Showing 276–300 of 443 results
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Societa Corelli – Vivaldi: The Four Seasons
58,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Show itemAnalogue Productions' RCA Living Stereo Reissue Series No. 2, with 25 newly remastered mainstay classical albums, will delight and astound your ears with their clarity and warm, rich tone. As with our first highly-regarded LSC series, shortcomings of previous editions have been improved upon - from the mastering, to the LP pressing, to the sharp-looking glossy heavyweight Stoughton Printing tip-on jackets that faithfully duplicate the original artwork, "Living Stereo" logo, "Shaded Dog" label and all! Mastered by Ryan K. Smith at Sterling Sound from the original 3-track master tapes, cut at 33 1/3, and plated and pressed at Quality Record Pressings - makers of the world's finest-sounding vinyl LPs, - no other editions match these for the quietest 180-gram platters available. The 13 string virtuosi who make up this conductor-less ensemble did well to name themselves after Areangelo Corelli. Both as a violinist and as a composer, Corelli brought the art of string-playing to heights never-before achieved, exploring new dimensions of dynamics and tonal richness. What makes the Societa Corelli virtually unique among interpreters of Corelli, Vaivaldi and other masters of that period is their style. Their tone production, use of vibrato and other subtleties evident in this performance are artistic, creative and vital music-making.
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Dick Schory’s New Percussion Ensemble – Music For Bang, Baaroom, And Harp
58,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cart"I'm not exaggerating about the sound quality: It's amazing nor am I overstating the 'pure novelty' aspect of the arrangements. This is not 'serious' music but it is serious fun and so 1950's kitschy that as time passes it becomes more treasured as a 'moment in time' never to be repeated. I have original and Classic Records reissues but more recently Analogue Productions has reissued this cut from the three-track original tape by Ryan K. Smith at Sterling Sound. Originals still go for well over a hundred dollars (I snagged one years ago at Record Surplus, Las Vegas for three bucks) so the new reissue, which I'm sure sounds great and is pressed on 180-gram vinyl at QRP, is reasonably priced." — Michael Fremer, AnalogPlanet.com. To read Fremer's full take on "Three Percussion Records You Should Own," click here. "Little did any of us who were involved in the planning and recording of Music for Bang, Baaroom and Harp know, back in 1958, what an impact this album would have on the record industry and how it would effect my career," writes Dick Schory, about the audiophile instrumental classic, the first stereophonic recording in the industry to be classified a "Best Seller." Now, revel in the enhanced clarity and sonic richness of a 180-gram pressing by Quality Record Pressings, and remastering and lacquer cutting by Ryan Smith at Sterling Sound, giving this classic a fresh, vibrant appeal. The superb remastering from the original 3-track master tapes brings out subtleties of the instruments, arrangements, performance and ambiance of Chicago's Orchestra Hall lacking from the original pressing and subsequent versions. The concept for this album is simple: Dozens of standard and exotic percussive instruments (re: manifold from a 1946 Chevrolet) were employed in original and standard tunes arranged by Schory, Bobby Christian, Mike Simpson, Willis Charkovsky and Skitch Henderson, who at the time was musical director for NBC's "Tonight Show." Three tracks are of particular note: the quirky "Tiddley Winks" and the exotic "Baia" and "Typee." The jacket, depicting Schory poking out from a pile of instruments, is a classic of LP art. The recording, utilizing RCA Victor Record's Red Seal Classical Division's equipment — the same used to record the Chicago, Philadelphia and Boston Symphony orchestras at the time — was recorded in Chicago's Orchestra Hall on June 2 and 3, 1958. Two custom Ampex 300-3 half-inch 3-track tape recorders, running at 15 and 30 inches a second, captured the performances by eight percussionists together with other performers from the Chicago Symphony on piano, string bass, guitar, banjo and harp. Commercial success followed. Not only was the album an audiophile classic, it also became one of the best-selling instrumental albums of the late 1950s and early '60s with Billboard, Record World and Cash Box magazines listing it on their charts for more than two years, and in the "Top 10" best sellers for more than six months. The album kicked off an era of percussion recordings that tried to duplicate the success of Music for Bang, Baaroom and Harp, with limited results.
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Stan Getz & Joao Gilberto – Getz and Gilberto
88,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cartMono & Stereo magazine's reviewer Matej Isak says Chad Kassem's efforts via his Quality Record Pressings pressing plant "goes beyond simple vinyl revival." "What can I say? I have a few different copies of this album and this release is of a completely different nature of sound. Like with another unforgettable (release) Nat 'King' Cole — Love Is The Thing (AAPP 824-45) this is as good as it gets, without having the real master tapes on hand. It's a celebration of analog." Isak also raves, "Everything is even more subtle and present. Astrud's vocals finally got the needed three-dimensionality and 'spirit' and Getz's saxophone breathes out of proportion. When compared to other pressings, for example, Astrud is a mere statue. Here, she came alive with the feeling of real life-size. ... With 45 RPM benefits, the album gained better transients and a sense of atmosphere. It moves you more intimately and straight to the core." Matej Isak, Mono & Stereo magazine, May 2013. Beyond highly recommended." Named a Mono & Stereo Strictly Vinyl Analog Award winner. Read the entire review. http://www.monoandstereo.com/2013/05/acoustic-sounds-stan-getz-joao-gilberto.html "...these are all truly classic Verve titles that you simply don't want to miss...most importantly, the sound of these reissues is nothing short of astounding. Particularly the early Billie and Ella mono records are incredible treasures of sonic beauty. I'd definitely ask Santa for the whole set, or, if you want to cherry pick, the most classic titles. Whatever you decide, you owe yourself at least a half dozen!" Winner of a 2012 Positive Feedback Online Writers' Choice Award - Danny Kaey, Positive Feedback Online, November/December 2011 "...To say that the resulting new stereo master is anything but a major sonic breakthrough would be to make the understatement of the decade. Simply put, audiophile jargon and usual hyperbolas aside, this new release is like hearing the record for the very first time, in the studio, with Astrud and team granting you a personal performance for the night. There is just so much more information present, that you really can't fairly compare any of the previous releases with this one." - Danny Kaey, Positive Feedback, September/October 2011 The original master tapes for this title had not been used since 1980 previous to this reissue. Also, for this Analogue Productions reissue the decision was made to master and present this album as it was originally mixed to master tape. With very few exceptions all versions of this title to date, including the original, have had the channels incorrectly reversed. With this version, you'll hear this title as it was intended to be heard, without the channels reversed. And again, those reissues you've heard up until now - definitely still breathy, warm and rich - were made from something less than the master. Prepare to hear the veil removed. Astrud Gilberto says that her husband, Joao, informed Stan Getz that she "could sing at the recording." Creed Taylor recalls that it took Getz's wife, Monica, to get both Astrud and Joao into the recording studio; Mrs. Getz had a sense that Astrud could make a hit. And Getz himself is on record saying that he insisted on Astrud's presence over the others' objections. So who's right? What does it matter? The Gilbertos, Getz and the legendary Antonio Carlos Jobim followed up the bossa nova success of Jazz Samba with this, the defining LP of the genre. With one of the greatest hit singles jazz has ever known - each one who hears it goes "Ahhh!"
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Arnett Cobb – Party Time (Stereo)
58,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cartAt the time he recorded this album in 1957, Arnett Cobb was in the process of rebounding from a serious automobile accident that broke both his legs. Cobb's indomitable spirit shines through in these tracks, whether he is calmly preaching on "When My Dream Boat Comes Home," grooving down the "Lonesome Road," or roaring through the song that is almost as closely associated with him as it is with Illinois Jacquet — "Flying Home." There are plenty of good blues, too, and pianist Ray Bryant's eloquence in this idiom is well exposed. Ray Barretto's conga adds another flavor to the rhythm section, especially on "Cocktails for Two." With Ray Bryant, Wendell Marshall, Arthur Taylor and Ray Barretto.
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Booker Ervin – The Freedom Book (Stereo)
58,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cart"Rudy Van Gelder captured this Prestige title in stereo, and it reflects his consistently fine work. Tonally it's a touch on the light side, but otherwise the band's energy is clearly and dynamically captured, with a decent sense of air and focus. Kevin Gray did the mastering of this excellent QRP platter, so the quality of this welcome reissue is as good as it gets." — Music = 4/5; Sonics = 3.5/5 - Wayne Garcia, The Absolute Sound, September 2016. Booker Ervin's recordings with Charles Mingus and Randy Weston brought him good reviews and a bit of notoriety. But it was his series of Song Books for Prestige Records that broadcast the stentorian announcement that a jazz orator of gigantic stature had arrived. Ervin's tenor saxophone sound was haunted by the loneliness and spaciousness of the Texas plains where he was raised. The Southwest moan was an integral part of his playing. But his style went beyond the classic Texas tenor tradition to incorporate the intricacies of bebop and suggestions of the free jazz that was initiating one of the periods of self-renewal that keeps jazz fresh and interesting. The Freedom Book, recorded at the end of 1963, was one of Ervin's masterpieces. He is abetted by the power and drive of Jaki Byard, Richard Davis, and Alan Dawson.
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Gene Ammons – Nice An’ Cool (Stereo)
58,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cartA 1961 set of standards heavy on the ballads, Nice An' Cool is prime Gene Ammons. In front of a sympathetic piano-bass-drums trio (Richard Wyands, Doug Watkins, and the great J.C. Heard, respectively), Ammons' brilliantly soulful tenor saxophone really stretches out on the familiar melodies, but the relatively concise arrangements (all of the eight tracks are between three and eight minutes, with most hovering around the five-minute mark) don't allow him to wander too far afield as he occasionally does on less structured sessions. Nice An' Cool is first and foremost a mood album, with the unity of sound more important than the individual performances, but Ammons particularly shines on the extended opener, a tender, restrained version of The Music Man's "Til There Was You" that sidesteps the mawkishness of many interpretations in favor of a dignified grace. The backing trio is excellent throughout.
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Jimmy Forrest – Out Of The Forrest (Stereo)
58,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cartFrom the time Coleman Hawkins firmly established the tenor saxophone on the jazz map, it has been one of the most potent forces in the music, its best practitioners able to raise the roof with a jumping blues, soothe the savage beast with a tender love ballad, and do just about anything in between. At the time of this recording (1961), Jimmy Forrest, the St. Louis-born reedman, was a veteran of the Fate Marable, Jay McShann, Andy Kirk, and Duke Ellington bands. Later in his career he starred with Count Basie. Here he leads a quartet of teammates from the combo of "Sweets" Edison, including the young Austrian pianist Joe Zawinul, through a gamut of the aforementioned moods from "Crash Program" to the caressing "That's All," with a few tips of the cap to Ben Webster along the way. With Joe Zawinul, Tommy Potter and Clarence Johnston.
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Oliver Nelson – Screamin’ the Blues (Stereo)
58,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cartPosterity remembers Oliver Nelson (1932-1975) primarily as an arranger/conductor. When he first began to attract attention with a series of albums for Prestige and its subsidiaries, however, Nelson was hailed as a versatile leader of small groups and a composer/instrumentalist who could refresh the music's traditional verities while also looking ahead. There is no better showcase for these skills among his initial sessions than Screamin' the Blues, a rousing set of funky modernism interpreted by a sextet of players who shared Nelson's allegiance to both virtuosity and vision. The pairing of saxophonist Eric Dolphy with Nelson was particularly inspired as both men were adept on more than one instrument, and allowed this sextet to create an uncommon diversity of colors. Nelson and Dolphy would reunite a year later on both the classic Blues and the Abstract Truth and (with the band heard here minus trumpeter Richard Williams) on the looser yet intense Straight Ahead. With Richard Williams, Eric Dolphy, Richard Wyands, George Duvivier and Roy Haynes.
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Gene Ammons – The Soulful Moods Of Gene Ammons (Stereo)
58,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cart“One of the best efforts from Ammons' extensive catalog. A fat, warm, rich sax tone — you know, the one you immediately identify as Jug — is on display in all its glory on this great Moodsville release. Feeling tired and stressed out? Give Uncle Gene a spin. Besides perfect pitch, Ammons' other special gift was a melodic sense that allowed him to effectively convey feelings at slow tempos. Here is a great jazz ballad player given full scope to spin his charms." — Stereophile, February 1995.
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Helen Merrill – Helen Merrill (Mono Version)
58,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cart"Clifford Brown, probably the most acclaimed jazz instrumentalist in 1954, acts (here) as the perfect foil. ... He supplies the hot to Merrill's cool. His technical prowess is on display and he plays quick runs of notes with remarkable delicacy. ... the packaging is a tip-on jacket from Stoughton Printing. Unlike the original, it is a gatefold with session photos on the inside. An insert includes a bit of history about Robert Fine as well as detailed sessions notes. The pressing is a 180-gram slab of vinyl from Quality Record Pressings — enough said. This is a great reissue that, for all intents and purposes, is the only choice for serious listening. The original is priced out of reach for all but the wealthy." — Recording = 4.5/5; Music = 5/5 — Dennis D. Davis, The Audio Beat, May 27, 2020. Read the entire review here. "I confess my ignorance of jazz singer Helen Merrill — or so it was until a couple of weeks ago, when Chad Kassem of Acoustic Sounds sent me a test pressing of his forthcoming reissue of her eponymous 1955 debut LP (EmArcy MG 36006/Analogue Productions AAPJ 127). To say I was impressed is an understatement. The album was recorded in December of 1954 by the legendary Bob Fine, at Fine Sound Inc., 711 5th Avenue in New York. Merrill, then only 24, was backed by a combo that included Clifford Brown on trumpet, Oscar Pettiford on bass, and pianist Jimmy Jones, with arrangements by Quincy Jones — himself a mere 21 years old at the time. The mono sound is on the (pleasantly) dry side and very forward, with taut-sounding drums and bass and an intimate vocal sound that at times comes close to being overly sibilant but never quite carries out the threat. Merrill's intonation isn't always spot-on (as in the intro to 'Yesterdays'), but there's something about her voice — an odd combination of breathy innocence and husky-toned experience that pulls me in time after time. (In 'Don't Explain,' she intones the word quiet in a manner that could launch any number of ships.) And Clifford Brown's trumpet is, as one might expect, perfect. Prices for the original mono LP reach into four-figure territory, so news of an affordable reissue is very good news indeed. Torch on." — Art Dudley, Stereophile, March 2020 Helen Merrill attributed her childhood musical influence to her mother's singing. Truth is, she didn't wait long herself to make a mark as a teenage jazz ingénue, following-up with the notable self-titled LP you have in your hands, newly remastered, and reissued by Analogue Productions. Helen Merrill arrives, remastered by Kevin Gray at Cohearant Audio, and plated and pressed to 180-gram vinyl by the dedicated crew at Quality Record Pressings, supervised by plating expert and general manager Gary Salstrom. No less than an old-style, tip-on Stoughton Printing gatefold jacket would suffice for such a phenomenal-sounding reissue. Rare photographs inside the gatefold originally appeared as sleeve art for the 7-inch singles recorded and released in conjunction with the original 1955 album release. Helen Merrill was born in New York City on July 21, 1930. Her professional career began at the age of 15 when, after singing at theatres and winning amateur contests, she landed a job as vocalist with Reggie Charles' Band. Merrill made her recording debut in 1952 when she sang "A Cigarette For Company" with the Earl Hines Band; the song was released on the D'Oro label, created specifically to record Hines' band with Merrill. The session was also notable for including vocalist Etta Jones, who was in Hines' band at the time. Merrill was later signed by Mercury Records to their EmArcy label. Helen Merrill is her debut studio album, backed by among others, trumpeter Clifford Brown and bassist/cellist Oscar Pettiford. The legendary Quincy Jones produced and arranged the album when he was just 21-years-old! The success of Helen Merrill prompted Mercury to sign her for an additional four-album contract. AllMusic reviewer Scott Yanow gave Helen Merrill 4 1/2 stars. "The music is essentially straight-ahead bop, yet the seven standards ... are uplifted by the presence of Merrill (in top form) and Brown." Her success associated Merrill with the first generation of bebop jazz musicians. Merrill's career continued with recordings and concerts throughout six decades, until the early 2000s. Her emotional, sensual vocal performances, particularly this engaging debut, stand as testament to her immense talent. This is a high-quality reissue of a rare and valuable record. Original copies have sold for more than $1,000!
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Julie London – Julie Is Her Name
88,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cart"Any reissue of a reissue of a reissue needs to add to the canon. This is a new version of the BoxStar edition in 2009, but as that was a truly spectacular release, how could it possibly be bettered? God knows what magic Bernie Grundman managed in remastering this from the original 1955 tapes, but it's even more open and detailed. The brilliance of this mono LP is that its minimalism — just Ms. London backed by Barney Kessel on guitar and Ray Leatherwood on bass — needs no directional component to up its presentation. You'll soon forget it's mono. 'Cry Me A River,' 'Can't Help Lovin' That Man' and ten more from the huskiest, sexiest voice... ever." Sound Quality: 90% — Ken Kessler, Hi Fi News, June 2019 It's back. Our 45 RPM, 2LP version of the great Julie London debut on Liberty Records. Mastered by Bernie Grundman on his all-tube cutting system and now plated and pressed at Quality Record Pressings. This 45 RPM spreads the 12 tracks over two LPs for even better cartridge tracking and superior sound quality! Much like Dean Martin's 1954 debut LP (Dean Martin Sings), Julie London's recording career started on the silver screen in the 1940s. In 1955 she made her debut LP on the newly formed Liberty Records. Recorded in August of that same year, in state-of-the-art mono sound, Julie Is Her Name is regarded by jazz buffs and '50s pop enthusiasts as a genuine classic! This LP features the hit single "Cry Me A River" and her stellar performances of "I Should Care" and "No Moon At All." Supported by the legendary Barney Kessel on guitar and Ray Leatherwood on bass, this LP release brings back memories of the cool '50s. Whether you were a cool swinger in the '50s or you're a cool hi-fi lovin' swinger today, you will be transported to a time when a 15" coaxial speaker, a 20 watt amplifier and a girl who looks like Julie were all that mattered.
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Harry Belafonte – Belafonte At Carnegie Hall (45 RPM 180 Gram 5 LP Box Set)
208,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Show itemDescribed by reviewers as "the quintessential Belafonte package," Belafonte at Carnegie Hall captures the excitement of a Harry Belafonte concert at the height of his popularity. What Analogue Productions has done with this 5LP 45 RPM box set release exceeds other vinyl versions. We've included the entire concert. The fifth disc in this premium set includes tracks heretofore missing from prior editions due to space limitations. They include Belafonte's spoken introduction before launching into the touching and tender "Scarlet Ribbons," followed by the orchestral overture. What AllMusic.com describes as "The grandaddy of all live albums," was an anomaly at a time when only comedy albums were recorded outside of the studio environment. A major financial and artistic success, the live performance stayed on the best-selling album charts for over three years and remained in print until RCA discontinued pressing LPs. The concert is divided in three sections: "Moods of the American Negro," "In the Caribbean," and "Around the World." All the hits are here: "Day O," "Jamaica Farewell," "Mama Look a Boo Boo," and others, plus calypso, folk songs, chain gang songs, spirituals, and songs from other lands, representing a veritable best-of package of Belafonte's first decade with RCA Victor. Wait no more if you haven't heard this marvelous record. We've gone all out for this deluxe reissue. Starting with premier mastering by Ryan K. Smith at Sterling Sound from the original analog tapes. Spread over 5 LPs, the wider-spaced grooves reduce distortion and high frequency loss and let your stereo cartridge track more accurately. Plating is by Gary Salstrom and pressing is by Quality Record Pressings and RTI. But the deluxe treatment doesn't stop there: We've enhanced the original studio photography and housed the collection in a custom-designed slipcase box. Belafonte's mastery in front of an audience was never better displayed than here, a mastery that resulted in him becoming one of the most popular concert draws in history. From the opening trumpet fanfare to the epic 12-minute version of "Matilda" (which set a standard for audience participation), the album never lets up!
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Miles Davis – Seven Steps to Heaven
58,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cart"...The Analogue Productions sound is visceral and crisp in the best sense, and the quiet pressings ensure that no musical detail is even mildly obscured...with these 45 RPM LPs, if your system is up to the task, you'll hear boundless high-frequency reach and lavish dynamic nuance and harmonic delicacy." - Marc Mickelson, The Audio Beat, December 2010 In 1963, Miles Davis was at a transitional point in his career, without a regular group and wondering what his future musical direction would be. At the time he recorded the music heard on this disc, he was in the process of forming a new band, as can be seen from the personnel: tenor saxophonist George Coleman, Victor Feldman (who turned down the job) and Herbie Hancock on pianos, bassist Ron Carter, and Frank Butler and Tony Williams on drums. Recorded at two separate sessions, this set is highlighted by the classic "Seven Steps To Heaven," "Joshua" and slow passionate versions of "Basin Street Blues" and "Baby Won't You Please Come Home." A fantastic-sounding album. Mastered by Ryan K. Smith at Sterling Sound, and pressed on 180-gram vinyl by the best in the business, Quality Record Pressings. An old-style tip-on jacket by Stoughton Printing makes this one a jewel for your LP collection.
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Eddie ‘Lockjaw’ Davis & Johnny Griffin Quintet – The Tenor Scene (Stereo)
58,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cartDuring the two-year existence of their "Tough Tenors" quintet, Eddie "Lockjaw" Davis (a Prestige artist) and Johnny Griffin (under contract to Riverside/Jazzland) satisfied their contractual obligations by recording five albums for each company. This was the pair’s first for Prestige, and the first of a four-album series taped over the course of an extremely productive evening at the legendary Minton’s Playhouse in Harlem. The album, also known as The Breakfast Show in an earlier reissue, gives the rhythm section several opportunities to shine, with Ben Riley’s drums dominant on "Woody’n You," "Bingo Domingo" featuring Larry Gale’s bass, and Junior Mance’s piano solo almost stealing the show on "Light and Lovely." It is the leaders, though, who consistently deliver with their complimentary brand of intensity, which is heard at the boil throughout and reaches a particular peak when they exchange ideas on "Straight, No Chaser."
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Lightnin’ Hopkins – Goin’ Away (Stereo)
58,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Show item"At times the guitar seems a bit low in the mix, but on this remastered Analogue Productions LP, cut from the original master tapes by Kevin Gray, it sounds warm and natural while the boisterous vocals have have a commanding presence; the recording also does a fine job of capturing Leonard Gaskin's deep bass tones and the timbre of Herbie Lovelle's brushes." — Music = 4.5/5; Sonics = 4/5 - Jeff Wilson, The Absolute Sound, September 2016. Read more here. Sam “Lightnin’” Hopkins, a true poet who invented most of his lyrics on the spot and never seemed to run out of new ideas, was a blues giant of post-war blues whose style was rooted in pre-war Texas traditions. While he cranked up his amp to fierce proportions when performing for his friends at Houston juke joints, producers who recorded him for the so-called folk-blues market usually insisted that he use an acoustic guitar for more “authentic” results. Either way, Lightnin’ seldom made a bad record, and this June 4, 1963, session on which he played acoustic was among his finest, thanks much to the sensitive support of bassist Leonard Gaskin and drummer Herbie Lovelle, who did a remarkable job of following his irregular bar patterns and abrupt song endings.
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Miles Davis – Bags Groove (Mono)
58,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cart“Analogue Productions has continued to push its own already high bar higher still. Its Quality Record Pressings plant is delivering the best vinyl discs to be found, its jackets and cover reproduction quality have hit new levels, and it continues to have the best in the biz — such as Kevin Gray for this series (25 mono LPs from the Prestige label’s exceptional late-50s run) cut lacquers from original analog master tapes. … The set crackles with energy and the sound is rather cool, yet it’s very clean and — like looking through a mountain stream — transparent. I also have AP’s 2002 45 RPM set, and this new release makes that one sound a bit thick and veiled by comparison.” — Wayne Garcia, The Absolute Sound, December 2015 There are a multitude of reasons why Bags’ Groove remains a cornerstone of the post-bop genre. Of course, says All Music Guide, there will always be the lure of the urban myth surrounding the Christmas Eve 1954 session — featuring Thelonious Monk — which is documented on the two takes of the title track. There are obviously more tangible elements, such as Davis’ practically telepathic runs with Sonny Rollins (tenor sax). Or Horace Silver’s (piano) uncanny ability to provide a stream of chord progressions that supply a second inconspicuous lead without ever overpowering. Indeed, Davis’ choice of former Dizzy Gillespie Orchestra and concurrent Modern Jazz Quartet members Milt Jackson (vibes), Kenny Clarke (drums), and Percy Heath (bass) is obviously well-informed. This combo became synonymous with the ability to tastefully improvise and provide bluesy bop lines in varied settings. The up-tempo and Latin-infused syncopation featured during the opening of “Airegin” flows into lines and minor-chord phrasings that would reappear several years later throughout Davis’ Sketches of Spain epic. The fun and slightly maniacally toned “Oleo” features one of Heath’s most impressive displays on Bags’ Groove. His staccato accompaniment exhibits the effortless nature with which these jazz giants are able to incorporate round after round of solos onto the larger unit. Bags’ Groove belongs as a cornerstone of all jazz collections.
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John Lee Hooker – The Healer
82,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cartThe Healer is a critically acclaimed album by the legendary blues musician John Lee Hooker. Released in 1989, it stands as a testament to Hooker's profound influence on the genre and his ability to evolve his sound while staying true to his roots. The album showcases his distinctive guitar style, gritty vocals, and masterful storytelling, creating an immersive and emotionally charged musical experience. The Healer features an impressive array of guest artists, each bringing their unique talents to the table. Renowned musicians such as Carlos Santana, Bonnie Raitt, Robert Cray, Canned Heat, and Los Lobos join forces with Hooker, creating a rich tapestry of blues, rock, and soul. On the title track Hooker's deep, resonant voice combined with Santana's searing guitar work creates an unforgettable blues anthem that speaks to the power of music as a healing force. The lyrics are introspective, introspective, and poignant, reflecting on the struggles of life and the solace found in the blues. Throughout the album, Hooker explores a range of themes, from love and loss to societal issues and personal introspection. Tracks like "I'm in the Mood" and "Baby Lee" exude a raw sensuality, showcasing Hooker's ability to infuse his music with passion and desire. Meanwhile, songs like "Cry Baby" and "The Healing Game" delve into deeper emotional territory, capturing the pain and resilience of the human spirit. Hooker was 73 years of age when The Healer came out and earned his first — of many future — Grammy accolades, winning Best Traditional Blues Recording for "I'm In The Mood." This edition features lacquers cut by Bernie Grundman, and pressing on 180-gram vinyl at Quality Record Pressings, for superior sound. With its exceptional musicianship, thought-provoking lyrics, and powerful collaborations, The Healer remains a standout album in John Lee Hooker's discography.
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Sonny Rollins – Rollins Plays For Bird (Mono)
58,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cartAs the tenor sax is not in the same key as an alto, Sonny Rollins would have to transpose a lot of music to take a tribute to Charlie Parker to a high level. Instead Rollins has chosen standards associated with Parker, and recorded them within a year after Bird’s passing. The music certainly has its moments, as on the inexhaustible 27-minute medley of seven tunes seamlessly stitched together. Rollins plays the melody on alternating songs "I Remember You" and "They Can’t Take That Away from Me," Kenny Dorham has at it for "My Melancholy Baby" and "Just Friends," with Wade Legge getting his two cents in on trio only versions of "Old Folks" and "My Little Suede Shoes." Finally the whole band joins in on the ten-minute medley finale "Star Eyes." Two independent selections accompany the medley: Rollins does the ballad "I’ve Grown Accustomed to Your (Her) Face," from the musical "My Fair Lady" and the horns finally play together for the nearly 12-minute cool waltz "Kids Know.
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Stan Getz and Charlie Byrd – Jazz Samba
44,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cartThe words "bossa nova" are often synonymous with the name Stan Getz. But North Americans might not have ever known the bright sound of bossa nova had it not been for Charlie Byrd. In 1961 Byrd returned from a tour of South America, where bossa nova music was thriving. The style was the invention of singer Joao Gilberto and songwriter Antonio Carlos Jobim — an adaptation of infectious Brazilian samba rhythms with the harmonic structures and "cool" surface of West Coast jazz. Byrd brought back records for Getz to hear, they planned a session, and the result was Jazz Samba — the first album of true bossa nova music by jazz artists and the one that broke the bossa nova wave in 1960s America. Originally released in 1962. Seeking to offer definitive audiophile grade versions of some of the most historic and best jazz records ever recorded, Verve Label Group and Universal Music Enterprises' audiophile Acoustic Sounds vinyl reissue series utilizes the skills of top mastering engineers and the unsurpassed production craft of Quality Record Pressings. All titles are mastered from the original analog tapes, pressed on 180-gram vinyl and packaged by Stoughton Printing Co. in high-quality gatefold sleeves with tip-on jackets. The releases are supervised by Chad Kassem, CEO of Acoustic Sounds, the world's largest source for audiophile recordings. Musicians: Stan Getz, tenor saxophone Charlie Byrd, guitar Keter Betts, bass Gene Byrd, bass, guitar Buddy Deppenschmidt, drums Antonio Carlos Jobim, guitar Bill Reichenbach, drums
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André Previn And His Pals, Shelly Manne & Red Mitchell – West Side Story
44,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cartCraft Recordings and Acoustic Sounds are proud to announce the Contemporary Records Acoustic Sounds series, which continues for 2023 with seven album releases from the Contemporary Records catalog, celebrating 70 years of the legendary jazz label. The releases are supervised by Chad Kassem, CEO of Acoustic Sounds, the world's largest source for audiophile recordings. Each title, originally engineered by Roy DuNann and/or Howard Holzer, features all-analog mastering from the original tapes by legendary engineer Bernie Grundman (himself a former employee of the label), as well as unsurpassed audiophile pressing on 180-gram vinyl at Quality Record Pressings, presented in a Stoughton Printing old-style tip-on jacket. The series highlights gems from Contemporary's extraordinary catalog and features artists who both defined and expanded the sound of West Coast jazz. One of the best of a series of showtune albums — perhaps THE best — recorded by the trio of pianist Andre Previn, bassist Red Mitchell and drummer Shelly Manne. Here the all-star group is focusing on the music of West Side Story (AllMusic notes Previn and Manne alternated leadership, and it was the drummer's good fortune to have the famous My Fair Lady alum under his own name). The album has eight of the main themes from the famous musical, including "I Feel Pretty," "Maria" and "America." As usual, the melodies are treated respectfully yet swingingly, and Andre Previn in particular excels in this setting. Recommended. Founded in 1951 by film producer, screenwriter and record collector Lester Koenig (1917-1977), Contemporary Records became the epicenter of the West Coast jazz scene, while its cutting-edge approach to sound and design attracted some of the era's most exciting artists. The Contemporary Records Acoustic Sounds series — which launched in the spring of 2022 with titles by Art Pepper, Barney Kessel and Benny Carter, among others — honors the label's rich legacy through meticulous reissues that highlight the label's influential classics, as well as its must-hear rarities. Since its initial rollout, the series has earned accolades from a slew of outlets, including JazzTimes, which spoke to the impact of the label, reflecting: "Artists, producers, and engineers alike have held Contemporary aloft...as a label dedicated to presenting jazz at its absolute purest, richest, and live-est," adding that the new reissues "are living, breathing proof of that label's hotly cutting clarity." Audiophile Review, meanwhile, marveled at the stereo pressing of Art Pepper + Eleven: Modern Jazz Classics, which it called "top-notch," elaborating that it sounds "richer and more inviting...deliver[ing] a bit more cinemascopic ‘view' of the group." Praising Hampton Hawes' Four! as "pristine," Audiophile Audition added, "Kudos to Craft Recordings for re-introducing a brilliant pianist."
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Gene Ammons – Boss Tenor (Stereo)
58,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cart"Both are gorgeous impressions of soul, jazz and blues, brought together through the legacy of standards and new compositions. The tonality of Gene Ammons in particular is transfixing and it is with the stereo reissues from Prestige that Gene will get a lot of love with multiple titles scheduled for release. Booker Ervin was another great tenor sax player and his contributions to the Prestige vaults are timeless with Exultation!." — Erik Otis, Sound Colour Vibration, May 9, 2015. For nearly a quarter-century, beginning in 1950, tenor saxophonist Gene Ammons (1925-1974) was among the brightest stars in the Prestige Records firmament. Whether leading, or partaking in, one of Prestige’s jam sessions, immersing himself in the organ-dominated blues and gospel grooves that in the 1950s came to be called “soul jazz,” or digging deep for heart-rending ballads, Ammons was multiply masterful. And in 1960, leading a quintet featuring the impeccable pianist Tommy Flanagan, plus Ray Barretto’s piquant congas, he produced the insuperable Boss Tenor. From the blues that drips from “Hittin’ the Jug” and “Blue Ammons” to the infectious medium bounce of the standards “Close Your Eyes” and “Canadian Sunset,” and from the sophisticated swing of “Stompin’ at the Savoy” to the finger-poppin’ bop of “Confirmation” and the after-hours balladry of “My Romance,” Boss Tenor has something for everyone claiming to be a fan of modern jazz.
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Lightnin’ Hopkins – Soul Blues (Stereo)
58,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Show itemThis release of Lightnin' Hopkins Soul Blues completes the series of 25 Prestige label stereo reissues from Analogue Productions. Of the 50 titles (25 stereo, 25 mono) in this reissue series, 49 of them were mastered by Kevin Gray at Cohearent Audio from the original analog tape. For Soul Blues Ryan Smith at Sterling Sound created a 24/192K hi-res file from a needle drop on a clean original LP. This was done because the tape supplied for mastering proved to be from a needle drop itself, not the original, which has been lost since the early 1970s. Smith took the original LP, did a new needle drop and meticulously worked to eliminate the minimal tics and pops that remained. Then he mastered the album for LP and SACD from the hi-res file. "We are amazed by the quality," says Chad Kassem, Acoustic Sounds/Analogue Productions CEO. "Now that the tape is lost, an original LP copy is now the master. Only in cases where the original master tape is lost or damaged and where we feel that we have no other choice, do we consider using the best source that remains. But we'd only do that if that source was sonically worth it. In this case, it most definitely is." This is a needle drop from the original Stereo LP. While the sound does not have the wide pan that you'd typically associate with Stereo, meaning that it sounds very much like Mono, this is in fact what was on the original Stereo release of this title. A true poet of the blues, Lightnin' Hopkins was a master of tall, tongue-in-cheek tales, often made up on the spot in the recording studio. The first song on this album "I'm Going to Build Me a Heaven of My Own," describes an encounter with a bearded man claiming to be Jesus Christ. Hopkins also puts his personal stamp on Willie Dixon's "My Babe" and Smokey Hogg's "Too Many Drivers," among others.
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Arnett Cobb – Ballads By Cobb (Stereo)
58,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Show itemOriginally released in November 1960, Ballads by Cobb, as its title suggests, is all slow ballads, putting the emphasis on the Texas tenor’s warm tone. A Texas tenor player in the tradition of Illinois Jacquet, Arnett Cobb's accessible playing was between swing and early rhythm & blues. His stomping, robust style earned him the title "Wild Man of the Tenor Sax." Cobb spent most of the 1960s playing back in his native Texas but he returned to the national scene in 1973 and during his final 15 years engaged in many exciting tenor battles, showing that there were few tougher Texas tenors than the legendary Arnett Cobb. Here, the Wild Man takes a smoother, more emotional approach. The album was recorded Nov. 1, 1960 by Rudy Van Gelder at his studio in Englewood Cliffs, N.J.. It was produced by Esmond Edwards.
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Hank Mobley – Mobley’s Message (Mono Version)
58,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cart"...hard-bop devotees shouldn't overlook Mobley's Message, especially when they can savor this superb vinyl reissue." Sonics = 5/5; Music = 3.5/5 — Duck Baker, The Absolute Sound, October 2013 Critic Leonard Feather asserted that Hank Mobley was “the middleweight champion of the tenor saxophone,” meaning that his tone wasn’t as aggressive and thick as John Coltrane or Sonny Rollins, but neither was it as soft and cool as Stan Getz or Lester Young. Mobley helped inaugurate the hard bop movement: Jazz that balanced sophistication and soulfulness, complexity and earthy swing, and whose loose structure allowed for extended improvisations. Born in Eastman, Georgia, in 1930, but raised in New Jersey, Hank’s long-lined tenor offerings became a staple for pianist Horace Silver’s group, which evolved into the ‘50s super quintet co-led by Art Blakley, dubbed the Jazz Messengers. Their groundbreaking first album for Blue Note, 1955’s Horace Silver and the Jazz Messengers, was a hard bop landmark, featuring sophisticated solos and bright, almost funky rhythms. Mobley hit his peak in the first half of the 1960s with hard bop cornerstones like Soul Station, No Room for Squares, and A Caddy for Daddy.On this Prestige offering, Mobley delivers his signature swinging style in three different variations. Four numbers are by the quintet in which Hank is helped by telegrapher Donald Byrd and his “sending” trumpet. They disseminate the information of two pronouncements from bop’s palmy days, Bud Powell’s “Bouncin’ With Bud” and Thelonious Monk’s “52nd Street Theme,” plus two more numbers, Hank’s “Minor Disturbance” and the group’s “Alternating Current.” For Charlie Parker’s blues, “Au Privave,” the group becomes a sextet with the addition of a young turk of the alto sax, Jackie McLean. Hank is the sole horn on “Little Girl Blue.”
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Wynton Kelly Trio and Wes Montgomery – Smokin’ At The Half Note
44,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cartThis important historic jazz record pairs guitar virtuoso Wes Montgomery with Miles Davis' rhythm section — featuring Paul Chambers on bass, Jimmy Cobb on drums and Wynton Kelly on piano. This is timeless music that has inspired innumerable jazz guitarists and aficionados. In fact, jazz guitar great Pat Metheny has said, "I learned to play listening to Wes Montgomery's Smokin' At The Half Note." Metheny additionally said that the solo on "If You Could See Me Now" is his favorite of all time. This legendary session was recorded at a New York nightclub. It captures Montgomery at the height of his improvisational powers. Many consider it the best performance on record by one of the most inventive guitarists in jazz history. Highlights include the Miles Davis opener, "No Blues" and the following track, Tadd Dameron's "If You Could See Me Now." And the album's versions of "Unit 7" and "Four On Six" have helped to establish these songs as jazz standards. Seeking to offer definitive audiophile grade versions of some of the most historic and best jazz records ever recorded, Verve Label Group and Universal Music Enterprises' audiophile Acoustic Sounds vinyl reissue series utilizes the skills of top mastering engineers and the unsurpassed production craft of Quality Record Pressings. All titles are mastered from the original analog tapes, pressed on 180-gram vinyl and packaged by Stoughton Printing Co. in high-quality gatefold sleeves with tip-on jackets. The releases are supervised by Chad Kassem, CEO of Acoustic Sounds, the world's largest source for audiophile recordings. Musicians: Wynton Kelly, piano Wes Montgomery, guitar Paul Chambers, bass Jimmy Cobb, drums