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Bill Evans – Trio ’64
44,00 €Add to cartThere's scarcely a more towering figure in modern jazz — save Miles and Coltrane — than the great Bill Evans. His relaxed and emotional style at the piano would prove influential to not only his peers but to generations of pianists who would follow him. It also doesn't hurt, points out thejazzrecord.com, that he appeared on (and had great influence over the direction of) Kind Of Blue and that the two LPs from his trio's landmark stint at the Village Vanguard in 1961 (Waltz For Debby and Sunday At The Village Vanguard) are both stone-cold classics. The excellent Trio 64 marked Evans' first trio album after a move to Verve from his previous home at Riverside Records. While the work Evans' did with his first trio featuring Scott LaFaro and Paul Motian (particularly the Village Vanguard recordings) remains by far his most popular and lauded work, even after LaFaro's tragic death in 1961 he continued to improve upon and refine his particular brand of soulful and introspective playing. Trio 64 marked a reunion with Motian and Evans' only recorded work with the talented bassist Gary Peacock. The album matches up with Evans' finest trio sessions, with his shimmering piano lines dancing between Peacock's sharp bass lines and Motian's usual sublime work on the drums. Peacock was a perfect match for Evans, he was a kindred spirit when it came to not simply following the musical trends of the day, as evidenced by his time spent with the likes of Albert Ayler and Paul Bley a few years after the recording of Trio 64. The song selection shows how Evans was able to take even the most rote pop songs of the day and transform them into unabashed works of modern jazz. Is there another pianist of the era who would attempt a take on "Santa Claus Is Coming To Town" (the album was recorded December 18th, so why not throw in a Christmas tune) or "Little Lulu" (the theme from a 1940s cartoon of the same name) and so successfully have them come off as if they were jazz standards all along? Even more impressive is that this was the first time that Evans had played with Peacock, and yet there is no sense of hesitation in either musician's interaction with each other, it sounds like they've been playing together for years.
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Art Pepper – +11
44,00 €Add to cartCraft Recordings and Acoustic Sounds are proud to announce the Contemporary Records Acoustic Sounds series, which begins with six 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. Kicking off the series is Art Pepper's +Eleven: Modern Jazz Classics. Throughout the 1950s, '60s and '70s, Lester Koenig's artist-friendly Los Angeles-based audiophile jazz label documented career-defining performances by some of modern jazz's most influential and accomplished improvisers, including Ornette Coleman, Sonny Rollins, Harold Land and Benny Golson. No musician is more closely identified with Contemporary than Pepper, whose cool tone and simmering lyricism made him one of the very few mid-century alto saxophonists to forge a path independent of bebop patriarch Charlie Parker's pervasive influence. Produced by Koenig and recorded in 1959, Art Pepper +Eleven: Modern Jazz Classics is one of the saxophonist's masterpieces. Featuring brilliant arrangements by Marty Paich, the album elaborates on the lush but lithe sound introduced by the epochal Birth of the Cool sessions, which Miles Davis started to record almost exactly a decade earlier (like Birth, +Eleven kick offs with Denzil Best's "Move"). Surrounded by the cream of the LA scene, including fellow saxophone masters Herb Geller, Bill Perkins and Med Flory, Pepper brings all his scorching lyricism to a program of modern jazz standards by Horace Silver, Thelonious Monk, Gerry Mulligan and Sonny Rollins.
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Bill Evans – Trio ’65
44,00 €Add to cartThere's scarcely a more towering figure in modern jazz — save Miles and Coltrane — than the great Bill Evans. His relaxed and emotional style at the piano would prove influential to not only his peers but to generations of pianists who would follow him. It also doesn't hurt, points out thejazzrecord.com, that he appeared on (and had great influence over the direction of) Kind Of Blue and that the two LPs from his trio's landmark stint at the Village Vanguard in 1961 (Waltz For Debby and Sunday At The Village Vanguard) are both stone-cold classics. Evans is joined here by none other than bassist Chuck Israels and drummer Larry Bunker for this 1965 recording. The album includes the heart-wrenching "Who Can I Turn To?" alongside "If You Could See Me Now" and Johnny Carisi's "Israel." "Although all eight of the selections heard on this Verve release have been recorded on other occasions by pianist Bill Evans, these renditions hold their own," writes AllMusic. Musicians: Bill Evans, piano Chuck Israels, bass Larry Bunker, drums
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Sonny Rollins – On Impulse
44,00 €Add to cart"If anything, Sonny Rollins on Impulse! feels as if it were a recording Rollins had to get out of his system. But thank goodness for us because it's a winner through and through." — 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' new 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. In 1965 and 1966, tenor giant Sonny Rollins issued three albums for the Impulse! label. They were his last until 1972 when he re-emerged from a self-imposed retirement. Here on this July 8, 1965 date, Rollins attacks five standards with a quartet that included pianist Ray Bryant, bassist Walter Booker and drummer Mickey Roker. Rollins digs deeply into pulse and rhythm, leaving melody to take care of itself. AllMusic says "This is not a 'new thing' date but instead focuses on playing according to the dictates of the rhythm section and on interchanging with Booker and Roker, leaving much of the melodic aspect of these tunes to Bryant. Rollins could never quite leave the melody out of anything he played because of his intense gift as a lyrical improviser; he nonetheless stripped his approach back and played tunes like 'On Green Dolphin Street' by improvising according to theme rather than strict melody, where his interplay with the rhythm section becomes based on the dynamic and shifting times played by Roker. While things are more intimate and straight on 'Everything Happens to Me,' he nonetheless plays the edges, filling the space like a drummer. Melody happens throughout, the tune is recognizable, but it is stretched in his solo to a theme set by the shimmering cymbals and brushed snare work of Roker. The oddest cuts in the set are the last two; spaced out readings of 'Blue Room,' and 'Three Little Words'; they sound as if he were preparing the listener for a true change in his approach. "Melody gets inverted, with spaces and syncopation taking the place of notes. The swing is inherent in everything here, but it's clear that the saxophonist was hearing something else in his head, the way he squeezes notes tightly into some phrases where they might be placed elsewhere, and substitutes small, lithe lines inside Bryant's solos which dictate the harmonic intervals more conventionally with his singing approach. And speaking of rhythm, the album's hinge piece is the burning calypso 'Hold "Em Joe.' Here again, as Bryant's changes play it straight, Rollins shoves his horn inside them and draws out the beat on his horn over and over again."
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Ernest Ansermet – The Royal Ballet Gala Performances (2 LP + Book)
108,00 €Show item"Analogue Productions' Classic Records buyout brought with it metal parts for many albums, cut by Bernie Grundman, including for this record. ... AP chose to produce a new stamper using the "mother" cut from the original master tape by Bernie Grundman. ... I compared this 33 1/3 reissue to the Classic 33 1/3 reissue and to an original pressing that I'm lucky to own. ... The QRP pressing was definitely more open, extended and focused on top and transients were sharper though in a completely natural way. The Classic sounded somewhat softer and veiled. If you've got both, you'll hear it in the percussive transients first and then consistently throughout. ... If this is one of your "go to" sonic spectaculars and you have other versions, you ought to consider adding this one, though you'll have to wait for the re-re-press. Both the sound, including dead quiet vinyl, as well as the packaging are first-rate." — Music = 11/11; Sound = 11/11 - Michael Fremer, AnalogPlanet.com. To read Fremer's full review, click here. In the hearts of thousands, No. 1 on the Top RCA list. While the bulk of Ansermet's recordings were made with L'Orchestre de la Susise Romande, there were a few with the Paris Conservatoire Orchestra and the very occasional foray into recordings with London orchestras, one of these being with the Orchestra of the Royal Opera House, Covent Garden, in 1959. Analogue Productions is proud and excited to be bringing back such a classic. Not just for the music, which is superb, but also for the detailed packaging, which in this case takes the form of a 22-page lavishly illustrated book that's integrated into the tip-on gatefold jacket. If you're new to ballet, this pictorial history will introduce you to some of its most famous productions — old favorites such as The Nutcracker, Swan Lake and The Sleeping Beauty, for example — but also less familiar tales such as Carnaval, Les Sylphides and Coppélia. You'll also make the aquaintance of famous ballerinas of the Royal company, such as Margot Fonteyn, Nadia Nerina and Beryl Grey. as well as choreographers such as Jules Perrot and male dancers Alexis Rassine and Michael Somes. Musically you can't get better than the 180-gram dead-silent platters pressed by Quality Record Pressings, makers of the world's finest-sounding LPs. Of course the best vinyl reflects the best mastering, and that's accomplished here by Bernie Grundman working from the original analog tape. Stoughton Printing expertly handled the intricate gatefold tip-on package. Audiophilia Online Magazine wrote: "This is the stuff of which dreams are made. The Royal Ballet Gala is one of the finest RCAs recorded in London's Kingsway Hall. The chunks of great ballet music are well served by orchestra, conductor and engineer. Performances are executed to a very high standard - the Royal Opera House Orchestra, both then and now, rank as one of the finest of opera orchestras. "Conductor Ansermet keeps the pace moving, giving the listener the impression of a dance event rather than a dramatic concert hall reading. With the exception of some of the Tchaikovsky scenes, the music is light and remains so under Ansermet's gentle touch. Each ballet is given full attention by the players, something not always attained at Covent Garden during long ballet nights! The threat of eternity does have it's merits. The recorded sound is simply amazing! Lustrous is one word that comes to mind, accurate is another. "Tonally, Messrs. Williamson and Wilkinson have used their considerable talents to capture the orchestra superbly. Woodwind and strings glow and resonate, transporting this listener to a time when simpler recording was better. Brass ring out thrillingly and percussion effects are very musical. Be it a bang, swish, rattle, crack or snap, each percussionist is situated perfectly within the beautiful Kingsway soundstage. Even the difficult-to-record sound of the celeste is captured in it's purely mechanical form. It's delicate sound is heard to great effect during the Nutcracker - originating stage left, the sound decays across the stage of Kingsway with sparkling beauty. Wonderful."
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Pharoah Sanders – Karma
44,00 €Add to cartVerve and Universal Music Enterprises are continuing their analogue-only reissue series this year. The 2022 calendar for Acoustic Sounds includes refreshed releases from a lineup of jazz greats. This year's forthcoming releases include: Ella Fitzgerald & Louis Armstrong's Ella & Louis, Duke Ellington & Coleman Hawkins' Duke Ellington Meets Coleman Hawkins, and Pharoah Sanders' Karma. The Acoustic Sounds series was introduced in 2020 and releases LPs stereo remastered from original analog tape recordings and pressed on 180-gram vinyl at Quality Record Pressings. Released in May of 1969, Karma was the famed tenor saxophonist's third Impulse! Records album and is now seen as a milestone of the Spiritual Jazz movement. A natural progression in the sonic exploration that Sanders, along with John Coltrane and Alice Coltrane, had spearheaded throughout the previous five years, the album features two tracks, the 32-minute-long "The Creator Has A Master Plan," and "Colors." Filling the entire A-Side of the LP, "Creator," co-composed by Sanders with vocalist Leon Thomas, is as close as Spiritual Jazz comes to having its own anthem. Meanwhile, the lone B-side track, "Colors," is no less transfixing. This reissue honors the late jazz legend who passed away in September at the age of 81 and concludes the series for 2022. The nearly two dozen releases from the series to date feature many of the timeless, classic albums from the Verve Label Group's stable of labels including Decca, EmArcy, Impulse! Records, Philips Records and Verve.
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Roger Waters – Amused To Death (45 RPM 180 Gram 4 LP Box Set)
172,00 €Add to cartThis audiophile favorite — and a brisk seller since its Analogue Productions 33 1/3 reissue in 2015 — is back with an upgrade. Now a 45 RPM 4LP 180-gram set, the remastered audio completed by longtime Roger Waters / Pink Floyd collaborator and co-producer James Guthrie is chillingly detailed — every cricket chirp and dog bark on this distinctive album has even more sonic intensity and dimension. An unblinking look at an entertainment-obsessed society, Amused to Death addresses issues that have only grown in complexity and urgency over the past two decades. With Amused to Death, Roger Waters sounded the alarm about a society increasingly — and unthinkingly — in thrall to its television screens. Twenty-three years later, Amused to Death speaks to our present moment in ways that could scarcely have been anticipated two decades ago. In 2021, television is just one option in an endless array of distractions available to us anytime, anywhere, courtesy of our laptops, tablets and smartphones. With eyes glued to our screens, the dilemmas and injustices of the real world can easily recede from view. The 2021 4LP 45 RPM 180-gram vinyl edition of Amused to Death features remastered audio completed by longtime Roger Waters / Pink Floyd collaborator and co-producer, James Guthrie, and has been pressed at Quality Record Pressings. The updated cover and gatefold art is by Sean Evans, the creative director of Waters’ 2010-2013 “The Wall Live” tour and movie.
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Ella Fitzgerald and Louis Armstrong – Ella & Louis
44,00 €Add to cart"As with all the Acoustic Sounds releases I've reviewed here on Analog Planet thus far, this new production company is exemplary overall. The pressing is top-notch, manufactured on thick, dark black 180-gram vinyl that is quiet and well-centered. Overall, Ella's warm, melted-buttery voice makes for a tasty contrast when poured over Pops' more angular salty popcorn-crunch vocals. Add in Satch's rich round trumpet playing, and you've got the formula for a sweet sonic taste sensation." — Music = 10/11; Sound = 8/11 — Mark Smotroff, AnalogPlanet.com. To read the full review click here. "The classic jazz album that brought Ella Fitzgerald and Louis Armstrong together for the first time as they recorded their version of extraordinary standards." — Wax Time The evening before Louis Armstrong recorded this album, both he and Miss Fitzgerald were appearing in an all-star concert also featuring Art Tatum and Oscar Peterson that was recorded for an album titled Live At The Hollywood Bowl (1956). The following day the two singers, along with the Oscar Peterson Trio, were in a Los Angeles studio to record this gem of an album. With no time for rehearsals the songs were all set in Louis' key to make it easier, but this in no way inhibits Ella's performance. Another challenge for Pops was the fact that the material was not his normal repertoire, meaning he had to learn things on the fly in the studio. Again there's no hint of any issues, which all goes to highlight Armstrong's innate musical ability.
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Muddy Waters -Folk Singer
58,00 €Add to cartFollow along as writer/professor Wayne Goins explores the creation of Folk Singer, and leads a visual tour of the former Chess Records studios, here. There are a handful of landmark albums in any genre. In the blues, one of them is Muddy Waters' Folk Singer. It's been an audiophile staple for years. Originally released in 1964, Folk Singer was the only acoustic album Waters ever recorded, thus becoming the first and perhaps best blues concept album ever. Muddy of course started out playing acoustic blues in the Delta, and he's clearly very comfortable in this return to his roots, which was designed to appeal to the mid-1960s surge of interest in folk music. Muddy's supporting cast includes a very young Buddy Guy on guitar, Willie Dixon at the upright bass and Clifton James on drums. This recording has enormous presence with ample room for Muddy's booming voice to resonate. Praise for our 45 RPM edition of Folk Singer: "The Quality Record Pressing is drop-dead quiet-as silent as the best Japanese pressings from the late 1970s-and the amount of inner detail released is simply astonishing...the sound is sweet, liquid and free of harshness and edge. The dynamics are mind-boggling. When Muddy takes it up ten notches to emphasize a point it's positively explosive in a way the 33 1/3 version only suggests." Music = 9/10, Sound = 10/10! — Michael Fremer, musicangle.com. "How about a 45 RPM set from Analogue Productions' recently launched Quality Record Pressings Facility, mastered by Bernie Grundman, in a beautiful gatefold jacket with extra sessions shots? It's been ages since I've heard LP surfaces this quiet — as in dead quiet. The expense and effort that Chad Kassem and company put into this venture are immediately obvious. ... Making music together bring this recording to life as never before. It's by far the best sounding and most engaging version yet... analog lovers will be in hog heaven." — Wayne Garcia, The Absolute Sound, May/June, Issue 223
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Oscar Peterson – We Get Requests
44,00 €Add to cartThis reissue delivers on so many levels, and is in every way better than my original 1960s-era vinyl pressing. The LP was mastered in stereo from the original analog tapes by Ryan K. Smith at Sterling Sound, and pressed on 180g vinyl at Quality Record Pressings (QRP). The list price is $38.98, and it’s worth every penny." — Music = 9/11; Sound = 10/11 — Mark Smotroff, Analog Planet, Aug. 5, 2022. Read the entire review here. When Jim Davis started producing records at Verve, he changed the company's recording philosophy toward its most prolific instrumentalist. Where Norman Granz had produced countless Oscar Peterson albums dedicated to the popular song, Davis was more interested in making albums closer to how the Peterson trio sounded live. By then the Peterson trio with bassist Ray Brown and drummer Ed Thigpen had been together for five years and performed like a well-oiled machine. Listeners here are treated to mostly pop songs of the day, including bossa nova tunes and film themes, and the treatments are fairly brief, with emphasis placed squarely on the melodies. Originally released in 1964.
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Eric Dolphy – Out There (Stereo)
58,00 €Add to cartIn 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.
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John Coltrane – Ballads
44,00 €Add to cart"(Ballads) is an album that will never go out of style and never be unwelcome on any jazz lover's turntable. ... I compared this Ryan K. Smith cut with an original pressing (so happy to have) and with the out of print double 45 RPM ORG Music version cut by Bernie Grundman aboutt a decade ago. ... Ryan's cut has his characteristic clarity and transparency all set against QRP's usual jet black backgrounds ... Ryan's new cut is a 100% top to bottom success and is easy to recommend." — Music = 11/11; Sound = 10/11 - Michael Fremer, AnalogPlanet.com. Read Fremer's entire review here. 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' new 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. John Coltrane's immortal Impulse! records, A Love Supreme (1964) and Ballads (1963) both have drawn rave reviews since their original release. A.B. Spellman, former administrator for the National Endowment for the Arts, once described Ballads as "some of the most sensitive, heartfelt music that any lover ever sang on a horn." Put simply, most guys don't play the saxophone like John Coltrane. The intense passionate Coltrane interpretation of standards such as "All Or Nothing At All," "What's New," "It's Easy To Remember" and the Sinatra classic "Nancy (With The Laughing Face)" are the essence of Ballads. When asked why attempt such an undertaking, Coltrane replied "Variety." While it may have been a short detour by Trane before he exploded off into the nether regions of jazz music a few years later, it is still a fantastic document of one of the premier jazz groups of the 1960s. Recorded December 21, 1961 and September 18 & November 13, 1962 at Rudy Van Gelder Studios. "It's impossible to sleepwalk through tracks like "You Don't Know What Love Is" and "I Wish I Knew" and impart them with even a fraction of the emotional heft that the Quartet achieves. This is the type of jazz album in which the music just washes over the listener with it's restrained grace and beauty, and while it may not have the adventurousness that some listeners think Trane should have had each and every time he recorded, I'd say it shows off a side of him that only makes us appreciate his more bold and daring albums even more." — The Jazz Record
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Stevie Ray Vaughan – Couldn’t Stand The Weather
88,00 €Add to cartThe 45 RPM Analogue Productions reissue of Stevie Ray Vaughan's Couldn't Stand The Weather is so good, as are its 45 RPM companions — Texas Flood and Soul To Soul — that they truly represent what Gregg Geller, producer and A&R representative described as "the best replication of the master tapes to date." We've already brought you the 33 1/3 RPM box set Texas Hurricane featuring the greatest Stevie Ray Vaughan tribute ever reissued — six of Vaughan's most classic album titles remastered for ultimate blues and guitar fanatics. We've now taken the extra step and done 45 RPM versions of these three standout LPs. We've used the original 30 inches-per-second, half-inch analog master tapes for all of these albums. Ryan K. Smith at Sterling Sound cut the lacquers for the LPs using the ultimate VMS 80 cutting lathe. Gary Salstrom handled the plating and the vinyl was pressed of course at our Quality Record Pressings, maker of the world's finest-sounding LPs. Couldn’t Stand The Weather is the remarkable sophomore album by Stevie Ray Vaughan and Double Trouble. It follows their critically acclaimed debut, Texas Flood. Incorporating the same winning formula of musicianship and songwriting, Couldn’t Stand The Weather cemented Vaughan’s place as one of music’s greatest. It is their first to earn gold certification and their first platinum-seller. It includes breathtaking renditions of Clark’s “Cold Shot” and Hendrix’s “Voodoo Child.” A staple on the Billboard charts, this definitive masterpiece received praise from Entertainment Weekly, Q, Down Beat and many others. There's not a link in this production chain that wasn't absolute first-rate. The absolute best that money can buy. But beyond that we've poured our passion into this project. Acoustic Sounds is a big fan of the blues and Stevie Ray Vaughan. It's a big dream come true to work on this project and to make these records sound and look the best they ever have.
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Joan Baez – Recently
58,00 €Show itemIn 1987, the "Madonna of Folk" returned to U.S. record shops with a vengeance, delivering here interpretations of songs by Dire Straits, Johnny Clegg, U2 and Peter Gabriel — performers, writes AllMusic, whose political consciousness had been formed by listening to old Joan Baez albums. We've taken a classic and kicked it up a notch. Several notches, in fact. This 200-gram stunner, pressed at Quality Record Pressings, was expertly remastered by Kevin Gray at Cohearent Audio. Lacquer plating was by QRP's master technician Gary Salstrom, topped off by a heavy cardboard tip-on jacket from Stoughton Printing with vibrantly reproduced original artwork. How does it get any better? The title track from Recently is a stunning Joan Baez original, where she boldly answers ex-husband David Harris' downbeat memoir of the '60s, Dreams Die Hard, as well as other '80s revisionists. The track "Asimbognagna" was nominated for a Grammy Award for Best Contemporary Folk Recording.
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John Coltrane – Standard Coltrane (Stereo)
58,00 €Add to cart“The title could not have been more accurate. By 1962, Coltrane’s leadership role was undeniable; he was a standard-bearer of musical commitment, and intense, bold exploration. As well, all four tunes on the album were truly ‘standards’: 32-bar tunes originally crafted for Broadway or Hollywood projects, adopted by jazz instrumentalists to interpret and explore. There’s another meaning to be gleaned from the album’s title. In 1958, when Coltrane recorded the tracks, he often favored melodies that had attained popularity during his teen years—familiar and unfamiliar alike—all in a search to find new structures and fresh inspiration. This indeed was standard Coltrane—in ’58, and well into the ’60s.” — All Music Guide
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Billie Holiday – Songs For Distingue Lovers
44,00 €Add to cartIt is undeniable that Billie Holiday's singing changed in her later years. Her voice darkened and shifted to a lower range. Her economy of means distilled her sound to its expressive essence — a kind of heightened speech. The classic LP Songs For Distingue Lovers has also deepened and become burnished with time. Maybe it's that still-arresting word, "distingue"; maybe it's that iconic, tinted image of Lady Day on the cover. But now that legendary LP, with the singer's best studio work of the Fifties, is available through the Acoustic Sounds Series. Originally released in 1957. 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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Charles Mingus – Mingus Mingus Mingus Mingus Mingus
44,00 €Show item"The album features the two sides of Mingus' compositional genius: the beautiful balladry that I always feel has a bit of a film-noir feel to it, alongside those joyous upbeat numbers that are filled with an organized chaos that categorizes much of the bassist's best work. ... Throw in the fact that it also features Jaki Byard (who is just phenomenal on this recording and remains criminally underrated), Booker Ervin, Dannie Richmond and Eric Dolphy and you have some of Mingus' finest sidemen driving his compositions to the fantastical places they seemed preordained to go. ... Mingus, Mingus, Mingus, Mingus, Mingus is a record that has more than stood the test of time and is an everlasting testament to the talents of Mingus and the players who had the ability to follow his musical vision." — The Jazz Record Mingus, Mingus, Mingus, Mingus, Mingus was Charles Mingus' last major studio recording of the 1960s (the solo Mingus Plays Piano would also be released the same year in 1964) and it's a real treasure in the great jazz bassist's discography Two of the tracks ("Celia" and "I X Love") were recorded at the sessions for The Black Saint And The Sinner Lady, while the rest were laid down eight months later with a group that included Booker Ervin, Eric Dolphy and Jaki Byard (Byard also played on the two earlier tracks). Both sessions featured groups of 11 players, all of whom were in top form in performing Mingus' notoriously complex compositions, writes jazzrecord.com. All but two tracks on Mingus, Mingus, Mingus, Mingus, Mingus were re-interpretations of songs from the bassist's earlier catalog, only "Celia" rates as a new original number, and "Mood Indigo" is a cover of the famous tune by Mingus's hero Duke Ellington. If you happen to have lost your Mingus decoder ring, the remaining tracks correlate to their past counterparts as such: "II B.S." = "Haitian Fight Song" "I X Love" = "Nouroog" "Better Get Hit In Yo' Soul" = "Better Git It In Yo' Soul" "Theme For Lester Young" = "Goodbye Pork Pie Hat" "Hora Decubitus" = "E's Flat Ah's Flat Too" For Mingus, Mingus, Mingus, Mingus, Mingus Mingus collaborated with arranger/orchestrator Bob Hammer to score the music for the large ensemble of brass and saxophones. Recorded January 20 and September 20, 1963 in New York City. Musicians: On A2 & A3: Charles Mingus - Bass, Piano Jerome Richardson - Baritone Sax, Soprano Sax, Flute Dick Hafer - Tenor Sax, Flute Charlie Mariano - Alto Sax Rolf Ericson - Trumpet Richard Williams - Trumpet Quentin Jackson - Trombone Don Butterfield - Contrabass Trombone, Tuba Jay Berliner - Guitar Jaki Byard - Piano Dannie Richmond - Drums On A2, A4, B1, B2, & B3 Charles Mingus - Bass Dick Hafer - Tenor Sax, Flute, Clarinet Jerome Richardson - Baritone Sax, Soprano Sax, Flute Booker Ervin - Tenor Sax Eric Dolphy - Alto Sax, Flute Eddie Preston - Trumpet Richard Williams - Trumpet Britt Woodman - Trombone Don Butterfield - Tuba Jaki Byard - Piano Walter Perkins - Drums
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Harry Belafonte – Belafonte At Carnegie Hall
88,00 €Add to cart"Belafonte brought 'world' music to the masses, starting with 'Calypso.' ... By the time these two benefit concerts were performed on April 19th and 20th 1959, Belafonte had amassed a catalog of hits familiar to a wide swath of Americans. ... One can argue that originals are the best but not here. No way! Unlike the original pressings mastered from 2-track mix down from the 3-track original tape, Classic Records' reissue on both 33 1/3 and single-sided 45 RPM records and this new mastering are sourced directly from the 3-track tape. ... However, while I didn't think there was more to get from the tape than what Bernie Grundman got for Classic Records, I think Ryan K. Smith and the Sterling team have done just that, showcased by the utter black QRP backgrounds. ... it is among the greatest, if not the greatest live concert recordings ever made and Belafonte's and the orchestra's performances make it well-worth revisiting." Music = 10/11; Sound = 11/11 - Michael Fremer, AnalogPlanet.com. To read Fremer's full review, click here. AllMusic.com writes: "The grandaddy of all live albums, this double LP set captures the excitement of a Harry Belafonte concert at the height of his popularity. Sampled from two consecutive performances of identical material, Belafonte at Carnegie Hall was an anomaly at a time when only comedy albums were recorded outside of the studio environment. It wasn't the first live album ever made, but it was certainly the first to be a major financial and artistic success. It stayed on the best-selling album charts for over three years and remained in print until RCA discontinued pressing LPs." Well, 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 Smith at Sterling Sound from the original analog tapes. Then plating and presssing by Gary Salstrom and the crew at Quality Record Pressings, where the finest quality LPs in the world are pressed. But it doesn't stop there: We've enhanced the original studio photography and wrapped up the whole package in a deluxe "old-school" tip-on gatefold jacket from Stoughton Printing! 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. Producer Bob Bollard and orchestra leader Bob Corman deftly integrated the 47-piece orchestra into the performance but knew when to lie back to let Belafonte sing, accompanied by a small combo of two guitars, bass, and percussion. 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. From the opening trumpet fanfare and brief orchestral overture to the epic 12-minute version of "Matilda" (which set a standard for audience participation), the album never lets up. It is exciting, poignant, thrilling, intimate, and at times, spontaneously hilarious. Have a seat, sip a beverage and enjoy!
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Duke Ellington and Coleman Hawkins – Duke Ellington Meets Coleman Hawkins
44,00 €Add to cart"One of the great Ellington albums, one of the great Hawkins albums and one of the great albums of the 1960s." — The New York Times Even though Duke Ellington and Coleman Hawkins had both been well-known jazzmen since the early 1920s and continued to be successful until their deaths, their only recorded encounter was the LP Duke Ellington Meets Coleman Hawkins (Impulse AS-26), taped in 1962 and presented here in its entirety. Hawkins had been an admirer of Duke Ellington's music for at least 35 years at this point and Ellington had suggested they record together at least 20 years prior to their actual meeting in 1962. Although it would have been preferable to hear the tenor sax great performing with the full orchestra, his meeting with Ellington and an all-star group taken out of the big band does feature such greats as Ray Nance on cornet and violin, trombonist Lawrence Brown, altoist Johnny Hodges, and baritonist Harry Carney. High points include an exuberant "The Jeep Is Jumpin'," an interesting remake of "Mood Indigo," and a few new Ellington pieces. This delightful music is recommended in one form or another. Recorded at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey, on August 18, 1962 and released in February 1963 by Impulse! Records. Musicians: Coleman Hawkins, tenor sax Duke Ellington, piano Ray Nance, cornet and violin Johnny Hodges, alto sax Harry Carney, baritone sax and bass clarinet Aaron Bell, bass Sam Woodyard, drums
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Coleman Hawkins – Coleman Hawkins Encounters Ben Webster
44,00 €Add to cartAs critic Nat Hentoff makes clear, Coleman Hawkins and Ben Webster were larger than life. Formidable, even forbidding presences, they revealed a depth of feeling in their playing that spoke of their vast life experiences, as great writers or painters speak through their work. Recorded in 1957. 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: Coleman Hawkins, tenor saxophone Ben Webster, tenor saxophone Ray Brown, bass Herb Ellis, guitar Oscar Peterson, piano Alvin Stoller, drums
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Duke Ellington & John Coltrane – Duke Ellington & John Coltrane
44,00 €Add to cartThe classic 1962 album Duke Ellington & John Coltrane introduces the rising jazz saxophone innovator performing with the long-established piano institution Duke Ellington. "Perhaps looking to renew his inspiration or maybe simply wanting to broaden his horizons, Duke Ellington began a string of collaborations in the second half of his career — whereas before that, his own band was stimulus enough. Whatever the reason, almost all of his collaborations succeeded at high levels, although none of his shared sessions are more intriguing on the surface than this 1962 date with the preeminent sax star of the day. "In reality, the record amounts to 'Coltrane Plays Ellington' (plus one Coltrane original) because the tenor man is the whole show — and what a show it is. Only Coltrane could be as 'fiercely tender,' and there's no better forum for his sensitive side than the music of Ellington and Billy Strayhorn, who contributes the album's true vertex, 'My Little Brown Book.' The rhythm section alternates between Duke's and Trane's, each adding a different texture to the proceedings. Ellington is wise enough to appreciate the nature of the session, and he is quite content to feed chords in service of the young master--proving the old master's open mind and good taste. Hearing Coltrane seize 'In a Sentimental Mood' is thanks enough." — Marc Greilsamer At a gathering of Ellington band alumni organized by Jazz at Lincoln Center, bassist John Lamb recalled the sessions for Duke Ellington & John Coltrane: "There was no music on that whole date. Nobody had a chart. We came in and we were standing there, waiting to see what would happen. 'Trane would go and sit on the piano bench with Duke. They didn't talk, but Duke would be singing ... and 'Trane would go ... Then, after they did that for a few minutes, they got up. 'Trane would go to his microphone, Duke would start playing, and the rhythm section, we had to do for ourselves, you know. That's it. He didn't even tell you the key. He could communicate without words, and 'Trane could hear it." On "Take the Coltrane," the two play in a quartet of Coltrane's bandmates of the day, bassist Jimmy Garrison and drummer Elvin Jones (Ellington men Lamb and drummer Sam Woodyard also played on the album). — JazzIz Magazine Recorded on September 26, 1962 at Van Gelder Studio, Englewood Cliffs, New Jersey.
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John Coltrane – ‘Live’ At The Village Vanguard
44,00 €Add to cart"I listened to both sides of the Coltane VV LP. The s/n ratio on these superb pressings makes the music come alive like never before. I've listened to this album in so many forms: original vinyl, the first MCA reissues, also the MCA vinyl with the awful green labels. The way this album was mastered, the state-of-the-art pressings makes you realize that RVG actually did a superb job in capturing the on-stage magic of these live sessions. I never really thought that before! Congrats to Chad Kassem and all the team" — Tom Schnabel, Emeritus Producer, KCRW's Rhythm Planet "Two new Coltrane reissues on vinyl, from the partnership of Universal Music and Acoustic Sounds typify the breadth of (Coltrane's) range and the depths of his explorations. ... The sound quality of both, engineered by Rudy Van Gelder and mastered by Ryan Smith, is very good, with caveats. Vanguard is from a second LP master; the original tapes vanished long ago. ... This reissue lacks the full warmth and air of the original pressing, but good luck finding one. This is much better than any other reissue." — Fred Kaplan, Stereophile, April 2022 "If you get a chance to compare an original A-10 with this reissue you'll appreciate how fine this reissue sounds but you'll also hear greater texture to Coltrane's horn(s), far more 'room sound,' and especially cymbal 'ring'. The original is 'you are there' great, in part thanks to RVG's dozen microphone mixing, but you know what? If you never get to hear the original this reissue is 'you are there' great too." — Music = 11/11; Sound = 9/11 — Michael Fremer, AnalogPlanet.com. To read Fremer's full review, click here. Sax virtuoso John Coltrane "Live" at the Village Vanguard (Impulse! AS-10), was Trane's first official "live" album. Coltrane is joined here on two tunes by the wonderful Eric Dolphy on bass clarinet, plus veteran sidemen McCoy Tyner on piano, Elvin Jones on drums, and Jimmy Garrison & Reggie Workman alternating on bass. Right after the Village dates, Trane and Dolphy would embark on a successful European tour. Recorded live at the Village Vanguard, New York, November 2 & 3, 1961 Musicians: John Coltrane, tenor and soprano sax Eric Dolphy, bass clarinet on 1 & 5 only McCoy Tyner, piano Reggie Workman, bass on 1, 2, 5 & 6 Jimmy Garrison, bass on 3-5 Elvin Jones, drums
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Ella Fitzgerald and Louis Armstrong – Ella & Louis Again
62,00 €Show itemThis new reissue of Ella And Louis Again is a much-needed solution for audiophile-leaning jazz fans the world over. If you’ve ever gone looking for original pressings of this record, you know that it is hard to find in any condition. ... The two 'Ella And Louis Again' LPs in the set I’m reviewing here are thick, dark, quiet, and, most importantly (for me, at least), well-centered. Ryan K. Smith’s disc mastering is once again excellent, delivering a clean and punchy vinyl playback experience while sounding true to the release’s era." — Music = 10/11; Sound = 9/11 - Mark Smotroff, AnalogPlanet.com. Producer Norman Granz had a stroke of genius when he signed the jazz greats Ella Fitzgerald and Louis Armstrong to his Verve label. The duo that critics have called "A match made in heaven," take to the microphone here for a repeat on Ella And Louis Again, the sequel to 1956's acclaimed Ella and Louis. Ella's voice — radiant, warm, sweet as honey, and Louis' gritty, gravelly, croon formed a sound rife with commercial success. The sequel album was backed by the Oscar Peterson trio, with Louie Bellson replacing Buddy Rich on the drums. The 10-track album had seven tracks with solo singing and three duet tracks. Ella and Louis Again stood out from their first album and subsequent album Porgy and Bess. It focused more on the artist's voices rather than Louis' trumpet solos on Ella and Louis and didn't have a big band like the one featured in Porgy and Bess. This focus truly brought the voices of the two icons center stage, where they were able to perform in perfect black and white contrast. The Oscar Peterson trio did not go unnoticed, however. They were mentioned as a "solid rhythm section" by Alex Henderson at AllMusic. Ella and Louis Again will rein down in history as being an important piece to what could be considered the most iconic jazz trilogy of all time. Originally released in 1957. Musicians: Louis Armstrong, trumpet, vocals Ella Fitzgerald, vocals Louie Bellson, drums Ray Brown, bass Herb Ellis, guitar Oscar Peterson, piano
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Roger Waters – Amused To Death
88,00 €Show item“In some ways, this is even better than The Wall. Waters got a lot of top performers to play on the album, usually behind his singing and speaking of the lyrics …. Guitarist Jeff Beck is heard frequently in the album, with his special virtuosity on eight of the tracks. … (Waters is) certainly at his cynical best here – and without him Pink Floyd — never mind the general doom and gloom — wouldn’t have been the top rock group it is and was.” — Audiophile Audition, Jan. 12, 2016. “Despite the bombast and conceit, this long-time audiophile favorite sounds outstanding in this 200-gram vinyl edition. Back in the day you needed some pretty heady drugs to make DSOTM sound this good, and the stellar line-up of musicians, with Jeff Beck on eight tracks, makes for a pharmaceutical-free audiophile amusement ride. The LP surfaces are dead quiet too, allowing you to hear every nuance of cricket chirp and dog bark.” Recording = 9.5/10; Music = 8.5/10 – Dennis D. Davis, Hi-Fi +, Issue 128 “I have the original double vinyl issue of this, that until recently went for upwards of $600, and this reissue beats that one in every possible way … The QSoundTM “surround sound” is more intensely drawn, dynamics are staggering, deep bass is monumental and the depth and width of the cinematic soundstage is beyond that of every other record I can think of in my collection. The 200g QRP pressing I got (sealed) was perfectly quiet and flat and after sitting through all four sides I felt as if I’d experienced a 3D IMAX movie, only with greater sonic intensity and dimensionality.” — Music = 9/11; Sound = 11/11 — Michael Fremer, AnalogPlanet.com. Read the whole review here. “Even if you have one of the original issue vinyl LPs, the new version of Amused to Death on the Analogue Productions label is an essential upgrade to your listening experience. Like The Division Bell and The Endless River vinyl LPs before it, Analogue Productions has kept their commitment for quality meticulously high with Amused to Death. The record pressing is uniformly excellent…” Paul Powell Jr., Brain Damage U.K. Pink Floyd News, August 2015. An unblinking look at an entertainment-obsessed society, Amused to Death addresses issues that have only grown in complexity and urgency over the past two decades. With Amused to Death, Roger Waters sounded the alarm about a society increasingly — and unthinkingly — in thrall to its television screens. Twenty-three years later, Amused to Death speaks to our present moment in ways that could scarcely have been anticipated two decades ago. In 2015, television is just one option in an endless array of distractions available to us anytime, anywhere, courtesy of our laptops, tablets and smartphones. With eyes glued to our screens, the dilemmas and injustices of the real world can easily recede from view. The 2015 2 LP 200-gram vinyl edition of Amused to Death features remastered audio completed by longtime Roger Waters / Pink Floyd collaborator and co-producer, James Guthrie, and has been pressed at Quality Record Pressings. The cover and gatefold art has been updated for 2015 by Sean Evans, the creative director of Waters’ 2010-2013 “The Wall Live” tour and movie.
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Louis Armstrong and Oscar Peterson – Louis Armstrong Meets Oscar Peterson (Remastered)
44,00 €Add to cart"Recorded in July and October of 1957 by Verve's house recording engineer Val Valentin, the album was released in mono in 1959, followed shortly thereafter by a stereo release. This reissue comes from Universal Music, who have retained Acoustic Sounds to select titles, master and press them. Despite the mono cover and labels, it is in stereo. It has some of the attributes of early stereo. Armstrong is in the middle with piano in the left channel, bass, and guitar in the right channel. However, unlike many stereo recordings of the 1950s, the three channels are well blended, and there are no vast gaps of air between the soloist and instruments. Indeed, the presentation is far superior to my original mono copy which sounds flat and uninvolving by comparison. It is not as great sounding as the Ella collaboration albums, as Armstrong stands too close to the microphone, adding some modest overload at points. The mastering, by Ryan Smith of Sterling Sound, adds sparkle and texture which are missing with the original. The 180-gram pressing is beautifully flat and quiet — an outstanding musical performance with improved sound — just what a reissue should provide." Recording = 8/10; Music = 9/10 - Dennis D. Davis, Hi-Fi +, Issue 189 Please note: This recording does include some vocal parts that will sound sibilant when played by some cartridges. This is not a pressing defect. It is in the recording. Michael Fremer of Analog Planet described it this way: "Unfortunately, Armstrong sings too close to the microphone and on a few vocal punctuations oversaturates the tape, which produces some genuinely nasty, though fleeting distortion (it's not mistracking)." (https://www.analogplanet.com/content/louis-armstrong-meets-oscar-peterson-%C2%A0-and-love-mutual) "The 1959 session Louis Armstrong Meets Oscar Peterson is a result of Verve founder Norman Granz’s desire to bring together musicians from different backgrounds. (He produced the Jazz at the Philharmonic jam sessions.) Oscar Peterson, he believed, could fit in anywhere. Although this LP isn’t my favorite Armstrong from the period, Granz (whose name in the original notes is misspelled 'Grans') makes his point. The twelve ballads recorded here include numbers Armstrong had never previously recorded. The emphasis is on Armstrong’s vocals. When he takes a trumpet solo, he sounds almost polite, as if unwilling to burst the bubble of the recording studio. Peterson is garrulous as usual, but doesn’t offer the kind of robust counterweight Armstrong is used to with his All Stars. There are no blues, but the songs are top notch. The record begins with 'That Old Feeling.' When Armstrong starts to sing, all is forgiven. He is just there, startlingly present. He’s my favorite male jazz singer: I even like the way he clears his throat on 'Let’s Fall in Love.'" — Michael Ullman, The Arts Fuse, Sept. 24, 2020. Read the entire review here. "Louis, then in his mid ‘50s, and the all-star backing band cover a dozen familiar tunes including 'That Old Feeling,' 'Let's Fall In Love' (in which Louis takes a solo an octave up from what's expected), 'Just One of Those Things,' and 'What's New.' ... (this is a) thoroughly enjoyable and otherwise well-recorded Armstrong set. Louis Armstrong Meets Oscar Peterson provides a guaranteed emotional pick-up in genuinely dreary times. The sealed review copy was perfectly pressed at QRP and 100% silent, with the super-black backgrounds that QRP manages when all goes well in their presses." — Michael Fremer, AnalogPlanet.com. Read the entire review here. "In the second reissue of the Acoustic Sound Series, Universal Music Group has done a stellar job in re-mastering Louis Armstrong Meets Oscar Peterson to 180-gram vinyl. The new mix (Ryan Smith/Sterling Sound) is especially appealing. Armstrong's edgy vocal tonality is more smooth and fluent, centered directly. Instrumentation never overshadows the singing. A hi-gloss gatefold packaging and upgraded protective sleeve underscore the superior quality of this series. (Chad Kassem/Acoustic Sounds)." — 4.5/5 stars / Robbie Gerson, Audiophile Audition, Aug. 12, 2020. Read the entire review here. 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' new audiophile Acoustic Sounds vinyl reissue series will launch July 31, 2020 with inaugural releases — the sensational collaborations, Stan Getz and João Gilberto's landmark Getz/Gilberto (1964) and the remarkable Louis Armstrong Meets Oscar Peterson (1959). Utilizing the skills of the top mastering engineers and the unsurpassed production craft of Quality Record Pressings, all titles will be 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 will be supervised by Chad Kassem, CEO of Acoustic Sounds, the world's largest source for audiophile recordings. The Acoustic Sounds series will feature two releases a month highlighting a different storied label spanning Verve/UMe's extraordinarily rich archive. To begin with, the series will largely focus on some of the most popular albums from the ‘50s and ‘60s in their unmatched catalog. The July releases will celebrate two of Verve's most beloved albums, the aforementioned Getz/Gilberto and Louis Armstrong Meets Oscar Peterson, and will be followed in August by John Coltrane's immortal Impulse! records, A Love Supreme (1964) and Ballads (1963). Two of Nina Simone's legendary Phillips albums I Put A Spell On You (1965) and Pastel Blues (1965) will come in September which will be succeeded in October by two from the EmArcy Records vault: Sarah Vaughan's self-titled 1954 album, the vocal great's sole collaboration with influential trumpeter Clifford Brown, who is also represented alongside pioneering drummer Max Roach on the hard bop classic, Study In Brown (1955). November will spotlight Decca Records with the iconic Peggy Lee's first album, Black Coffee (1956), and composer George Russell's important New York, N.Y. (1959) performed by an all-star orchestra that includes Bill Evans, John Coltrane, Art Farmer and Milt Hinton, among others. All titles and exact release dates are listed below. Additional titles will be announced as the series progresses. "We are excited to launch our Acoustic Sounds series," said Bruce Resnikoff, President & CEO of UMe. "Verve and UMe have one of the richest jazz catalogs ever recorded and our goal is to give vinyl and music lovers the best possible versions of classic albums. The Acoustic Sounds series is designed to appeal to today's most discriminating fans, and those discovering this treasured legacy for the first time, looking for the very finest in both artistic content and audio quality." "We're very honored to have Verve and UME partnering with us to create what we believe will be the highest quality reissues of some of the world's greatest jazz albums. Each step in our production process — from title selection to mastering, pressing and packaging — is designed to meet the highest standards, and we want everyone who hears these albums to feel the love and hard work we put into everything we do," Kassem said. "We've long had a great relationship with UME, pressing classic titles at our Quality Record Pressings from many of their highest-profile artists. We look forward to strengthening that partnership even further with these reissues from Verve, home of the world's largest jazz catalog." Louis Armstrong Meets Oscar Peterson is a brilliant undertaking in which Verve's legendary "house pianist" encountered one of jazz's most revered giants. A significant part of Peterson's genius was his ability to be an exceptional pianist and leader, while also being a perfect accompanist when the circumstance demands... and in a situation like this, to be both. Armstrong is not only recognized as one of the most innovative, singular, fascinating and beloved artists of the 20th century, but also one of the most generous in the way he embraced and stimulated his collaborators. Backed by the Oscar Peterson Trio — bassist Ray Brown and guitarist Herb Ellis, and augmented by frequent fourth member Louis Bellson on drums — these peerless heavyweights created an album that is utterly compelling, radiantly jubilant and consummate in artistry. The musicians provided the setting for the jewel that is Pops, with Peterson perfectly embellishing every phrase Armstrong sings or plays. The focus here is primarily upon his totally personal and thoroughly captivating vocal style, with his occasional trumpet solos limited in all but one case to a single chorus. Essentially culled from the Great American Song Book — Cole Porter, the Gershwins and Harold Arlen among the songwriters — the pieces range from poignant ballads and blues to effusive easy-grooved swing. Each song is an exquisitely crafted gem that will warm the heart and enrich the soul.