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Blue Mitchell – Blue’s Moods
84,00 €Add to cartBlue Mitchell — Blue's Moods Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering Double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings! Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish Meet your next favorite jazz record: Blue's Moods — because sometimes the mood is blue, but the groove is always gold. Released in 1960 on Riverside, this album finds trumpet wizard Blue Mitchell leading a top-shelf quartet that reads like a who's-who of tasteful, straight-ahead jazz. Mitchell's playing is lyrical without getting syrupy, swinging without showing off — think cool confidence with a velvet glove. Backing him is a rhythm section so tight they might be psychic. You've got Wynton Kelly on piano, a man whose comping is basically musical espresso — sharp, energizing, and never overdone. Sam Jones brings that rock-solid, walking bass that holds everything together like jazz duct tape (the fancy kind), and Roy Brooks on drums keeps the time crisp and the swing infinite. Stylistically, Blue's Moods sticks close to the heart of hard bop, with traces of soul, elegance, and a little late-night melancholy for good measure. It's the kind of record that doesn't shout for your attention — it just strolls into the room, sets down its drink, and has you hooked in two bars. This is a vinyl LP reissue unmatched. Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering, double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings! Plus it's housed in a Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish. Whether you're new to jazz or 15 crates deep into your collection, Blue's Moods is a must-own. It's smart, smooth, and cool without trying too hard — basically, the album equivalent of that one friend who always knows the best place to eat and never shows up late.
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Bill Evans – Quintessence
84,00 €Add to cartBill Evans — Quintessence Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering Double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings! Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish Ready yourselves, jazz aficionados, for modal piano brilliance, Bill Evans style! Released in 1977, Bill Evans — Quintessence, has the maestro diving headfirst into a lush, melodic hornscape — an elegant, smoky surprise. Let's start with the man himself. By 1977, Bill Evans was less of a pianist and more of a philosopher with 88 keys. His technique? Still gentle, still whispery, still capable of melting diamonds. But here, he brings his lyrical poetry into a new context: a quintet. That's right — not just his beloved trio format, but a quintet, people. No safety net. No piano bench to hide behind. Just sheer harmonic magic. The Evans dream team of supporting players was a stellar lineup. Starting with Harold Land (tenor sax) — The West Coast legend whose tone is so smooth it could pass as jazz-flavored gelato. Warm, reflective, and the perfect foil to Evans' crystalline touch. Next, there's Kenny Burrell (guitar). Playing with such subtlety you'd swear he was painting chords with a sable brush. Never flashy, always perfect. On bass, Ray Brown — The anchor of jazz itself. You want groove? He'll give you groove. You want soul? He's got that in spades too. And on drums, Philly Joe Jones. Because if you're gonna swing, you call the guy who made Miles Davis' band sweat. Together, they form a unit so tight it's basically a telepathic jazz circle. They're not just supporting Bill — they're expanding him! What's On the Menu? "Sweet Dulcinea" — A tune that proves you don't need to play fast to say something profound. "Bass Face" — Ray Brown gets the spotlight, and boy does he shine. "Martina" — A waltz so beautiful it should come with a warning label: may cause reflective gazing into middle distance. "Second Time Around" — A standard for an album that's all about elegance, subtle swing, and refined musicianship. "A Child Is Born" — The kind of rendition that makes you think maybe the world isn't so bad after all. So why add Quintessence to your collection? Because this is Bill Evans unplugged from the trio comfort zone, letting his lush harmonic sensibilities dance with top-tier horn players and rhythm gods. This album is meditative but never sleepy, introspective but never self-indulgent. It's rich, warm, and brimming with the quiet confidence of a master stretching his wings just because he can. This reissue brims with superior quality. Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering, double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings! Plus it's housed in a Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish. Bottom line, if your jazz collection is missing Quintessence, it's like owning a Picasso with a blank corner. This is the kind of record that sneaks up on you — not flashy, but unforgettable. Go ahead. You deserve this kind of quintet magic.
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Charlie Byrd – The Artistry Of Charlie Byrd
84,00 €Add to cartCharlie Byrd — The Guitar Artistry of Charlie Byrd Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering Double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings! Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish Picture this: it's 1960, and the world is still reeling from the Eisenhower era, poodle skirts, and the faint hum of early rock ‘n' roll trying to steal jazz's thunder. Charlie Byrd's album The Guitar Artistry of Charlie Byrd drops like a perfectly timed rimshot, ready to remind everyone that jazz can be sophisticated, soulful, and swing like nobody's business. It was at Edgewood Studios in Washington, D.C. where Byrd, the Virgina-born guitar wizard, with his trusty unamplified Spanish guitar, plied his magic. Recorded in 1960 and released in 1963 on Riverside Records (after a limited run as Charlie's Choice: Jazz at the Showboat, Vol. 4 on Washington Records' Offbeat imprint), this album is Byrd at his peak, blending jazz's improvisational fire with the refined finesse of classical technique. The tracklist reads like a love letter to versatility: from the peppy "Taking a Chance on Love" to the dreamy "Moonlight in Vermont," and a nod to his idol Django Reinhardt with "Nuages." Oh, and let's not forget "Django," a solo guitar performance that's so intimate, you'll swear Byrd's playing it just for you in your living room. The album's vibe is like a martini — smooth, sophisticated, but with a kick that sneaks up on you. AllMusic gave it a glowing 4½ stars, calling it "pleasing," and Byrd's style "clean, beautifully articulated" which is critic-speak for "this is the kind of record you'll spin until your turntable begs for mercy." It's not just background music; it's a conversation between Byrd's fingers and your soul, with every plucked note saying, "Hey, jazz can be classy and cool." Byrd doesn't go it alone here — he's got the perfect wingmen. On bass, we have Keter Betts, whose steady, soulful lines are the heartbeat of the trio. Betts, a D.C. jazz staple, keeps things grounded while Byrd's guitar soars. On drums, Buddy Deppenschmidt lays down rhythms so tasteful, you'd think he's seasoning the tracks with pixie dust. Together, they're tighter than a hipster's skinny jeans, creating a sound that's both relaxed and razor-sharp. And that solo "Django"? That's all Byrd, baby — proof he could hold court without a rhythm section and still leave you gobsmacked. The Guitar Artistry of Charlie Byrd didn't top the Billboard charts like Byrd's later bossa nova blockbuster Jazz Samba (1962, with Stan Getz), but it was a sleeper hit in jazz circles. Its initial limited release on Washington Records meant it was like finding a rare Pokémon card for early collectors. When Riverside picked it up in '63, it rode the wave of Byrd's growing fame, especially after he introduced bossa nova to North America. Jazz fans, already smitten with Byrd's genre-hopping genius, snapped it up, and it became a staple in collections for its pure, unadulterated guitar artistry. This reissue brims with superior quality. Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering, double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings! Plus it's housed in a Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish. For a jazz music collector, The Guitar Artistry of Charlie Byrd is like a holy grail with a side of hot sauce. It's a masterclass in guitar-driven jazz from a guy who could make nylon strings sing like nobody else. It's the kind of record you'll play to unwind, to impress, or to remind yourself why you fell in love with jazz in the first place.
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Kenny Dorham – Quiet Kenny
84,00 €Add to cartKenny Dorham — Quiet Kenny Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering Double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings! Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish Quiet Kenny isn't just a highlight of the Prestige catalog; it is a definitive argument for Kenny Dorham's status as a titan of the trumpet. While often overshadowed by his flashier contemporaries, this 1959 session captures Dorham at the absolute peak of his powers, delivering a performance defined by understated elegance and profound emotional depth. Supported by a rock-solid rhythm section featuring Tommy Flanagan, Paul Chambers, and Art Taylor, Dorham navigates a program that balances heartbreaking ballads with sophisticated, original blues. On standards like "My Ideal" and "Alone Together," his tone is intimate and breathy-limning each melody with a vulnerability that few could replicate. Dorham also digs deep into his own compositions, exploring the harmonic richness of "Blue Friday" and "Blue Spring Shuffle." Double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings. Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish.
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The Wes Montgomery Trio – A Dynamic New Sound: Guitar/Organ/Drums
84,00 €Add to cartThe Wes Montgomery Trio — A Dynamic New Sound: Guitar/Organ/Drums Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering Double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings! Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish The Wes Montgomery Trio - A Dynamic New Sound: Guitar/Organ/Drums, was the album that said: "Hello world, Wes has arrived — and he brought friends!" Before Full House brought the fire, The Wes Montgomery Trio brought the vibe. Released in 1959, this was Montgomery's debut on Riverside Records — and let's just say, he didn't exactly tiptoe onto the scene. He kicked the door in with thumb-picking swagger, octave magic, and tone so warm it could toast bread. So, what's the deal with this album? It's right there in the subtitle: Guitar. Organ. Drums. That's it. No bass, no brass, no safety net. Just Wes on guitar, the criminally underrated Melvin Rhyne on Hammond B-3 organ (talk about groove!), and Paul Parker on drums keeping it tight and tasteful. The result? A sound so lean and soulful, it practically invented the jazz organ trio aesthetic we know and love today. Wes' tone? Velvet meets voltage. Melvin's organ work? Church on Sunday meets smoky after-hours club. Paul's drumming? Like a good bartender — never flashy, but always exactly what you need. This was a bold move: no bass, no piano, just pure stripped-down swing — and it worked. Why? Because these guys listened to each other. They locked in and gave Wes the space to shine. You can hear the joy in the playing, the energy of three guys who knew they were onto something. Jazz fans didn't just nod politely — they flipped. Critics called it fresh, hip, and boundary-pushing. Montgomery's style, which fused bluesy soulfulness with dazzling technical control, immediately caught ears. This wasn't just a good debut — it was a statement. And it sold, helping launch Wes into the jazz stratosphere. We've given this timeless album the full Analogue Productions treatment: Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering, double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings! Plus it's housed in a Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish. This classic album belongs in your jazz collection because it symbolizes the moment the legend began. It's raw, it's real, and it's ridiculously cool. If jazz history were a superhero movie, The Wes Montgomery Trio would be the thrilling origin story. Plus, it grooves hard enough to make your neighbors forgive you for playing it at full volume (again). Go ahead — make room on the shelf. This one earns it.
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Tony Bennett – Bill Evans – The Tony Bennett & Bill Evans Album
84,00 €Add to cartTony Bennett & Bill Evans — The Tony Bennett & Bill Evans Album Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering Double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings! Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish Step right up, jazz aficionados, and feast your ears on The Tony Bennett & Bill Evans Album (1975), a jazz gem that's as smooth as a martini and twice as intoxicating! This isn't just any album — it's a legendary collaboration between the velvet-voiced crooner Tony Bennett and the piano wizard Bill Evans, two titans who decided to waltz into a studio and create pure magic. Spoiler alert: they nailed it. This album was a critical darling, earning rave reviews for its intimate, stripped-down vibe. It charted respectably, but its real triumph lies in its enduring legacy — decades later, it's still a go-to for jazz lovers who crave soulful authenticity. Bennett's warm, storytelling vocals paired with Evans' lyrical, impressionistic piano work made this a standout in both their discographies. The Personnel Tony Bennett: The man with a voice like buttered velvet, turning standards into heartfelt confessions. Bill Evans: The piano poet, whose delicate touch and harmonic genius could make a metronome weep. Recorded in a cozy, no-frills session at Fantasy Studios, with just the two of them (and a trusty engineer, Helen Keane, keeping the vibes pristine). No big band, no overdubs-just raw, unfiltered artistry. This album is a masterclass in less-is-more. Recorded live in the studio with minimal takes, it captures the spontaneity of two masters riffing off each other like old friends at a late-night jam. The production is crystal-clear, letting Bennett's nuanced phrasing and Evans' shimmering chords breathe. Evans' harmonic choices-think lush, unexpected chord voicings-add a layer of sophistication, while Bennett's impeccable timing keeps it grounded. The balance between voice and piano is so perfect, you'd think they shared a telepathic link. Plus, the song selection (standards like "My Foolish Heart" and "The Touch of Your Lips") is a love letter to the Great American Songbook. Why Jazz Fans Need This in Their Collection If your record shelf is craving a dose of elegance, this album is your ticket. It's intimate enough to feel like a private concert but profound enough to reveal new layers with every spin. For fans of vocal jazz, Bennett's delivery is a masterclass in emotion without excess. For piano nerds, Evans' introspective solos are practically a spiritual experience. Grab The Tony Bennett & Bill Evans Album and let these two charmers remind you why jazz is the coolest kid on the musical block. Your turntable (and your soul) will thank you!
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Wes Montgomery – Full House
84,00 €Add to cartWes Montgomery — Full House Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering Double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings! Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish If you ever doubted Wes Montgomery's powers as a live performer, Full House will set your ears straight. Recorded in 1962 in front of a lucky live audience, this is Wes unleashed — no studio tricks, no second takes, just raw, elegant fire. His solos aren't just extended — they breathe, they climb, they seduce. You can almost hear the guitar blushing. But wait — Wes didn't just bring his A-game, he brought the A-team. Enter Johnny Griffin, aka "The Little Giant," who rips into his tenor sax with the ferocity of a caffeinated tornado. His solos on "Cariba" and "Blue ‘n' Boogie" aren't just impressive — they're straight-up volcanic. You don't listen to Griffin — you brace yourself for him. And then there's the rhythm section. Oh, just your average trio of jazz legends: Jimmy Cobb (yes, that Jimmy Cobb from Kind of Blue) driving the drums, Paul Chambers holding it down on bass like the heartbeat of heaven, and Wynton Kelly on piano with a touch so smooth it should be illegal. This isn't just a rhythm section — it's a Rolls Royce of rhythm. We've given this timeless album the full Analogue Productions treatment: Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering, double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings! Plus it's housed in a Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish. Full House captures a one-night-only jazz miracle. No overdubs, no fluff, just brilliance caught in the wild. If you're building a jazz collection and this one isn't in there, well... this is a gap needing to be filled. On Full House you have some truly sparkling live jazz from the classic era. Buy it. Play it loud. Then play it again.
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Wynton Kelly – Kelly Blue
84,00 €Add to cartWynton Kelly — Kelly Blue Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering Double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings! Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish For Wynton Kelly, Kelly Blue marked a career highlight. A blueprint for blues-infused hard bop, Kelly Blue is Kelly's definitive statement as a bandleader — a swinging, blues-soaked masterclass in touch, taste, and timing. This is the sound of a pianist playing with both finesse and fire. The Pitch (and it swings hard) If you're assembling a jazz collection and Kelly Blue isn't on your shelf, you're basically hosting a dinner party without food. Kelly was the pianist Miles Davis trusted enough to bring into his band and replace Red Garland. Kelly was the ultimate sideman turned understated hero — blending gospel fire, blues grit, and bebop elegance into a buttery-smooth flow that made his touch unmistakable. On Kelly Blue, he steps out of the shadow and into the spotlight, where he glows like a well-polished Steinway under stage lights. And Kelly brought friends on this auspicious date. Paul Chambers (bass) — So solid, they used him to calibrate metronomes. Jimmy Cobb (drums) — Subtle as a whisper, sharp as a whip. And Nat Adderley (cornet), Benny Golson (tenor sax), and Bobby Jaspar (flute) — Because sometimes, you need a horn section that sounds like they're reciting poetry in perfect harmony. These cats don't just support Kelly — they elevate him. Bottom line, Kelly Blue is an essential slice of jazz heaven — warm, witty, effortlessly cool. What's Inside? "Kelly Blue" - The blues never felt this fresh. This is the sound of a pianist playing with both finesse and fire. "Softly, As in a Morning Sunrise" — A standard, yes. But Kelly makes it his. "Keep It Moving" — Exactly what this band does, with grooves slick enough to hydroplane on. Ballads and burners alike - Every track is a reminder that Kelly could do anything at the keys — except be boring. Kelly Blue is the sound of a pianist at the peak of his power, surrounded by friends who know exactly how to keep up. If your jazz collection were a cocktail, this album would be the splash of bourbon that makes everything come together. This is a vinyl LP reissue unmatched. Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering, double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings! Plus it's housed in a Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish.
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Vince Guaraldi Trio – A Charlie Brown Christmas (45 RPM 200 Gram Double LP on Clarity Vinyl)
198,00 €Add to cartVince Guaraldi — A Charlie Brown Christmas now on UHQR! The holiday album as iconic as Charlie Brown's little tree Definitive reissue Ultra High Quality Record, the pinnacle of high-quality vinyl! 45 RPM 2LP release limited to 2,750 numbered copies Mastered by Matthew Lutthans at The Mastering Lab from the original analog tapes Pressed at Quality Record Pressings using 200-gram Clarity Vinyl® Purest possible pressing and most visually stunning presentation and packaging! Tip-on old style gatefold double pocket jackets with scuff resistant matte finish by Stoughton Printing Few albums have rooted themselves deeper into American culture than A Charlie Brown Christmas. Vince Guaraldi's charming, swinging score for the 1965 classic CBS TV animated special brought jazz into millions of homes, wrapped in tinsel, nostalgia, and a chorus of "Christmastime is Here." Guaraldi, with his melodic sense and West Coast cool, translated the Peanuts gang's whimsy and melancholy into pure musical gold. Whether it's the airy piano riff of "Skating," the finger-snapping joy of "Linus and Lucy," or the tender brushwork on "Greensleeves," this album did what few thought possible: it turned bebop into bedtime music and made jazz a holiday tradition. And now, it's back-better than ever-as a UHQR (Ultra High Quality Record) reissue from Analogue Productions. Pressed at Quality Record Pressings and mastered with care by Matthew Lutthans at The Mastering Lab directly from the original analog tapes. These are experts who treat vinyl like sacred text, and this edition delivers Guaraldi's piano trio with breathtaking clarity and warmth. Lastly, reissues in this series are housed in archival quality Stoughton Printing tip-on gatefold jackets with a scuff-resistant finish, for a truly premium product. It's not just a reissue; it's like hearing A Charlie Brown Christmas for the first time — only this time, it's in hi-fi heaven. Perfect for audiophiles, jazz fans, and anyone who tears up when Charlie Brown saves Christmas.
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Bill Evans Trio – At Shelly’s Manne-Hole
82,00 €Add to cartBill Evans — At Shelly's Mann-Hole Individual title from The Bill Evans Riverside Recordings Box Set 180-gram 45 RPM double LP Mastered by Kevin Gray & Steve Hoffman at AcousTech Mastering AAA analog from original master tapes Praise for our Riverside Recordings LP Box Set from Analogue Productions "These are, for the most part, extraordinary-sounding recordings, better than any you're likely to find. If you love the music, you should consider the purchase." — Fred Kaplan, Stereophile, Nov. 1, 2017 "Bill Evans' recordings almost always received good to excellent sound, and the Analogue Productions reissues are no exception. ... The 45 rpm reissues are more musical and transparent; instruments have greater three-dimensionality and frequency extremes, especially lower octaves, exhibit greater resolution and impact. Get them before they're sold out!" Myles Astor, Positive-Feedback Online, Issue 34 Of everything Analogue Productions has reissued, few titles have sparked the accolades accorded our 45 RPM versions of Bill Evans titles from his Riverside catalog. Now, we're breaking the titles out from that terrific set for individual sale. These are the audiophile jazz fan's definitive releases for your collection!For jazz collectors, At Shelly's Manne-Hole isn't just another Bill Evans record — it's a landmark. This was Evans' final album for Riverside, the label that first brought his genius to light, and his last chapter in one of the most creative partnerships in modern jazz recording.Captured live at drummer Shelly Manne's famous Hollywood club in 1963, the album finds Evans in rare form — intimate, reflective, yet full of quiet fire. It's only the second time Riverside ever caught him in a live setting (the first being the legendary Village Vanguard sessions), and it documents a fleeting but brilliant trio: Evans with bassist Chuck Israels and drummer Larry Bunker.The sound is wonderfully alive — you can feel the room, the energy, the warmth of an audience hanging on every note. For collectors, this is the bridge between Evans' early introspection and the confident, searching tone of his later work.Musicians:Bill Evans, pianoChuck Israels, bassLarry Bunker, drums -
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Bill Evans Trio – Everybody Digs Bill Evans
82,00 €Add to cartBill Evans — Everybody Digs Bill Evans Individual title from The Bill Evans Riverside Recordings Box Set 180-gram 45 RPM double LP Mastered by Kevin Gray & Steve Hoffman at AcousTech Mastering AAA analog from original master tapes Praise for our Riverside Recordings LP Box Set from Analogue Productions "These are, for the most part, extraordinary-sounding recordings, better than any you're likely to find. If you love the music, you should consider the purchase." — Fred Kaplan, Stereophile, Nov. 1, 2017 "Bill Evans' recordings almost always received good to excellent sound, and the Analogue Productions reissues are no exception. ... The 45 rpm reissues are more musical and transparent; instruments have greater three-dimensionality and frequency extremes, especially lower octaves, exhibit greater resolution and impact. Get them before they're sold out!" Myles Astor, Positive-Feedback Online, Issue 34 Of everything Analogue Productions has reissued, few titles have sparked the accolades accorded our 45 RPM versions of Bill Evans titles from his Riverside catalog. Now, we're breaking the titles out from that terrific set for individual sale. These are the audiophile jazz fan's definitive releases for your collection!The legend of Bill Evans really begins with this album, his second. The pianist had just spent most of 1958 as part of one of the major units in jazz history: The Miles Davis Sextet that also featured John Coltrane and Cannonball Adderley. His fellow musicians already knew his worth (the album title was almost literally accurate, and the four endorsements on the cover, which embarrassed Bill, could easily have been greatly multiplied). With this record, the jazz public began to follow their lead.Here, joined by bassist Sam Jones and drummer Philly Joe Jones, Evans delivers some of his most fluid, swinging trio performances — elegant, lyrical, and rhythmically alive. Yet it's the solo improvisation "Peace Piece" that forever marked his arrival. Built on two hypnotic chords, it unfolds with a quiet intensity that feels both spontaneous and transcendent — a glimpse into the meditative, deeply personal world Evans would explore for the rest of his career.For collectors, Everybody Digs Bill Evans captures that pivotal moment when a brilliant accompanist became an icon in his own right. It's the bridge between promise and legend, a record that doesn't just showcase Evans' genius — it invites you into it.Musicians: Bill Evans, piano Sam Jones, bass Philly Joe Jones, drums -
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Sarah Vaughan – Crazy and Mixed Up
54,00 €Add to cart180-gram vinyl Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape Pressed at Quality Record Pressings Housed in a Stoughton Printing tip-on jacket The Penguin Guide to Jazz Recordings considers Crazy and Mixed Up to be possibly Sarah Vaughan's best album for the Pablo label. Vaughan was nominated for the Grammy Award for Best Jazz Vocal Performance, Female at the 26th Annual Grammy Awards for her performance. This release is an essential addition to any serious jazz collection, captivating audiophiles and music lovers alike. This album blends her impeccable phrasing with inventive, boundary-pushing jazz arrangements, making it a must-have for those who appreciate vocal jazz that transcends the genre. Vaughan's impeccable sense of timing and emotional depth, paired with the intricate instrumental backing, elevate these tracks into an extraordinary listening experience. Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape. Pressed at Quality Record Pressings for superior sound quality, and housed in a Stoughton Printing tip-on single pocket jacket.
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Count Basie 6 – Kansas City
54,00 €Add to cart180-gram vinyl Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape Pressed at Quality Record Pressings Housed in Stoughton Printing tip-on jacket With Count Basie, Cleanhead Vinson, and Willie Cook all gone, there is cause for gratitude that Norman Granz thought in 1981 to bring them together with a great rhythm section. The result was one of the happiest of Basie's celebrated "Kansas City" sessions for Pablo. Cook and Vinson, marvelous soloists who deserved wider fame, were both great bebop players able to tailor their work to Basie's more elemental requirements without condescending or losing anything essential. Additionally, as he demonstrates to a fare-thee-well on "Wee Baby," Vinson was a terrific blues shouter. In his small groups, Basie the pianist was on more prominent display than in the big band, and there are plenty of reminders here that his keyboard talent encompassed much more than wryness and subtlety. Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape. Pressed at Quality Record Pressings for superior sound quality, and housed in a handsome Stoughton Printing tip-on jacket. Musicians: Count Basie, piano Niels-Henning Ørsted Pedersen, double bass Louis Bellson, drums Joe Pass, guitar Eddie Vinson, saxophone Willie Cook, trumpet
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Count Basie & Oscar Peterson – ‘Satch’ and ‘Josh’
54,00 €Add to cart180-gram vinyl Mastered by Matthew Lutthans at The Mastering Lab from the original analog tape Pressed at Quality Record Pressings Housed in Stoughton Printing tip-on jacket A beautiful pairing of two legendary pianists — Count Basie and Oscar Peterson — heard late in Basie's career, in a setting that lets both of them open up nicely! Basie also plays a bit of organ. Freddie Green, Basie's longtime guitarist in his band — he stayed 50 years with Basie — cannot be missed on this recording. 10 track stereo LP. Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape, and pressed at Quality Record Pressings for optimal sound quality, this Analogue Productions 180-gram reissue sounds exceptional! Housed in a gatefold Stoughton Printing tip-on jacket. Musicians: Count Basie, piano Oscar Peterson, piano Freddie Green, guitar Ray Brown, double bass Louie Bellson, drums
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Miles Davis – Kind of Blue (Corrected Speed)
84,00 €Add to cart180-gram double LP 33 1/3 edition (Side 4 will be 45 RPM) Side 1 Speed Corrected for recording adjustment Pressed at Quality Record Pressings using Classic Records parts that were mastered by Bernie Grundman from the original master tape Includes 4-panel insert with corrected speed information and liner notes by Robert Palmer Stoughton Printing Old Style tip-on gatefold heavyweight jacket with scuff-resistant matte finish Standard black vinyl pressing Also available as a limited edition blue vinyl pressing A minor audio complication with Kind of Blue has been addressed with our UHQR edition, and now with this 331/3 RPM double LP reissue. The motor on the studio's 3-track master recorder was running slowly the day of the album's first session. This speed issue affected the album's first three tracks, "So What," "Freddie Freeloader" and "Blue in Green," making them a barely perceptible quarter-tone sharp. Before now, it was only addressed in 1995 for the Classic Records edition and by Columbia Records — or their latter-day parent, Sony Music — on a CD reissue in the late '90s. This edition also contains on Side 4 "Flamenco Sketches (alternate take)" cut at 45 RPM. Legends have a way of sticking around. If there was ever an album awaiting a high-fidelity, custom-pressed vinyl treatment of the level you now hold in your hands, it is Miles Davis' Kind of Blue. The top-selling jazz album of all time, it has been lauded, entered into "Best Of" lists and Halls of Fame, and universally acknowledged as a landmark recording - a five-track masterpiece of melancholy mood and melody. It continues to be one of the most listened-to and studied recordings of all time, a required primer for many young musicians, and one of the most transcendent pieces of music ever recorded. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley with Wynton Kelly playing piano on "Freddy the Freeloader." Kind of Blue is more than Miles Davis's most enduring recording, it's a testament to Miles' experimental approach, drastically simplifying modern jazz by returning to melody unlike the chord complexity more often heard at the time. "The music has gotten thick," Davis complained in a 1958 interview for The Jazz Review. "... There will be fewer chords but infinite possibilities as to what to do with them." Kind of Blue is, in a sense, all melody — and atmosphere. None of the musicians had played any of the tunes before heading into the first of two recording sessions in early spring of 1959. In fact Miles had written out the settings for most of them only a few hours before the session. Miles also stuck to his old recording procedure of having virtually no rehearsal and only one take for each tune. Miles remained proud of the album, performing at least two of its tracks — "So What" and "All Blues" — for years after, until his musical path took him in a different direction. History was on the side of Kind of Blue; it was born in 1959, at the peak of the golden age of high-fidelity, featuring innovations in studio equipment (magnetic tape, high-quality condenser microphones), matched by advancements in home audio reproduction (long-player records — LPs; high-end turntables, and other stereo components). Kind of Blue also benefited from Miles' being signed to the leading major record company of the day — Columbia Records, a part of the CBS media conglomerate. Columbia had the means and wisdom to invest in cutting edge recording technology, and their own professional recording studio. This LP bridges the time span since the album's original recording in the best way possible, struck from the master reel of Kind of Blue, free of speed issues and replete with all the instrumental detail, sonic environment and minimal noise. All-in-all this edition of Kind of Blue meets the highest audiophile standards and offers the truest sound for the most enjoyment
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Foreigner – Head Games
82,00 €Add to cartAnalogue Productions (Atlantic 75 Series) Celebrating the 75th Anniversary of Atlantic Records! Platinum-selling third album Featuring the smash title track, plus "Dirty White Boy," and "Women" 180-gram 45 RPM double LP Pressed at Quality Record Pressings Tip-on old style gatefold double pocket jacket by Stoughton Printing Foreigner's platinum-selling winning streak continued on Head Games, the band's third album. Tailor-made for the airwaves, songs such as "Dirty White Boy" and "Head Games" kept Foreigner at the top of the arena rock heap as the decade came to a close; and the supergroup's successes would continue well into the '80s. In August 1979, the release of the album was preceded by its first single, the hard rock "Dirty White Boy, which peaked at No. 12 on the Billboard Hot 100 chart. The album itself continued Foreigner's popularity, climbing to No. 5 on the Billboard 200 chart and receiving a platinum certification four months after it hit the stores. By now, Head Games has gained a 5× Platinum status for selling at least 5 million copies in the United States. The next singles were the title track and "Women," which reached No. 14 and 41, respectively. Head Games continued in the vein of Foreigner's previous successful albums, maintaining a consistent quality of music that fans had come to expect. We expect this definitive deluxe 180-gram 45 RPM 2LP Analogue Productions (Atlantic Series) reissue of Head Games to find a prominent place in your most-listened-to album rotation.
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Ray Charles – The Genius Sings The Blues (Mono)
82,00 €Add to cartRay Charles — The Genius Sings The Blues (Mono) Analogue Productions (Atlantic 75 Series) Celebrating the 75th Anniversary of Atlantic Records! A classic of the soul and R&B canon! Timeless American music includes 12 must-have songs from Charles' peak era 180-gram 45 RPM double LP Mastered by Bernie Grundman from the original analog master tape Pressed at Quality Record Pressings Tip-on old style gatefold double pocket jacket by Stoughton Printing Genius doesn't even begin to describe the greatness of 1961 collection The Genius Sings the Blues. Comprised of a dozen songs Ray Charles made between 1952 and 1960, the collection was released in 1961 by Atlantic Records to counter the singer's migration to rival ABC Paramount. What Atlantic originally underestimated is that the album contained many of Charles' greatest works, all unified by their bluesy emotions and stirring arrangements. A classic of the soul and R&B canon, The Genius Sings the Blues is a snapshot of the evolution of timeless American music captured by the pianist's indelible rhythmic pace, gospel roots, jazz backgrounds, and Southern-styled accents. The cover tunes here — "Early In The Mornin'," "The Midnight Hour," "I'm Movin' On," "Feelin' Sad," "The Right Time" — are wonderful. But it's Charles' own, self-penned blues that steal the spotlight: "Ray's Blues," "I Believe To My Soul," "Nobody Cares," "Mr. Charles' Blues," "Some Day Baby," and "I Wonder Who." The Genius Sings the Blues is a must-have for any Ray Charles fan, offering a raw and electrifying showcase of Charles' ability to convey pain and joy simultaneously. His legendary piano playing is front and center, with bluesy riffs and rolling chords that define Ray's unique style. With a rich backing band, including soulful horns and grooving rhythms, the album delivers an authentic and deeply felt blues experience. It's a testament to the soul of a true musical pioneer. All the hallmarks of a top-notch Analogue Productions (Atlantic 75 Series) reissue are here for you to savor: Mastered directly from the original mono master tape by Bernie Grundman and cut at 45 RPM. Pressed on 180-gram 2LP at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.
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Cannonball Adderley With Bill Evans – Know What I Mean?
82,00 €Add to cartCannonball Adderley w/ Bill Evans — Know What I Mean? Individual title from The Bill Evans Riverside Recordings Box Set 180-gram 45 RPM double LP pressed at RTI Mastered by Kevin Gray & Steve Hoffman at AcousTech Mastering AAA analog from original master tapes Praise for our Riverside Recordings LP Box Set from Analogue Productions "These are, for the most part, extraordinary-sounding recordings, better than any you're likely to find. If you love the music, you should consider the purchase." — Fred Kaplan, Stereophile, Nov. 1, 2017 "Bill Evans' recordings almost always received good to excellent sound, and the Analogue Productions reissues are no exception. ... The 45 rpm reissues are more musical and transparent; instruments have greater three-dimensionality and frequency extremes, especially lower octaves, exhibit greater resolution and impact. Get them before they're sold out!" Myles Astor, Positive-Feedback Online, Issue 34 Of everything Analogue Productions has reissued, few titles have sparked the accolades accorded our 45 RPM versions of Bill Evans titles from his Riverside catalog. Now, we're breaking the titles out from that terrific set for individual sale. These are the audiophile jazz fan's definitive releases for your collection!In a remarkable display of their musical range and sensitivity, the buoyant alto sax of Cannonball Adderley and introspective piano of Bill Evans move effortlessly toward a middle ground here that shows both to great advantage. Recorded in 1961, the sound quality of these master tapes is breathtaking: a real audiophile dream disc! Featuring Percy Heath on bass and Connie Kay on drums. Originally released in 1961.Musicians:Cannonball Adderley, saxophone (alto) Bill Evans, piano Percy Heath, bass Connie Kay, drums -
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Bill Evans – New Jazz Conceptions (Mono)
82,00 €Add to cartBill Evans — New Jazz Conceptions (Mono) Individual title from The Bill Evans Riverside Recordings Box Set 180-gram 45 RPM double LP pressed at RTI Mastered by Kevin Gray & Steve Hoffman at AcousTech Mastering AAA analog from original master tapes Praise for our Riverside Recordings LP Box Set from Analogue Productions "These are, for the most part, extraordinary-sounding recordings, better than any you're likely to find. If you love the music, you should consider the purchase." — Fred Kaplan, Stereophile, Nov. 1, 2017 Of everything Analogue Productions has reissued, few titles have sparked the accolades accorded our 45 RPM versions of Bill Evans titles from his Riverside catalog. Now, we're breaking the titles out from that terrific set for individual sale. These are the audiophile jazz fan's definitive releases for your collection! In September 1956, a 27-year-old pianist named Bill Evans quietly recorded New Jazz Conceptions — his debut album, and a bold opening statement from a musician still flying under the radar. At the time, Evans wasn't yet the name whispered with reverence in every jazz circle; Miles Davis hadn't called him up yet, and most listeners had no idea what was coming. But listening now, you can hear the spark of genius that would soon reshape modern jazz piano. Here, Evans' introspective touch, harmonic daring, and rhythmic sensitivity were already fully formed. Whether in his intricate trio interplay or the luminous solo passages, there's an unmistakable sense of discovery — of an artist thinking and feeling at the keyboard in real time. It's the kind of music, both cerebral and deeply human, that never loses its emotional pull. For collectors, New Jazz Conceptions isn't just Evans' first step — it's the blueprint for everything that followed. You can trace the DNA of later masterpieces, the sound that inspired Herbie Hancock, Chick Corea, Keith Jarrett, and generations beyond. This is Bill Evans before the legend-still refining, still exploring — but already unmistakably himself. Musicians: Bill Evans, piano Teddy Kotick, bass Paul Motian, drums
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Illinois Jacquet – Swing’s The Thing (Mono Version)
44,00 €Add to cartIllnois Jacquet — Swing's The Thing (Mono Version) Acoustic Sounds Series reissues from Verve/Universal Music Enterprises! Monthly releases highlighting the world's most historic and best jazz records! Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape 180-gram LPs pressed at Quality Record Pressings! Stoughton Printing gatefold old-style tip-on jackets Series supervised by Chad Kassem CEO of Acoustic Sounds Originally recorded for the Clef label in 1956, Swing's The Thing features the tenor great in a stellar sextet with Roy Eldridge (trumpet), Jimmy Jones (piano), Herb Ellis (guitar), Ray Brown (bass) and Jo Jones (drums). While Jacquet's sessions as a leader may have been infrequent during this time, this session hits a magical mark with the 6-song set being highlighted by the tracks "Las Vegas Blues," "Harlem Nocturne," and "Achtung." Verve's Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.
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Coleman Hawkins – Coleman Hawkins and Confreres
44,00 €Add to cartColeman Hawkins — Coleman Hawkins and Confreres Acoustic Sounds Series reissues from Verve/Universal Music Enterprises! Monthly releases highlighting the world's most historic and best jazz records! Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape 180-gram LPs pressed at Quality Record Pressings! Stoughton Printing gatefold old-style tip-on jackets Series supervised by Chad Kassem CEO of Acoustic Sounds 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. Ben Webster had long before passed through the ranks of imitator, then pupil and finally master. His "college attendance," as one might put it, in the Duke Ellington Orchestra gave him a sureness of expression in his great showpieces and he also learned to hold his own against such musical giants as Paul Gonsalves and Jimmy Hamilton. "Hawk" was able to thoroughly enjoy his fame in numerous Jazz At The Philharmonic concerts given all over the world, where, of course, he had to assert himself against many other saxophone players. Two such JATP ensembles are to be found on the Confrères LP. The relaxed atmosphere is particularly noticeable in the title "Sunday" in which Roy Eldridge comes into the limelight with a brilliant solo. And just listen to George Buvivier's marvelous bass playing (in "Nabab!") where he certainly has no reason to hide in the shadow thrown by Ray Brown. Coleman Hawkins' voluminous, supple sound which had a great influence on the styles of musicians ranging from Dexter Gordon and Sonny Rollins up to Joe Lovano, is best heard after Roy's solo in "Honey Flower."
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Muddy Waters – The Best Of Muddy Waters
42,00 €Add to cartMuddy Waters — The Best Of Muddy Waters (Mono) Chess Records 75 Series from Chess Records and Acoustic Sounds! Inspired by the record label that pioneered electrifying Chicago blues, rock 'n' roll, stirring soul, and R&B! All-analog mastering by Matthew Lutthans at The Mastering Lab at Blue Heaven Studios! 180-gram vinyl pressed at Quality Record Pressings Audiophile vinyl reissue series launches with two blues classics by Muddy Waters and Howlin' Wolf Muddy Waters' The Best of Muddy Waters is a powerful collection of blues songs that include essential tracks such as "Hoochie Coochie Man," and "Rollin' Stone." If the blues had a Mount Rushmore, Muddy Waters' face would be carved front and center, cigar in hand, guitar slung low, smirk that says "You're about to feel this in your bones." If there's one record that cemented Waters' legend (and made Chess Records the powerhouse that rewrote American music), it's The Best of Muddy Waters. Originally released in 1958, this was Chess Records' very first LP — a bold move in an era when blues records were singles-driven. Leonard and Phil Chess weren't just pressing vinyl; they were pressing the future. The album gathered 12 scorching sides recorded between 1948 and 1954, each one a blueprint for modern electric blues and a direct ancestor of rock 'n' roll. Why It Matters • For Muddy Waters: This album wasn't just a compilation — it was his coronation. Tracks such as "I Just Want to Make Love to You" and "I'm Ready" showcase Muddy's swagger: raw, electric, and dangerous enough to make polite society clutch their pearls. • For Chess Records: This LP marked the label's leap into the long-playing format, proving blues could stand shoulder-to-shoulder with jazz and pop on the hi-fi shelf. Spoiler: It sounded better there, too. • For Music History: Every guitar riff that ever strutted out of a Marshall stack owes a drink to this record. Rolling Stones? Led Zeppelin? Eric Clapton? They didn't just love Muddy — they worshipped him. Tracks That Slap (and Groove) • "Hoochie Coochie Man" — Willie Dixon's swaggering masterpiece that gave Muddy the myth-making juice. • "Rollin' Stone" — The slow burn that not only inspired a British band's name but practically birthed a movement. The Best of Muddy Waters isn't just a greatest-hits record, it's a cultural document. A snapshot of when the Delta plugged in, Chicago turned the volume up, and American music changed forever. Own this and you're holding history that still swings like a wrecking ball. Each release in the Chess Records 75 Series is remastered from the original analog tapes by Matt Lutthans at The Mastering Lab, pressed on 180-gram vinyl at Quality Record Pressings (QRP) and housed in archival quality tip-on gatefold jackets, offering both audiophiles and collectors a premium listening experience.
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Pink Anderson – Carolina Blues Man
42,00 €Add to cartPink Anderson — Carolina Blues Man The Bluesville Series from Craft Recordings and Acoustic Sounds! Inspired by the original Prestige label imprint established in 1959 All-analog mastering by Matthew Lutthans at The Mastering Lab at Blue Heaven Studios! 180-gram vinyl pressed at Quality Record Pressings Highlighting trailblazing blues musicians from legendary labels Pink Anderson was never a big name on the blues circuit, yet he was perhaps the most polished and personal of all the rural bluesmen who recorded for Prestige's Bluesville subsidiary. He was seldom recorded during his long career which began around 1915 with his first of many associations with traveling medicine shows and ended with his death in 1973. He cut three fine albums for Bluesville during the early Sixties, this solo acoustic 1960 date being the first. Anderson, who had a strong influence on folk guitarists Roy Bookbinder and Paul Geremina, specialized in interpretations of blues standards, bringing to each a gentle, uniquely plaintive quality. Originally released in 1961 on Prestige's Bluesville imprint, this album features his blend of fingerpicking and strumming styles to create a unique take on blues standards such as "My Baby Left Me This Morning" and "Baby, Please Don't Go". This release has been pressed on 180-gram vinyl at QRP and newly (AAA) remastered from the original, while a replica tip-on jacket completes the package.
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Terry Callier – The New Folk Sound Of Terry Callier
42,00 €Add to cartTerry Callier — The New Folk Sound Of Terry Callier The Bluesville Series from Craft Recordings and Acoustic Sounds! Inspired by the original Prestige label imprint established in 1959 All-analog mastering by Matthew Lutthans at The Mastering Lab at Blue Heaven Studios! 180-gram vinyl pressed at Quality Record Pressings Highlighting trailblazing blues musicians from legendary labels The New Folk Sound Of Terry Callier released in 1968 on Prestige is exactly what its title suggests — a fresh take on American folk from the then-newcomer Callier. Drawing inspiration from jazz, blues, and soul, Callier re-interprets traditional folk standards bringing a uniquely African American perspective to classics like "Cotton Eyed Joe" and "900 Miles." Pressed on 180-gram vinyl at QRP and newly (AAA) remastered from the original tapes, while a replica tip-on jacket completes the package. The music is hauntingly beautiful, with Callier's warm crooning supported sparsely with bass from Attenborough and Tweedle. The original 1968 release is a mono record collector holy grail, but for everyone else, we recommend this new Bluesville Records reissue that sounds terrific! AllMusic calls it Callier's "most timeless and inviting" release."
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John Coltrane Quartet – The John Coltrane Quartet Plays
44,00 €Add to cartJohn Coltrane Quartet — The John Coltrane Quartet Plays Acoustic Sounds Series reissues from Verve/Universal Music Enterprises! Monthly releases highlighting the world's most historic and best jazz records! All-analog mastering by Matthew Lutthans at The Mastering Lab 180-gram LPs pressed at Quality Record Pressings! Stoughton Printing gatefold old-style tip-on jackets Series supervised by Chad Kassem CEO of Acoustic Sounds The John Coltrane Quartet Plays is great music from a great musician. On that basis alone, adding this sublime 1965 classic from Impulse! to a well-rounded jazz music collection is an easy choice. This isn't just another album; it's a testament to Coltrane's innovative spirit and a showcase of the classic quartet's electrifying chemistry. Featuring the incomparable McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums, this is a group renowned for its dynamic interaction and sensitive playing. Released shortly after the landmark A Love Supreme, what changed here was Coltrane's intentions. "Chim Chim Cheree" is full of foreboding. The fury with which he improvises (on soprano sax) on this track is an example of how all through this recording the intensity has been turned up a notch. Prepare to be surprised and delighted by Coltrane's unique interpretation of the standard "Nature Boy" (featuring Art Davis on a second bass for an extra layer of sonic depth!) alongside his powerful originals such as "Brazilia" and "Song of Praise". You'll hear these familiar tunes in a way you've never imagined, filtered through Coltrane's genius and the quartet's boundless creativity. The quartet is locked in, pushing and pulling, creating a sonic landscape that's both powerful and intricate. Why you need this in your jazz collection: It's more than just notes. Coltrane's music goes beyond technical brilliance; it's infused with a deeply personal and searching spirit. This album offers a glimpse into the soul of an artist constantly striving for greater clarity of vision, making it not just great music, but a deeply moving experience. Our Acoustic Sounds Series reissue of The John Coltrane Quartet Plays takes this exceptional Coltrane hallmark and endows it with sparkle, sonic clarity and richness of sound that Acoustic Sounds is known for capturing. Featuring all-analog mastering by Matthew Lutthans at The Mastering Lab, together with premier pressing by Quality Record Pressings on a 180-gram virtually-silent playing surface, housed in a Stoughton Printing tip-on jacket, this is an essential listen for any jazz enthusiast. It's a journey of sound and emotion, delivered by one of the most influential groups in jazz history. Get ready to be swept away!