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Booker Ervin – The Song Book (Stereo)
58,00 €Add to cartOf Booker Ervin's nine Prestige albums, this one is special because it presents him exclusively in the contexts of standard songs. Ervin's aggressiveness, his ferocity, his incomparable Texas spaciousness of sound and style, are undiminished. But the compositions provide familiar guideposts by which to track his explorations, which were unfailingly full of adventure and daring. In his only recorded appearance with Ervin, pianist Tommy Flanagan balances the music with his customary elegance. On bass and drums are Ervin's frequent recording companions Richard Davis and Alan Dawson.
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Kenny Burrell – Bluesey Burrell (Stereo)
58,00 €Show itemThis session is a model of the emotionally intense ballad programs featured on Prestige's Moodsville subsidiary. The great Kenny Burrell receives a major assist from saxophone patriarch Coleman Hawkins (who is in exemplary early-Sixties form), Hawkins's rhythm section of the time (made up exclusively of natives of Burrell's hometown Detroit) and conga drummer Ray Barretto. The choice of material and variety of settings are inspired, with Burrell heard solo on "No More," over just bass and drums on "Guilty," in two different quintet settings and on three titles by the full sextet. Each soloist is fully engaged throughout, with things shifting into even higher gear when Burrell and Hawkins converse on "Montono Blues" and "I Thought About You." With Coleman Hawkins, Tommy Flanagan, Major Holley, Eddie Locke and Ray Barretto.
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Ornette Coleman – Tomorrow Is The Question!
44,00 €Add to cartCraft Recordings and Acoustic Sounds are proud to continue the Contemporary Records Acoustic Sounds series 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. Released in 1959, Tomorrow Is The Question!, the second album by jazz musician Ornette Coleman, was his last for Contemporary Records before he began a highly successful multi-album series for Atlantic Records. "Shaking out of the contractual obligation forcing him to employ a pianist on his debut, Something Else!!!! (Contemporary, 1958), alto saxophonist Ornette Coleman dispensed with the instrument altogether on 1959's Tomorrow is the Question!, causing a bit of consternation on the part of the mainstream jazz media. This was Coleman's committed step forward toward a harmonically less restrictive sound, en route to the joyful chaos of Free Jazz (Atlantic, 1961). Following, in form, Gerry Mulligan's famous piano-less quartet of the early 1950s, Coleman greatly liberated his solo and rhythm instruments, taking a quantum greater advantage of this freedom compared with Mulligan, had the baritone saxophonist been so inclined." — All About Jazz 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." Musicians: Ornette Coleman, alto saxophone Don Cherry, trumpet Percy Heath, bass (1-6) Red Mitchell, bass (7-9) Shelly Mann, drums
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Nina Simone – Wild Is The Wind
44,00 €Add to cartNina Simone's Wild Is The Wind, from March 1966, and its breathlessly engaging title track, were compiled from several recordings that were left over from sessions for previous albums for Phillips. In 2020 the album was ranked 212 on Rolling Stone's 500 Greatest Albums of All Time. Rolling Stone says it's among Simone's "most enthralling and eclectic." "With her dusky voice at its most commanding, Simone works her way through roadhouse soul ('I Love Your Lovin' Ways') and dramatic set pieces (the melancholic 'Lilac Wine,' later covered by Jeff Buckley). It peaks with 'Four Women,' an ambitious saga of racially diverse women and their struggles, written by Simone." — Rolling Stone 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.
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Fritz Reiner – Respighi: Pines of Rome & Fountains of Rome
58,00 €Show itemAcoustic Sounds customer Alan Hendler has this to say about the first three RCA reissues: "Just received your new vinyl of Scheherazade, Pictures and Pines and Fountains of Rome. After listening I have never heard anything that comes close to the glorious sound of these records. I have original vinyl, CD's, SACD's, XRCD's, Chesky and Classic Records remasters and nothing comes close to how good these sound. The overall balance of all the sections of the orchestra is superb. Wood winds are gorgeous. I will be buying more." "These records are definitive." — Michael Fremer, editor, AnalogPlanet.com Winner of a Gruvy Award, chosen by AnalogPlanet's editor, Michael Fremer, for vinyl records that are musically and sonically outstanding and are also well mastered and pressed. http://www.analogplanet.com/content/gruvy-awards "These are the best vinyl releases of RCA LPs I've yet heard." — Jonathan Valin, executive editor, The Absolute Sound "Grade A. The exceedingly rare 1s/1s pressing of this disc has been celebrated and sought after ever since Carol B. Kessler wrote her famous article in TAS on the best RCAs (she ranked the 1s/1s Pines the #3 RCA of all-time). If you don't have a 1s/1s pressing, you will doubtlessly find this remastering sensational. Since I do have a 1s/1s, I'd have to say that there are aspects of the 1s/1s that are marginally superior to the Analogue Productions reissue — and vice versa. Though beautiful, string tone doesn't seem quite as silken on the Kassem reissue as it does on the RCA original; on the other hand, the staggeringly powerful bass on "The Pines of the Appian Way" (replete with gong and organ) retains all of its thunder and then some on the Analogue Productions re-pressing with, once again, a fair measure of tape-like ease and authority. (As with The Reiner Sound, the base is a little murky in spots, probably the results of mic preamp overload. In any event that occasional murkiness is also present on the 1s/1s and the Classic reissue.)" — Jonathan Valin, The Absolute Sound.com, June 11, 2013. To read the full review click here: http://www.theabsolutesound.com/articles/sneak-preview-acoustic-sounds-rca-reissues/ A highly sought-after RCA shaded dog Living Stereo title, the performance and sonics found within rate a 10/10. A must have — the dynamics are monstrous! Whichever other Respighi tone poem recordings you ultimately purchase, you MUST own this one. Since the early ‘60s it has been the standard by which all others have been judged, and in terms of both sound and performance, it has never really been surpassed. The final march of Pines is simply incredible: Thundering bass drum, crashing cymbals and gongs, bellowing brass — nobody since has brought the whole thing off with the same combination of excitement and discipline. Musicians: Chicago Symphony Orchestra Fritz Reiner, conductor
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John Coltrane – A Love Supreme (45 RPM 200 Gram Clarity Vinyl)
198,00 €Show itemAudiophile reviews rave about saxophone master John Coltrane's immortal Impulse! records, A Love Supreme (1964) and Ballads (1963). In fact, jazz critics have lauded A Love Supreme as Coltrane's most important recording. The rave reviews which appeared in the magazines Downbeat, Jazz Hot, Jazz Podium and Swingjournal reflected this: critics all over the world, in America, Europe and Japan recognized that Coltrane's deep religious belief had influenced both his approach to life and his music-making. You're about to experience A Love Supreme at its peak of vinyl perfection — in UHQR format on Clarity Vinyl, with the added bonus of a double 45 RPM cut by Ryan K. Smith at Sterling Sound. Ryan's cut has his characteristic clarity and transparency all set against Quality Record Pressing's usual noiseless backgrounds on 200-gram flawless records. Each UHQR will be packaged in a deluxe box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product. For this 45 RPM 2LP edition you'll also receive a 12" x 12" 12-page booklet featuring liner notes by Ashley Kahn and images from the Coltrane home. The original master tape is available but it's not in the best shape. This LP was cut from a flat tape copy made by Rudy Van Gelder and used for cutting in the UK in April of 1965. Of course, the original recording was in December '64, so only a handful of months later. This tape was discovered at Abbey Road and had been untouched between 1965 and 2002. So while the original tape is available and while we would always opt for the original whenever we can, in this case this copy was the better choice as the tape has incurred less overall wear and sounds much better than the original. A Love Supreme was Coltrane's pinnacle studio outing that at once compiled all of his innovations from his past, spoke of his current deep spirituality, and also gave a glimpse into the next two and a half years (sadly, those would be his last). Recorded at the end of 1964, Trane's classic quartet of Elvin Jones, McCoy Tyner, and Jimmy Garrison stepped in and created one of the most thought-provoking albums of their relationship. The album not only enabled Coltrane to express himself with great intensity but also lent him the necessary inner peace to conceive a work of almost 40 minutes in length and to lead his quartet along the same path as himself.
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Steely Dan – Pretzel Logic (45 RPM 200 Gram Clarity Vinyl)
198,00 €Add to cartSteely Dan's gold-selling third studio album Pretzel Logic, charted at No. 8 on the Billboard 200 and restored the group's radio presence with the single "Rikki Don't Lose That Number," which became the biggest pop hit of their career and peaked at No. 4 on the Billboard Hot 100. The 1974 album was produced by Gary Katz and was written primarily by Walter Becker (bass) and bandleader Donald Fagen (vocals, keyboards). The album marked the beginning of Becker and Fagen's roles as Steely Dan's principal members. They enlisted prominent Los Angeles-based studio musicians to record Pretzel Logic, but used them only for occasional overdubs, except for drums, where founding drummer Jim Hodder was reduced to a backing singer, replaced by Jim Gordon and Jeff Porcaro on the drum kit for all of the songs on the album. Steely Dan's Jeff "Skunk" Baxter played pedal steel guitar and hand drums. Pretzel Logic has shorter songs and fewer instrumental jams than the group's 1973 album Countdown to Ecstasy. Steely Dan considered it the band's attempt at complete musical statements within the three-minute pop-song format. The album's music is characterized by harmonies, counter-melodies, and bop phrasing. It also relies often on straightforward pop influences. The syncopated piano line that opens "Rikki Don't Lose That Number" develops into a pop melody, and the title track transitions from a blues song to a jazzy chorus. Rolling Stone praised the album, calling Steely Dan the "most improbable hit-singles band to emerge in ages." "When the band doesn't undulate to samba rhythms (as it did on 'Do It Again,' its first Top Ten single), it pushes itself to a full gallop (as it did on 'Reelin' in the Years,' its second). These two rhythmic preferences persist and sometimes intermingle, as on 'Rikki Don't Lose That Number,' which jumps in mid-chorus from 'Hernando's Hideaway' into 'Honky Tonk Women.' Great transition." — the review said. AllMusic gave the album 5 stars, with reviewer Stephen Thomas Erlewine noting that "instead of relying on easy hooks, Walter Becker and Donald Fagen assembled their most complex and cynical set of songs to date." Dense with harmonics, countermelodies, and bop phrasing, Pretzel Logic is vibrant with unpredictable musical juxtapositions and snide, but very funny, wordplay. The album's cover photo featuring a New York pretzel vendor was taken by Raeanne Rubenstein, a photographer of musicians and Hollywood celebrities. She shot the photo on the west side of Fifth Avenue and 79th Street, just above the 79th Street Transverse (the road through Central Park), at the park entrance called "Miners' Gate." After a brief battle with esophageal cancer, Walter Becker died on September 3, 2017 at the age of 67. Steely Dan has sold more than 40 million albums worldwide and were inducted into the Rock and Roll Hall of Fame in March 2001. VH1 ranked Steely Dan at No. 82 on their list of the 100 Greatest Musical Artists of All Time. Rolling Stone ranked them No. 15 on its list of the 20 Greatest Duos of All Time. This stereo UHQR reissue will be limited to 20,000 copies, with gold foil individually numbered jackets, housed in a premium slipcase with a wooden dowel spine.
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Sonny Rollins – Saxophone Colossus (Mono)
58,00 €Show item"Since 2002, mastering facilities like those helmed by Kevin Gray have improved. Analogue Productions' 33RPM mastering produces an even larger soundstage with better depth. Add to that the fact that the new packaging is far superior to the 45RPM issue, and this one-disc package is Sonny Rollins nirvana. — 5/5 stars, Dennis Davis, vinylreviews.com. Read the whole review here. "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 sound on Saxophone Colossus is upfront and immediate. Rollin's tenor is appealingly fat and sweet-sounding, the piano and bass are as nimble as kittens' paws, and the drums have a great crispness and snap." — Wayne Garcia, The Absolute Sound, December 2015 One of the pivotal recordings in bringing about the widespread acceptance of Sonny Rollins as a major figure, Saxophone Colossus inspired critics to write scholarly analyses and fans to revel in the hard-swinging invention, humor, and tender-strength balladry. Up to this album, while most musicians recognized Rollins as one of the new influential forces in the jazz of the ’50s, most critics were carping at Rollins or damning him with faint praise. "St. Thomas," a traditional West Indian melody which Mal Waldron remembered as "The Carnival," was recorded by many artists after Sonny introduced it here, and it remains a jazz standard today. The contributions of Tommy Flanagan’s elegant swing, Doug Watkins’s steady lift, and Max Roach’s most musical accompaniment and soloing (hear "Blue 7") make this a landmark album.
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The Prestige All Stars – Tenor Conclave (Mono)
58,00 €Add to cartThis unusual meeting of four tenor saxophone players from different "schools" was part of the Prestige Friday afternoon jam session series but far from a typical outing. The giant forebears of Coleman Hawkins, Lester Young, and Charlie Parker inform the backgrounds of the performers on this LP — Hank Mobley, Al Cohn, Zoot Sims, and John Coltrane — and other influences such as Ben Webster, Dexter Gordon, and the Sonnys (Stitt and Rollins) show up, too, depending on which of the four protagonists you’re talking about. With the Red Garland Trio supplying the underpinning, the four tenors meet on the common ground of the blues ("Bob’s Boys"), "I Got Rhythm" ("Tenor Conclave"), and two old standards. (The originals are by Mobley.) Rather than the stylistic differences, what stands out here is the compatibility and spirit of the four meeting on this common ground in an uncommon session.
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Art Taylor – Taylor’s Wailers (Mono)
58,00 €Add to cartIn 1956 drummer Art Taylor formed a group called Taylor’s Wailers. Donald Byrd and Charlie Rouse were members of the working group that debuted at The Pad, a Greenwich Village nightclub on Sheridan Square booked by Bob Reisner, the man who had run the legendary Open Door Sessions. In 1957 Taylor recorded the Wailers for Prestige, adding the alto saxophone of Jackie McLean to the front line. Two of the highlights are the Thelonious Monk compositions, “Well, You Needn’t” and “Off Minor,” with arrangements by Thelonious himself. One track, “C.T.A.,” by Jimmy Heath, is from another session featuring John Coltrane backed by Red Garland, Paul Chambers, and Taylor, a potent Prestige studio combination in those days. There have been many distinguished drummer-leaders in jazz. One expects their groups to be rhythmically exciting. Taylor’s Wailers are no exception to this swinging heritage.
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Jackie McLean – 4, 5, and 6
58,00 €Add to cart"Analogue Productions' 200-gram mono LP reissues of Jackie McLean's first two Prestige albums prompts us to reevaluate this hard-swinging jazzman. ... The only way McLean's bright, biting sound was ever heard to better advantage was live." Sonics = 5/5; Music = 3.5/5 — Duck Baker, The Absolute Sound, April 2013 This LP for Prestige helped establish alto sax giant McLean on the jazz scene. He was joined by trumpeter Donald Byrd (who shines with the altoist on Charlie Parker’s “Confirmation”) and tenor saxophonist Hank Mobley (also bopping hard on the tune), in a date solidified by McLean’s rhythm section: Mal Waldron on piano, Doug Watkins on bass and Arthur Taylor on drums. McLean also plays ballads, including Waldron’s sublime tune “Abstraction.” Writing in the original notes, Ira Gitler said, ”Jackie McLean is musically coming of age. His playing, out of Charlie Parker and Sonny Rollins, has become a personalized, more individual voice in 1956 and he has not lost any of the basic emotion, swinging qualities that help his style live up to the second syllable of his last name so well.”
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Phil Woods and Donald Byrd – The Young Bloods (Mono)
58,00 €Add to cartFor this early hard bop date, altoist Phil Woods and trumpeter Donald Byrd were co-leaders. In fact, the music had at one point earlier on been released with Byrd getting first billing. Yet Woods, the spirited altoist, contributed four of the six tunes (including “House of Chan” and “In Walked George”) and consistently takes solo honors on the record. With pianist Al Haig (who did not record that extensively during this period), bassist Teddy Kotick and drummer Charlie Persip offering stimulating accompaniment, All Music Guide says “This is an easily recommended release (despite its brief LP length) for straight-ahead jazz collectors.”
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John Coltrane – Lush Life (Mono Version)
58,00 €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. ... Lush Life mixes ballads (like the beautifully read title track) with up-tempo tunes, and the sound here is sweet, airy and open, with an especially lovely capturing of Coltrane's tenor and the lively percussion." — Wayne Garcia, The Absolute Sound, December 2015 Here is one of the musical giants of the 20th century, poised on the precipice of greatness. Between the spring of 1957 and the winter of 1958, during which time Lush Life was recorded, the music of tenor saxophonist John Coltrane (1926-1967) was developing in giant steps, thanks in great part to a six-month 1957 stint with Thelonious Monk that had much to do with sharpening Coltrane’s harmonic conception and torrential attack. Lush Life contains Coltrane’s first recordings as sole leader, his initial date fronting a pianoless trio, and one of his first extended readings of a ballad, Billy Strayhorn’s resplendent title track. We also hear him at the helm of a quartet and quintet, featuring pianist Red Garland, with trumpeter Donald Byrd, bassist Paul Chambers and drummer Louis Hayes added to “Lush Life.” Coltrane handles the tune’s delicate complexities with infinite style and finesse. Coltrane and jazz would never be the same.
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Jackie McLean – Jackie’s Pal (Mono)
58,00 €Add to cartThe perennially underrated Bill Hardman (1932-90) was one of the unsung trumpet heroes of the modern era. His raw sound and tense, “running” attack were featured in three separate editions of Art Blakey’s Jazz Messengers, the first and most memorable of which found him sharing the front line with Jackie McLean and Johnny Griffin. McLean, who was already an established Prestige artist, gave Hardman the spotlight on this 1956 blowing date, recorded with a blue-ribbon rhythm section after the pair left Charles Mingus’s workshop and before they joined Blakey.
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George Wallington Quintet – Jazz For The Carriage Trade (Mono)
58,00 €Add to cartBesides his importance as one of the first bop pianists, a major jazz composer, and a prototypical trio player (as heard on The George Wallington Trios), for a time pianist George Wallington was also a New York combo leader and talent scout on the order of Art Blakey and Miles Davis. This 1956 session comes from the period when Wallington was musical director at the Cafe Bohemia in Greenwich Village, where the present quintet introduced then-young lions trumpeter Donald Byrd and alto saxophonist Phil Woods to jazz’s major leagues.
For this reissue, bassist Teddy Kotick and drummer Art Taylor complete the group on a program that includes three standards (“Our Delight,” “Our Love Is Here to Stay” and “What’s New”), a pair of Woods originals (“Together We Wail” and “But George”) and Frank Foster’s “Foster Dulles.” All Music Guide says “The music falls between bebop and hard bop with Woods sounding quite strong while Byrd comes across as a promising (but not yet mature) youngster. A fine example of this somewhat forgotten but talented group, easily recommended to bop collectors.”
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Phil Woods Quartet – Woodlore (Mono)
58,00 €Add to cartAlto saxophonist Phil Woods had recorded with Jimmy Raney and with his own quintet featuring trumpeter Jon Eardley but this was the first date where he was carrying the load as the lone horn, and also his first strictly-for-12-inch LP. Considering this date was done in November 1955, more than 45 years ago, it holds up exceedingly well. Phil always had all the musical tools. He has continued to develop as an artist but was already very accomplished. The swift, minor-key version of “Get Happy” and the intense blues-saying of “Strollin’ with Pam” are two particularly outstanding examples. Woods also swings hard on three standards, "Slow Boat to China," "Be My Love," and "Woodlore." Pianist Johnny Williams was a Bud Powell disciple who, like a lot of other young pianists, had latched on to Horace Silver. His way of accompanying reflected this in its funky, rolling quality.
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Jackie McLean – Lights Out! (Mono)
58,00 €Add to cart"Analogue Productions' 180-gram mono LP reissues of Jackie McLean's first two Prestige albums prompts us to reevaluate this hard-swinging jazzman. ... The only way McLean's bright, biting sound was ever heard to better advantage was live." Sonics = 5/5; Music = 3.5/5 — Duck Baker, The Absolute Sound, April 2013 A perpetual favorite among Jackie McLean’s earlier recordings, Lights Out finds the hard-swinging young alto saxophonist in 1956 still very much under the wing of Charlie Parker, who had died less than a year earlier. Yet McLean was beginning to find ways out of the seductive artistic security of Bird imitations. For one thing, he was experimenting with tonal variations. For another, he was working with Charles Mingus, and Mingus’s genius as a leader included forcing musicians to look deeply into their most cherished stylistic practices. The McLean of Lights Out is the hot young bebopper with a slightly acid edge to his sound and a solid blues foundation under everything he played. McLean and trumpeter Donald Byrd occasionally engage in the "pecking" technique of mutual improvisation they developed as members of the George Wallington Quintet.
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John Coltrane – Soultrane (Mono)
58,00 €Add to cart"Originally released in 1958, this was Coltrane's third studio recording for Prestige, and was completed three days after his participation in the Miles Davis Milestones sessions. With Red Garland on piano, Paul Chambers on bass and Art Taylor on drums, we have an all-star quartet that serves Coltrane well. ... Superb dynamics. Amazing clarity and definition. Another dead quiet and flat pressing by QRP. Soultrane is an excellent point to jump back into the Prestige series. By the way, be forewarned that Chad plans on rolling out a total of 25 titles. You might want to bookmark that Acoustic Sounds website. Highly recommended!" — Robert S. Youman, Positive Feedback, Issue 120, April 14, 2022 "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. ... Soultrane finds Red Garland on piano, Paul Chambers on bass and Art Taylor behind the kit, and the music is mostly driving jazz. Sonics here are also excellent, with a clear, solid presence and a nice, fat saxophone sound. Here's a case where I had an earlier Analogue Productions 45 RPM pressing at hand, and to my surprise the new edition is more transparent and detailed, with a greater sense of air and 'bloom' around the instruments." — Wayne Garcia, The Absolute Sound, December 2015 This album continued the reinforcement of Coltrane’s importance as a stylist. As in Coltrane and John Coltrane and the Red Garland Trio, his first two albums as a leader for Prestige, the material in Soultrane is away from the ordinary. The Garland–Paul Chambers–Arthur Taylor rhythm section is a perfect accompanying unit for Trane who, by this time, was acknowledged to be — along with Sonny Rollins — one of the two most influential tenor saxophonists in jazz.
Soultrane opens with an exploration at length of "Good Bait," a Tadd Dameron-Count Basie collaboration, first recorded by Dizzy Gillespie in the 1940s. The way Coltrane plays the turns in the melody gives it a slight minuet flavor, complimented by solos by Garland and Chambers in the same, solid groove. "I Want To Talk About You" is a ballad written and originally recorded by Billy Eckstine in the mid-1940s. It’s entirely new to jazz interpretation. Side Two opens with a Joe Stein-Leo Robin tune, "You Say You Care," never heard before this in a jazz context. Trane makes the most of chord changes in a swinging, medium-up setting. "Theme For Ernie" is a smoldering ballad dedicated by Philadelphian Freddie Lacey to Ernie Henry, the ex-Gillespie alto saxophonist who died suddenly in December 1957. Red begins the final track "Russian Lullaby" with an out-of-tempo introduction before Coltrane comes ripping in. Taking this and Coltrane’s prior interpretation of "Soft Lights And Sweet Music," it seems as though the boys like to play their Irving Berlin at high velocity. Because of the astounding Coltrane solo works that both precede and follow Soultrane — most notably Lush Life and Blue Train — All Music Guide says this album has "perhaps not been given the exclusive attention it so deserves." -
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The Red Garland Quintet – All Mornin’ Long (Mono)
58,00 €Add to cart"Like so many of these old Prestige jazz recordings, this is another LP of great music and really good sound. ... Even though Red Garland is not the biggest name on this list of all-time great jazz musicians, he is most definitely the real start of this LP. The music is everything you would expect from such iconic jazz players, and the solos by Coltrane and Byrd are equally great. Add to this the superb job that Analogue Productions and Kevin Gray have done and you have a really great musical experience waiting for you." — Jack Roberts, dagogo.com, June 2013 "Despite Coltrane's involvement, the real star of the show is Garland, whose block chord method of playing is on full display, and his solos are what make this a standout recording. That's not to say that Coltrane and Donald Byrds' fine solos aren't fascinating looks at Byrd's early development and Coltrane's sheets of sound period. It's perfect for Analogue Productions' program of bringing us very desirable classics that didn't quite fit into the 45 RPM blockbuster sound program. Kevin Gray's mastering of this title is masterful and compares well with the original. The new 33 RPM series from Analogue Productions has yet to produce anything less than a great version of wonderful music." — Recording = 8.5/10; Music = 9.5/10 — Dennis D. Davis, Hi-Fi +, Issue 96 Some groups have existed only in the recording studio but have produced music of lasting value. This quintet, under pianist Red Garland's leadership, actually did play some gigs around New York in the fall of 1957, but even if it hadn't, the rapport in the studio would still have been powerful. Beginning with the association of Garland and sax master John Coltrane in the Miles Davis Quintet and continuing with Arthur Taylor's trio connection with Garland, and trumpeter Donald Byrd's having worked with all of them in one form or another, there was enough of a common spirit in the musical attitudes of all the participants. The title blues spans an entire side; the overleaf is shared by Gershwin's "They Can't Take That Away from Me" and Dameron's "Our Delight."
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The Prestige All Stars – All Night Long (Mono)
58,00 €Add to cart"...they attempt to be as faithful to the original LPs as possible. They are remastered from the original mono or stereo tapes, come in authentic glossy 'tip-on' jackets, retain the flat edge of original pressings... What they don't have is the cost of original pressings. So many of the titles in the series fall into the several-hundred-dollar range in near-mint condition, a few topping out in the thousands, making the $30 price of each Analogue Productions LP seem like a bargain if they deliver sonically, which they do in abundance. ... both (this title and Coltrane were pressed at Quality Record Pressings (QRP) and continue the excellence for which this newest pressing plant has become known: nonexistent surface and groove noise and the sharp delineation of musical detail. — Music = 3.5/5; Sound = 3.5/5 — Marc Mickelson, The Audio Beat, Feb. 12, 2013. "The mono sound is pure of tone and wonderfully balanced, which adds to the sense of camaraderie that permeates this session." Sonics = 4/5; Music = 4/5 — Wayne Garcia, The Absolute Sound, January 2013 "Recorded by Rudy Van Gelder in glorious mono in his parents' Hackensack New Jersey living room, the sound is excellent ... Analogue Productions and Kevin Gray have done a fine job in remastering the tapes, and the packaging is gorgeous." Recording = 8/10; Music = 9/10 — Dennis D. Davis, Hi-Fi +, Issue 92 One of the great jam session recordings of the 1950s, All Night Long was under the relaxed direction of Kenny Burrell. The guitarist gathered together some of the finest young players on the New York scene, including Donald Byrd on trumpet and tenor saxophonists Hank Mobley and Jerome Richardson, one of the unsung heroes of the flute in jazz. Mal Waldron, Doug Watkins and Arthur Taylor were the rhythm section. The musical formats were uncomplicated; "All Night Long" a blues with a bridge, Waldron’s "Flickers" a 16-bar pattern, Mobley’s two originals based on familiar 32-bar chord sequences. From these simple, classic bases were launched performances with the hallmarks that have long identified any Burrell project: Relaxation, swing and high standards of musicianship.
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Hank Mobley – Mobley’s 2nd Message (Mono)
58,00 €Add to cartThe session for Mobley’s 2nd Message was recorded in July 1956, just one week after Mobley’s Message was recorded. The album features performances by Mobley, Kenny Dorham, Walter Bishop, Doug Watkins, and Art Taylor. Hank Mobley, tenor saxophone Kenny Dorham, trumpet Walter Bishop, piano Doug Watkins, bass Art Taylor, drums
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Willie Dixon & Memphis Slim – Willie’s Blues (Stereo)
58,00 €Show itemSince the early 1950s, Willie Dixon has been the studio kingpin of Chicago blues, having written, produced, and played bass on countless classics by Muddy Waters, Howlin’ Wolf, Otis Rush, Koko Taylor, and many others. Dixon has always managed to find time away from the studio to work as a performer, slapping his upright bass and singing his own tunes in a highly compelling, conversational baritone. He was working the coffeehouse circuit with pianist Memphis Slim when he cut this, his first album as a leader, in 1959. Besides his unique interpretations of “Nervous” and “Built for Comfort,” it includes eight lesser known compositions from Dixon’s prolific pen. It is unlike all other albums by Dixon, as he and Slim are accompanied, not by the usual crew of Chicago blues players, but by a group of New York mainstream jazzmen, including tenor saxophonist Hal Ashby, guitarist Wally Richardson and drummer Gus Johnson.
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Booker Ervin – Exultation! (Stereo)
58,00 €Add to cartBoth 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. Intensity marked everything that Booker Ervin played. In his harmonic concept, slashing attack, and broad Texas sound, Ervin demanded attention and constantly built improvisations of searing drama and epic sweep. His primary legacy is a series of albums recorded for Prestige in the 1960s, of which this was his first, a riveting quintet recital where the alto saxophone of Frank Strozier supplies an urgent complement and the rhythm section is piloted by Horace Parlan, Ervin’s longtime compatriot from their days together in the Charles Mingus Jazz Workshop and in a cooperative quartet that worked at Minton’s Playhouse. In addition to four inspiring originals by Ervin and drummer Walter Perkins, the session features an eloquent reading of Fats Waller’s immortal "Black and Blue" and an exploration of the show tune "Just in Time." Both the latter and "No Land’s Man" are included in two versions, the shorter of which were cut for release as a 45 single.
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Cannonball Adderley Quintet – In Chicago
44,00 €Show itemTwo saxophone gods join together before creating future masterpieces on their own! Instead of the usual trumpet of Nat Adderley in the front line on this classic 1959 album, it's the tenor saxophone of John Coltrane on the left, and Cannonball Adderley's alto sax on the right. It's a studio recording with Wynton Kelly leading the Miles Davis rhythm section. They join together seamlessly. With Bill Evans substituting for Wynton Kelly on most tracks, these musicians would record the classic album Kind of Blue (1959), with regular employer trumpeter Miles Davis, shortly after this session. "Altoist Cannonball Adderley and tenor saxophonist John Coltrane really push each other on these six selections... Coltrane's very serious sound is a striking contrast to the jubilant Adderley alto... With pianist Wynton Kelly, bassist Paul Chambers and drummer Jimmy Cobb playing up to their usual level, this gem is highly recommended." 4.5/5 stars, Scott Yanow, AllMusic 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: John Coltrane, tenor sax Cannonball Adderley, alto sax Wynton Kelly, piano Paul Chambers, bass Jimmy Cobb, drums
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Jimmy Witherspoon – Evenin’ Blues (Stereo)
58,00 €Show itemThis relaxed, rather informal August 15, 1963, session is one of Jimmy Witherspoon’s rarest and was the only time that the great Arkansas shouter recorded with T-Bone Walker, the Texas-born father of electric blues guitar. In an unusual appearance as a sideman, Walker contributed his trademark brittle-toned solos, obbligatos, and “from the five” intros to a set of tunes that included such standards as “Money’s Gettin’ Cheaper” (a ’Spoon favorite since he borrowed it from Charles Brown in the late Forties), “How Long Blues,” “Good Rockin’ Tonight,” “Kansas City,” and “Don’t Let Go.” And adding further Texas seasoning was San Antonio saxophonist Clifford Scott, best known for his distinctive solos on “Honky Tonk” and other Bill Doggett hits, who not only played tenor (as the original credits indicate), but blew searing alto on “Grab Me a Freight” and flute on ’Spoon’s reading of the haunting title track, a blues ballad previously associated with both Jimmy Rushing and Walker. With Clifford Scott, Bert Kendrix, T-Bone Walker, Clarence Jones and Wayne Robertson.