composed by three-time Oscar-winner Howard Shore collaborating with both jazz legend Ornette Coleman and the London Philharmonic Orchestra.
The soundtrack is a dazzling mix of a traditional Hollywood Orchestral score with incredible free jazz flourishes from Coleman , here he works with the London Philharmonic creating incredible textures over Shore's beautiful , edgy and moody orchestrations that recall Bernard Herrmann's work on Taxi Driver and occasionally lets loose without them (Bugpowder, Interzone Suite) backed only by his son Denardo on drums, these tracks are thrilling and offer a perfect counterbalance to the more measured tracks with the Orchestra, showcasing the incredible and fearless free jazz stylings that made him a legend.1. Naked Lunch
2. Hauser And O'Brien / Bugpowder
5. The Black Meat
6. Simpatico / Misterioso
7. Fadela's Coven
8. Interzone Suite
9. William Tell (Complete)
12. Dr. Benway
13. Clark Nova Dies
14. Ballad / Joan
15. Cloquet's Parrots
16. Midnight Sunrise
17. Nothing Is True; Everything Is Permitted
18. Welcome To Annexia
20. Hauser And O'Brien (Complete)
21. Dual Typewriters
22. Simpatico (Reprise)
24. Intersong (Take 2)
25. Bugpowder (Take 9)$45.98Vinyl LP - 2 LPs Sealed Buy Now
Tomorrow Is The Question!The springboard in Ornette Coleman's pursuit of freedom of expression as a soloist, Tomorrow Is The Question! is notable for its lack of piano, which the
saxophone maverick chose to strike from the record in favor of a quartet composed of drummer Shelly Manne, trumpeter Don Cherry, and alternatingly
Percy Heath and Red Mitchell on bass. Coleman's belief was that removing piano and thus layers of harmonic structure, would allow the soloists to truly
roam freely around the tune, pioneering new dimensions in sonic interplay. As a result, Tomorrow Is the Question! was a very literal title; where would
Coleman's iconoclastic vision take him next? The free-jazz pioneer was just getting started, and what a dazzling start it is! This essential document of
American Jazz History is now available on vinyl.1. Tomorrow Is The Question!
2. Tears Inside
3. Mind And Time
9. Endless$21.99Vinyl LP - Sealed Buy Now
Plastic Ono BandRemastered From The Original Tapes By Sean Lennon
This long-overdue vinyl reissue of Yoko Ono's seminal, but massively under-appreciated Plastic Ono Band has all the makings of a classic rock nostalgia trip: Ono, John Lennon, Ringo Starr, Klaus Voorman and free-jazz legend Ornette Coleman. All the pieces are here to stir up a dangerous amount of nostalgia. But once the needle drops, the record achieves something exactly perpendicular to nostalgia.
Released in 1971, the album not only influenced the approach of other musicians for decades, it also sounds absolutely modern 44 years out, eternally fresh despite the forward march of time. Yoko Ono/Plastic Ono Band not only predicted the intersection of the avant-garde and rock that would take place in the second half of that decade, the album would sound right at home at where that intersection is happening today.1. Why
2. Why Not
3. Greenfield Morning I Pushed An Empty Baby Carriage All Over The City
5. Touch Me
6. Paper Shoes$23.99Vinyl LP - Sealed Buy Now
Something Else!!!! The Music Of Ornette ColemanThis 1958 debut recording by the Ornette Coleman Quintet, which featured Coleman on his trademark white plastic alto, Don Cherry on trumpet, Billy Higgins on drums, Walter Norris on piano, and Don Payne on bass, shook up the jazz world -- particularly those musicians and critics who had entered the hard bop era with such verve and were busy using the blues as a way of creating vast solo spaces inside tight and short melody lines. Something Else!!!! is anathema to that entire idea, and must have sounded like it came from outer space at the time. First, Coleman's interest was in pitch, not being in tune. His use of pitch could take him all over -- and outside of -- a composition, as it does on Invisible, which begins in D flat. The intervals are standard, but the melodic component of the tune -- despite its hard bop tempo -- is, for the most part, free. But what is most compelling is evident in abundance here and on the next two tunes, The Blessing and Jayne: a revitalization of the blues as it expressed itself in jazz. Coleman refurbished the blues framework, threaded it through his jazz without getting rid of its folk-like, simplistic milieu. In other words, the groove Coleman was getting here was a people's groove that only confounded intellectuals at the time. Coleman restored blues to their classic beginnings in African music and unhooked their harmonies. Whether the key was D flat, A, G, whatever, Coleman revisited the 17- and 25-bar blues. There are normal signatures, however, such as Chippie in F and in eight-bar form, and The Disguise is in D, but in a strange 13-bar form where the first and the last change places, altering the talking-like voice inherent in the melodic line. But the most important thing about Something Else! was that, in its angular, almost totally oppositional way, it swung and still does; like a finger-poppin' daddy on a Saturday night, this record swings from the rafters of the human heart with the most unusually gifted, emotional, and lyrical line since Bill Evans first hit the scene. ~ Thom Jurek, Rovi1. Invisible
2. The Blessing
5. The Disguise
6. Angel Voice
8. When Will the Blues Leave?
9. The Sphinx$21.99Vinyl LP Reissue - Sealed Buy Now
Complete CommunionNot counting a couple of sessions he co-led with John Coltrane and Albert Ayler, Complete Communion was the first album Don Cherry recorded as a leader following his departure from the Ornette Coleman Quartet. It was also one of the earliest showcases for the Argentinian tenor saxophonist Gato Barbieri, who Cherry discovered during a stay in Rome. While the music on Complete Communion was still indebted to Coleman's concepts, Cherry injected enough of his own personality to begin differentiating himself as a leader. He arranged the original LP as two continuous side-long suites, each of which incorporated four different compositions and was recorded in a single take. In practice, this meant that several melodic themes popped up over the course of each side; all the musicians free-associated off of each theme, engaging in intense, abstract dialogues before moving on to the next. As the album's title suggests, every member of the group not only solos, but shares the total space selflessly. Bassist Henry Grimes and drummer Ed Blackwell both play extremely active roles, especially Grimes, who solos powerfully and sometimes carries the main riffs. Often the music sounds more like a conversation, as opposed to a solo with support, because the musicians make such intelligent use of space and dynamics, and wind up with a great deal of crackling, volatile interplay as a result. The leader remains recognizably himself, and his burnished tone is a nice contrast with Barbieri's fiery approach; for his part, Barbieri's playing has a lot of speechlike inflections, and he spends a lot of time in the upper register of his horn, which makes him sound quite similar to Ornette at times. As a whole, the project comes off remarkably well, establishing Cherry as an avant-garde force to be reckoned with in his own right.
- Steve Huey (All Music)1. Complete Communion
2. And Now
3. Golden Heart
6. Our Feelings
8. Wind, Sand, and Stars$19.99Vinyl LP Reissue - Sealed Buy Now
Quartets: Live At The Village Vanguard Vol. 2
Part Of The Blue Note 75th Anniversary Vinyl Reissue Campaign
Named Jazz Album of the Year by readers of Downbeat Magazine, this double album features tenor saxophonist Joe Lovano during two appearances at the Village Vanguard recorded ten months apart. Other than the leader, the pair of quartets are completely different and they bring out two sides of Lovano. The earlier session features the leader in a stimulating piano-less quartet, matching wits and creativity with flÜgelhornist Tom Harrell. While the music is closer to Ornette Coleman than to Gerry Mulligan (to name two famous pianoless groups), Harrell's tone more closely resembles Chuck Mangione than Don Cherry although fortunately he is much more inventive. The four Lovano originals are adventurous and all of the musicians sound as if they are stretching themselves. The second disc showcases Lovano in a more conventional quartet. The repertoire (just one original this time) covers John Coltrane, Thelonious Monk, Miles Davis, Charles Mingus, and Gordon Jenkins and finds the tenorman displaying his roots in Sonny Rollins. The rhythm section on the later date (pianist Mulgrew Miller, bassist Christian McBride, and drummer Lewis Nash) is excellent at accompanying (rather than challenging) Lovano. In both cases, Joe Lovano is heard in prime form, making this an easily recommended two-fer.
- Scott Yanow (All Music Guide)1. Lonnie's Lament
3. Little Willie Leaps
4. This Is All I Ask
6. Duke Ellington's Sound Of Love
7. Sounds Of Joy$24.99Vinyl LP Reissue - 2 LPs Sealed Buy Now
Seven TurnsSeven Turns is the ninth studio album by the Allman Brothers Band, released in 1990. Their first studio album since Brothers of the Road in 1981, it was well-received, and peaked at #53. Hit singles were Good Clean Fun (#1 on the Mainstream Rock Tracks); Seven Turns (#12) and It Ain't Over Yet (#26).
This is the Allman Brothers Band's comeback album, and their best Blues-based outing since Idlewild South that restored a lot of their reputation. With Tom Dowd running the session, and the group free to make the music they wanted to, they ended up producing this bold, rock-hard album, made up mostly of songs by Dickey Betts (with contributions by new keyboardman Johnny Neel and lead guitarist Warren Haynes), almost every one of them a winner.
Apart from the rippling opening number, Good Clean Fun, which he co-authored, Gregg Allman's contribution is limited to singing and the organ, but the band seem more confident than ever, ripping through numbers like Low Down Dirty Mean, Shine It On, and Let Me Ride like they were inventing blues-rock here, and the Ornette Coleman-inspired True Gravity is their best instrumental since Jessica.1. Good Clean Fun
2. Let Me Ride
3. Low Down Dirty Mean
4. Shine It On
5. Loaded Dice
6. Seven Turns
7. Gambler's Roll
8. True Gravity
9. It Ain't Over Yet$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Haden TripletsThird Man Records is proud to present the debut album from The Haden Triplets. These are songs steeped in history and sung in a close harmony
that could only be achieved from sharing a lifetime of sisterly togetherness and a near psychic vocal interplay that can only come from being born mere
seconds apart from each other. It's been rendered and produced beautifully by American music legend Ry Cooder.
This is an album expanding on an American musical tradition. It is not pastiche or a tribute, but rather a direct antecedent and extension of the original folk legacy that is being exhibited within these songs.
Here's a little more about it in the Haden's own words.
During our early life, we were surrounded by music on both sides of our family. We visited our dad's family in Missouri, where they taught us old country songs they used to perform on the radio as The Haden Family. Our grandparents on our mother's side used to sing us to sleep with old Yiddish songs. Growing up, we often had music playing in the house, whether it be our mom playing Billie Holiday and Nina Simone records, or our dad playing Keith Jarrett and Ornette Coleman in the living room.
We met Ry when we played with his son Joachim, and Joachim asked him if he'd sit in for our show. Once Ry heard we were singing "Voice From On High" by Bill Monroe, he was in right away. The next day we got a call from Ry suggesting we record an album. We wrote down a collection of songs we all liked, then narrowed it down to the music that became the Haden Triplets album. These songs are rich in history, and by recording them we hope to help keep them alive. - Tanya, Rachel & Petra Haden
Produced by Ry Cooder (Buena Vista Social Club, Captain Beefheart's Magic Band, Paris, Texas)and mixed by Martin Pradler (Robbie Robertson, Mavis Staples, Buddy Guy)1. Slowly I'm Falling
2. Single Girl, Married Girl
3. Voice from on High
4. Memories of Mother and Dad
6. Making Believe
7. When I Stop Dreaming
8. My Baby's Gone
9. Billy Bee
10. A Tiny Broken Heart
11. On a Lonesome Night
12. Will You Miss Me When I'm Gone?
13. Oh Take Me Back$17.99Vinyl LP - Sealed Buy Now
UNIM-BLU-0667xOrnette Coleman Trio
At The Golden Circle Stockholm Vol. 1
Remastered And Reissued As Part Of The Blue Note 75th Anniversary Vinyl Reissue Campaign
The Ornette Coleman Trio's At The Golden Circle Stockholm Vol. 1 marks the beginning of Coleman's contract with Blue Note. Recorded on December 3,
1965, this album features Ornette Coleman on alto sax, along with violin and trumpet, David Izenzon on bass and Charles Moffett on drums. Mastered by
Alan Yoshida, At The Golden Circle will be reissued on vinyl as part of an overall Blue Note 75th anniversary vinyl reissue campaign spearheaded by
current Blue Note Records President, Don Was.1. Snowflakes And Sunshine
2. Morning Song
3. The Riddle
4. Antiques$19.99Vinyl LP - Sealed Buy Now
Black Rhythm HappeningThis, the second Blue Note album by Eddie Gale, was released in 1969 and includes jazz heavy weight Elvin Jones on drums and sax man Jimmy Lyons. This is a blend of soul jazz, free form freak outs and a gospel-influenced street choir, and it's suggested listening for fans of Sun Ra & Brother Ah, John Coltrane's late '60s LPs, and Ornette Coleman and Albert Ayler's more groove-oriented recordings. The original vinyl LPs go for big bucks on Ebay, and this is the first time this Blue Note album has ever been reissued. Remastered from the original master tapes with original artwork.1. Black Rhythm Happening
2. The Gleeker
3. Song Of Will
4. Ghetto Love Night
5. Mexico Thing
6. Ghetto Summertime
7. It Must Be You
8. Look At Teyonda$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Lights From The Chemical PlantProduced by Jacquire King (Tom Waits, Kings Of Leon),
Robert Ellis' 2nd album, THE LIGHTS FROM THE CHEMICAL
PLANT, continues his journey into folk music he began 3 years
ago. The songs on the new record, which range from the majestic
string-adorned title track to noir pop rock and somber confessionals,
all show Ellis' growth and the various sides of this multidimensional
songwriter. Ellis recently told Rolling Stone THE LIGHTS FROM THE CHEMICAL
PLANT is "stylistically ambiguous," as he is
inspired by a wide variety of artists. "On this record I was trying
to channel everything from Paul Simon, Randy Newman and Bill
Withers, to free jazz artists like Ornette Coleman," Ellis explained.1. TV Song
2. Chemical Plant
3. Good Intentions
4. Steady As The Rising Sun
5. Bottle Of Wine
6. Still Crazy After All These Years
8. Only Lies
10. Sing Along
11. Tour Song$27.9945 RPM Vinyl LP - 2 LPs Sealed Buy Now
ReverieReverie came to fruition when Joe Henry and his fellow musicians convened in Henrys basement studio for three days of exploration. The result is an all acoustic album more full of life, from the birds chirping through the open windows to the ticking and shifting of the musicians, than any Henry has recorded.
And thats saying a lot: for more than two decades Grammy-winner Henry has produced some of the most celebrated names in music, from Ornette Coleman and Elvis Costello to Ani DiFranco and Madonna.
Working with his regular stable of musicians and guests including master guitarist Marc Ribot (Tom Waits, Elvis Costello), singer Jean McClain and organist Patrick Warren, along with a special appearance from recently produced Lisa Hannigan, Henry has produced another masterful set of songs.1. Heaven's Escape
3. After the War
4. Sticks & Stone
5. Grand Street
6. Dark Tears
8. Tomorrow Is October
9. Piano Furnace
10. Deathbed Version
11. Room At Arles
12. Eyes Out For You
14. The World And All I Know$19.99Vinyl LP - 2 LPs Sealed Buy Now
REDD-AMU-3612xThe Master Musicians Of Jajouka
The Road To JajoukaThe music of Jajouka is trance music, ecstatic music, a music narcotic. From its source a particular village in the southern Rif mountains of Morocco this magical music has migrated around the world, moving like clouds, like water, like smoke - flowing through the collective consciousness of its appreciators,'' writes Jim Jarmusch in the liner notes to The Road to Jajouka, a new recording that pays tribute to the legendary Master Musicians of Jajouka led by Bachir Attar. This collection features both new performances and remixes created by western master musicians utilizing original Jajouka recordings.
Produced by drummer/producer Billy Martin, the nine tracks feature guest artists including Medeski Martin & Wood, Marc Ribot, Ornette Coleman, John Zorn, Lee Ranaldo, Flea and Mickey Hart among others.1. Hand of Fatima
3. Djebala Hills
4. Boujeloudia Magick
5. Into the Rif
6. Ghaita Blues
8. Sufi Hadra
9. Al'Aita$19.99Vinyl LP - Sealed Buy Now
New SoilNew 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
4. Sweet Cakes
5. Davis Cup$54.99180 Gram Audiophile Virgin Vinyl 45RPM LP - 2 LPs Sealed Buy Now
WARB-ATL-5190xJohn Coltrane & Don Cherry
The Avant-Garde (Mono Remaster)Mono Remaster
This album is rightfully co-credited to Don Cherry (trumpet), who ably trades blows with John Coltrane (tenor/soprano sax) throughout. The Avant-Garde also boasts the debut studio recording of Coltrane playing soprano sax -- on The Blessing -- in addition to his continuing advancements on tenor.
Although these tracks were recorded during the summer of 1960, they remained shelved for nearly six years.
Joining Coltrane and Cherry are essentially the rest of the members of the Ornette Coleman Quartet, Ed Blackwell (drums) and Charlie Haden (bass) on Cherryco and The Blessing, as well as Percy Heath (bass) on the remaining three selections. This is fitting, as over half of the album consists of early Coleman compositions. Coltrane's integration into this band works with some extraordinarily fresh results. Neither Cherry nor Coltrane makes any radical departures on this album; however, it's the ability of each to complement the other both in terms of modal style and -- perhaps more importantly -- texture that lends heavily to the success of these sides. Cherry's brisk and somewhat nasal intonations on The Blessing mimic those of Miles Davis, albeit with shorter flourishes and heavily improvised lines. When combined with Coltrane's well-placed -- if not somewhat reserved -- solos, the mutual value of both is dramatically increased. Blackwell -- the only other musician besides Cherry and Coltrane to be featured on every track -- provides some non-conventional percussive accompaniment. His contributions to The Blessing and workout on the aptly titled Focus on Sanity are primal.
- Lindsay Planer (AllMusic.com)1. Cherryco (Mono Version)
2. Focus On Sanity (Mono Version)
3. The Blessing (Mono Version)
4. The Invisible (Mono Version)
5. Bemsha Swing (Mono Version)$21.99Vinyl LP Mono - Sealed Buy Now
Capuchin SwingAnalogue Productions' Blue Note and Nat King Cole Reissues WIN A Positive Feedback 2010 Brutus Award!
One of McLean's more underrated albums from a plethora of Blue Note releases, 1960's Capuchin Swing finds the bebop alto saxophonist in fine form on a mix of covers and originals. While McLean's future fascination with Ornette Coleman's free-form innovations can be sensed in some solos here, the majority of the album is in a classic hard bop vein. Like contemporaries Hank Mobley, Sonny Clark, and Lee Morgan, though, McLean doesn't just churn out pat jam-session fare, but comes up with consistently provocative charts and solos. Eschewing any ballad cuts, McLean focuses on mid- to fast-tempo swingers and blues. Standouts include originals like Francisco and Condition Blue and choice renditions of Just for Now and Don't Blame Me. McLean enlists a sparkling lineup of hard bop stars, including trumpeter Blue Mitchell, pianist Walter Bishop, Jr., bassist Paul Chambers, and drummer Art Taylor. Mitchell particularly impresses, matching many of McLean's own inspired flights with his supple and progressive playing. Along with other fine Blue Note titles like Jackie's Bag and Bluesnik, Capuchin Swing makes for a great introduction to McLean's extensive catalog.-- Stephen Cook
Jackie McLean: Alto Saxophone
Blue Mitchell: Trumpet
Walter Bishop, Jr.: Piano
Art Taylor: Drums
This title is not eligible for discount.1. Francisco
2. Just For Now
3. Don't Blame Me
4. Condition Blue
5. Capuchin Swing
6. On The Lion$54.99180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
Capuchin SwingOne of McLean's more underrated albums from a plethora of Blue Note releases, 1960's Capuchin Swing finds the bebop alto saxophonist in fine form on a mix of covers and originals. While McLean's future fascination with Ornette Coleman's free-form innovations can be sensed in some solos here, the majority of the album is in a classic hard bop vein. Like contemporaries Hank Mobley, Sonny Clark, and Lee Morgan, though, McLean doesn't just churn out pat jam-session fare, but comes up with consistently provocative charts and solos. Eschewing any ballad cuts, McLean focuses on mid- to fast-tempo swingers and blues. Standouts include originals like Francisco and Condition Blue and choice renditions of Just for Now and Don't Blame Me. McLean enlists a sparkling lineup of hard bop stars, including trumpeter Blue Mitchell, pianist Walter Bishop, Jr., bassist Paul Chambers, and drummer Art Taylor. Mitchell particularly impresses, matching many of McLean's own inspired flights with his supple and progressive playing. Along with other fine Blue Note titles like Jackie's Bag and Bluesnik, Capuchin Swing makes for a great introduction to McLean's extensive catalog.1. Francisco
2. Just For Now
3. Don't Blame Me
4. Condition Blue
5. Capuchin Swing
6. On The Lion$19.99Vinyl LP Reissue - Sealed Buy Now
OfframpThis 1982 recording by the Pat Metheny Group represented a crossroads for the guitarist, a creative expansion from his original concept in terms of acoustic and electric instrumentation, folksy roots material and modern jazz influences, American and third world sources. Having thus marked out the territory for a decade's worth of experimentation and growth, the Metheny Group cemented its standing on the cutting edge of contemporary jazz with Offramp. Lyle Mays' harmonica-like synth theme, Metheny's soaring, vocalized synth-guitar lead, some rich orchestral touches, and an easygoing blend of backbeat and chord changes made Are You Going with Me? one of Metheny's most enduring arrangements. Still, for every gentle, alluring set piece, such as the tangolike Au Lait or the rural vistas of James, there was a visceral, emotive free-for-all like the title track, where Metheny unleashed wild, wailing synth guitar elisions over a loose, abstract pulse--anticipating the energy of the guitarist's collaboration with free jazz guru Ornette Coleman some four years hence on Song X. --Chip Stern1. Barcarole
2. Are You Going With Me?
3. Au Lait
7. The Bat Part II$25.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Out TherePart of the ultimate audiophile Prestige stereo reissues from Analogue Productions - 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 331/3.
All mastered from the original analog master tapes by mastering maestro Kevin Gray. 200-gram LPs pressed at Acoustic Sounds' state-of-the-art pressing plant, Quality Record Pressings, plated by Gary Salstrom
Deep groove label pressings, tip-on jackets on thick cardboard stock
In 1960, the free jazz pioneered by Ornette Coleman, Cecil Taylor, Horace Tapscott and a very few others was rejected by many musicians and most listeners. For the visionary saxophonist, clarinetist and flutist Eric Dolphy, it was simply new music fed by the mainstream, a logical extension of the jazz tradition. In Far Cry without leaving form behind, he incorporated the spirit of adventure and abandon with which free jazz at its best infused freshness into jazz. Recording with a pianoless quartet that used Ron Carter's cello as the other melody instrument, Dolphy worked from chord patterns developed within structures that depart from ordinary 32-bar jazz and popular song forms. He used 30-bar, 35-bar and 18-bar structures, but he also observed standard practice with 12-bar blues, "Serene." Dolphy's speech-like improvisations and Carter's bowed or plucked cello solos soar over the impeccable and responsive accompaniments of bassist George Duvivier and drummer Roy Haynes.
This title is not eligible for discount.1. Out There
3. The Baron
5. 17 West
6. Sketch Of Melba
7. Feathers$39.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now