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  • AVRJ 8197 Billie Holiday Body Soul

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    Billie Holiday – Body And Soul (Mono)

    44,00 

    Includes 19% MwSt DE
    Additional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.

    New for 2024! Billie Holiday Body And Soul (Mono) Acoustic Sounds Series reissues from Verve/Universal Music Enterprises!   Monthly releases highlighting the world's most historic and best jazz records!   Mastered by Ryan K. Smith at Sterling Sound from the original analog tapes   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 "I think this is going to meet everyone's expectations. It really offers just about everything you could want in 'Body and Soul' and more." — Scott Wilson, The Pressing Matters, YouTube video Small jazz groups brought out the best in Billie Holiday — especially groups as good as the one heard on this classic 1957 recording. Ben Webster, Harry "Sweets" Edison and the other members of this stellar ensemble were not just gifted soloists but sensitive accompanists as well. Lady Day was rarely more ably supported than she was on this program of sturdy standards, including three gems by the Gershwin brothers — and she rarely sounded more luminous. 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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  • AVER 512456 185352 02022024124015 5801

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    Johnny Hodges – Blues A-Plenty

    44,00 

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    New for 2024! Stan Getz & Bill Evans Previously Unreleased Recordings Acoustic Sounds Series reissues from Verve/Universal Music Enterprises!   Monthly releases highlighting the world's most historic and best jazz records!   Mastered by Ryan K. Smith at Sterling Sound from the original analog tapes   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 Bill Evans and Stan Getz are about as close as musicians can get in terms of artistry, musical philosophy and technique. These sessions, recorded in 1963 with drummer Elvin Jones and bassists Ron Carter (Side A) and Richard Davis (Side B), perfectly blend their strong individual styles and collaborative sensibilities — with both artists at the peak of their creative powers. Seeking to offer definitive audiophile grade versions of some of the most historic and best jazz records ever recorded, Verve's 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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  • AVER 504974 185345 02022024115937 212

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    Kenny Burrell – Guitar Forms

    44,00 

    Includes 19% MwSt DE
    Additional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.

    New for 2024! Billie Holiday Body And Soul (Mono) Acoustic Sounds Series reissues from Verve/Universal Music Enterprises!   Monthly releases highlighting the world's most historic and best jazz records!   Mastered by Ryan K. Smith at Sterling Sound from the original analog tapes   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 "I think this is going to meet everyone's expectations. It really offers just about everything you could want in 'Body and Soul' and more." — Scott Wilson, The Pressing Matters, YouTube video Small jazz groups brought out the best in Billie Holiday — especially groups as good as the one heard on this classic 1957 recording. Ben Webster, Harry "Sweets" Edison and the other members of this stellar ensemble were not just gifted soloists but sensitive accompanists as well. Lady Day was rarely more ably supported than she was on this program of sturdy standards, including three gems by the Gershwin brothers — and she rarely sounded more luminous. 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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  • AVER 38311 184487 01052024102642 9067

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    Stan Getz & Bill Evans – Previously Unreleased Recordings

    44,00 

    Includes 19% MwSt DE
    Additional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.

    New for 2024! Stan Getz & Bill Evans Previously Unreleased Recordings Acoustic Sounds Series reissues from Verve/Universal Music Enterprises!   Monthly releases highlighting the world's most historic and best jazz records!   Mastered by Ryan K. Smith at Sterling Sound from the original analog tapes   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 Bill Evans and Stan Getz are about as close as musicians can get in terms of artistry, musical philosophy and technique. These sessions, recorded in 1963 with drummer Elvin Jones and bassists Ron Carter (Side A) and Richard Davis (Side B), perfectly blend their strong individual styles and collaborative sensibilities — with both artists at the peak of their creative powers. Seeking to offer definitive audiophile grade versions of some of the most historic and best jazz records ever recorded, Verve's 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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  • AVER 898678 185343 02022024114818 3612

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    Ella Fitzgerald – Clap Hands, Here Comes Charlie!

    44,00 

    Includes 19% MwSt DE
    Additional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.

    New for 2024! Acoustic Sounds Series reissues from Verve/Universal Music Enterprises!   Monthly releases highlighting the world's most historic and best jazz records!   Mastered by Bernie Grundman from the original analog tapes   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 "...this new version mastered by Bernie Grundman ... sure sounds warmer than I remember the Classic being, but my system's much improved since I last played this record. ... if you have one of those — original, Classic or Acoustic Sounds double 45, you're all set, and if you don't, you'll definitely like this one for music, sound, gatefold laminated jacket and of course Ella's wonderful performance backed by a great combo! Easy to recommend and I do!" — Music = 9/11; Sound = 10/11 — Michael Fremer, TrackingAngle.com. Read the entire review here. Fourteen numbers from the heyday of swing, composed sometime between 1930 and 1945 — played and sung time and time again in ballrooms, or on the radio to advertise biscuits or war bonds, were recorded by Ella in completely new and personal interpretations in 1961. No one should be put off by the rather unfortunate cover. Clap Hands... is absolutely top notch as regards musicality, perfect recording quality, superb accompaniment by a small ensemble, with room for improvisations; it offers a wonderful opportunity to discover something new in these evergreens, despite the occasionally banal lyrics. The songs of this recording conjure up bygone days, with listeners in the 21st century being offered a highly personal homage to one of the most successful periods in the 100-year history of jazz. Seeking to offer definitive audiophile grade versions of some of the most historic and best jazz records ever recorded, Verve's 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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  • ACONC 706 184255 12192023022840 2747

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    Art Pepper – Smack Up

    44,00 

    Includes 19% MwSt DE
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    Contemporary Records Acoustic Sounds Series continues in 2024! Twelve standout albums from the Contemporary Records catalog reissued on 180-gram vinyl   Titles featuring Art Pepper, Sonny Rollins, Helen Humes, Ben Webster and many more!   Mastered AAA by Bernie Grundman from the original analog tapes   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 Continuing Craft Recordings' celebration of seminal jazz artists from Contemporary Records Saxophonist Art Pepper was considered one of the best altos of his time, just behind Charlie Parker. This 1960 recording, whose album's title presages the addiction that would soon offline the self-taught musician's career, features compositions written by fellow saxophonists (including Ornette Coleman's "Tears Inside" and Buddy Collette's "A Bit of Basie"). Finding Pepper at his finest, most limber form, his own composition "Las Cuevas de Mario" is a particular standout in 5/4 time and would pop up on his set lists in subsequent years. This new edition is released as part of the Contemporary Records Acoustic Sounds series on 180-gram vinyl pressed at QRP with (AAA) lacquers cut from the original tapes by Bernie Grundman and is presented in a Stoughton Printing tip-on jacket.

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  • AVRJ 8274 45 67249 08082013101053 2435

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    Ben Webster Quintet – Soulville

    44,00 

    Includes 19% MwSt DE
    Additional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.

    Mastered by George Marino at Sterling Sound "...these are all truly classic Verve titles that you simply don't want to miss...most importantly, the sound of these reissues is nothing short of astounding. Particularly the early Billie and Ella mono records are incredible treasures of sonic beauty. I'd definitely ask Santa for the whole set, or, if you want to cherry pick, the most classic titles. Whatever you decide, you owe yourself at least a half dozen!" Winner of a 2012 Positive Feedback Online Writers' Choice Award - Danny Kaey, Positive Feedback Online, November/December 2011 Soulville is quintessential Ben Webster: intimate, tender, endlessly expressive. Webster was internationally recognized as one of jazz's elder statesman when he recorded this album in 1957, but the youthful fire that had marked his playing with the Duke Ellington Orchestra two decades earlier was undiminished. Leading a stellar combo through a program consisting mostly of vintage pop tunes, the great tenor saxophonist is at his peak. And this reissue includes three rare recordings of Webster on piano, the first instrument he played as a young professional musician. Recorded in 1957. Ben Webster, tenor saxophone Ray Brown, bass Herb Ellis, guitar Stan Levey, drums Oscar Peterson, piano

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  • AVER 36901

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    Ella Fitzgerald – Let No Man Write My Epitaph

    44,00 

    Includes 19% MwSt DE
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    Considered one of Ella's greatest recordings, she's backed on this 1960 release by pianist Paul Smith. Let No Man Write My Epitaph was a 1960 Hollywood movie featuring Fitzgerald. The album hits at a depth of emotional understanding that critics often complained was missing in Ella's reading of jazz lyrics, and once again establishes her as one of the supreme interpreters of the Great American Songbook. 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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  • ACONC 389

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    Curtis Counce – You Get More Bounce With Curtis Counce!

    44,00 

    Includes 19% MwSt DE
    Additional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.

    Craft Recordings and Acoustic Sounds are proud to continue the Contemporary Records Acoustic Sounds series for 2023 with seven album releases from the Contemporary Records catalog, celebrating 70 years of the legendary jazz label. The releases are supervised by Chad Kassem, CEO of Acoustic Sounds, the world's largest source for audiophile recordings. Each title, originally engineered by Roy DuNann and/or Howard Holzer, features all-analog mastering from the original tapes by legendary engineer Bernie Grundman (himself a former employee of the label), as well as unsurpassed audiophile pressing on 180-gram vinyl at Quality Record Pressings, presented in a Stoughton Printing old-style tip-on jacket. The series highlights gems from Contemporary's extraordinary catalog and features artists who both defined and expanded the sound of West Coast jazz. American bassist Curtis Counce recorded the memorably-titled You Get More Bounce with Curtis Counce! in 1956 and 1957 for its release on the Contemporary label. The program features the underrated by talented Curtis Counce Quintet of 1956-1957, a group consisting of bassist/leader Counce, trumpeter Jack Sheldon, tenor saxophonist Harold Land, pianist Carl Perkins, and drummer Frank Butler. Counce contributed two originals but otherwise the band sticks to jazz standards, with some of the best moments being on "Too Close for Comfort," "Mean to Me," and Charlie Parker's "Big Foot." 4 Stars, AllMusic. Founded in 1951 by film producer, screenwriter and record collector Lester Koenig (1917-1977), Contemporary Records became the epicenter of the West Coast jazz scene, while its cutting-edge approach to sound and design attracted some of the era's most exciting artists. The Contemporary Records Acoustic Sounds series — which launched in the spring of 2022 with titles by Art Pepper, Barney Kessel and Benny Carter, among others — honors the label's rich legacy through meticulous reissues that highlight the label's influential classics, as well as its must-hear rarities. Since its initial rollout, the series has earned accolades from a slew of outlets, including JazzTimes, which spoke to the impact of the label, reflecting: "Artists, producers, and engineers alike have held Contemporary aloft...as a label dedicated to presenting jazz at its absolute purest, richest, and live-est," adding that the new reissues "are living, breathing proof of that label's hotly cutting clarity." Audiophile Review, meanwhile, marveled at the stereo pressing of Art Pepper + Eleven: Modern Jazz Classics, which it called "top-notch," elaborating that it sounds "richer and more inviting...deliver[ing] a bit more cinemascopic ‘view' of the group." Praising Hampton Hawes' Four! as "pristine," Audiophile Audition added, "Kudos to Craft Recordings for re-introducing a brilliant pianist." Musicians: Curtis Counce, bass Jack Sheldon, trumpet Harold Land, tenor saxophone Carl Perkins, pianist Frank Butler, drums

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  • ACONC 596

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    Ornette Coleman – Tomorrow Is The Question!

    44,00 

    Includes 19% MwSt DE
    Additional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.

    Craft Recordings and Acoustic Sounds are proud to continue the Contemporary Records Acoustic Sounds series for 2023 with seven album releases from the Contemporary Records catalog, celebrating 70 years of the legendary jazz label. The releases are supervised by Chad Kassem, CEO of Acoustic Sounds, the world's largest source for audiophile recordings. Each title, originally engineered by Roy DuNann and/or Howard Holzer, features all-analog mastering from the original tapes by legendary engineer Bernie Grundman (himself a former employee of the label), as well as unsurpassed audiophile pressing on 180-gram vinyl at Quality Record Pressings, presented in a Stoughton Printing old-style tip-on jacket. The series highlights gems from Contemporary's extraordinary catalog and features artists who both defined and expanded the sound of West Coast jazz. Released in 1959, Tomorrow Is The Question!, the second album by jazz musician Ornette Coleman, was his last for Contemporary Records before he began a highly successful multi-album series for Atlantic Records. "Shaking out of the contractual obligation forcing him to employ a pianist on his debut, Something Else!!!! (Contemporary, 1958), alto saxophonist Ornette Coleman dispensed with the instrument altogether on 1959's Tomorrow is the Question!, causing a bit of consternation on the part of the mainstream jazz media. This was Coleman's committed step forward toward a harmonically less restrictive sound, en route to the joyful chaos of Free Jazz (Atlantic, 1961). Following, in form, Gerry Mulligan's famous piano-less quartet of the early 1950s, Coleman greatly liberated his solo and rhythm instruments, taking a quantum greater advantage of this freedom compared with Mulligan, had the baritone saxophonist been so inclined." — All About Jazz Founded in 1951 by film producer, screenwriter and record collector Lester Koenig (1917-1977), Contemporary Records became the epicenter of the West Coast jazz scene, while its cutting-edge approach to sound and design attracted some of the era's most exciting artists. The Contemporary Records Acoustic Sounds series — which launched in the spring of 2022 with titles by Art Pepper, Barney Kessel and Benny Carter, among others — honors the label's rich legacy through meticulous reissues that highlight the label's influential classics, as well as its must-hear rarities. Since its initial rollout, the series has earned accolades from a slew of outlets, including JazzTimes, which spoke to the impact of the label, reflecting: "Artists, producers, and engineers alike have held Contemporary aloft...as a label dedicated to presenting jazz at its absolute purest, richest, and live-est," adding that the new reissues "are living, breathing proof of that label's hotly cutting clarity." Audiophile Review, meanwhile, marveled at the stereo pressing of Art Pepper + ElevenModern Jazz Classics, which it called "top-notch," elaborating that it sounds "richer and more inviting...deliver[ing] a bit more cinemascopic ‘view' of the group." Praising Hampton Hawes' Four! as "pristine," Audiophile Audition added, "Kudos to Craft Recordings for re-introducing a brilliant pianist." Musicians: Ornette Coleman, alto saxophone Don Cherry, trumpet Percy Heath, bass (1-6) Red Mitchell, bass (7-9) Shelly Mann, drums

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  • APHI 26601 154987 12152020084215 5715

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    Nina Simone – Pastel Blues

    44,00 

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    "The sound of both of these records is the best that's been produced from these tapes and both records are well worth owning." — Music = 9/11; Sound = 9/11 — Michael Fremer, AnalogPlanet.com. Read the whole 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. This is Nina at the piano, joined by a small band as she ignites a set of late-night torch songs: "Nobody Knows You When You're Down and Out," "Strange Fruit," "Trouble in Mind," her stunning version of "Sinner Man," and more. Originally issued in 1965 by Philips.

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  • APHI 33201 154986 12152020084124 455

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    Nina Simone – I Put A Spell On You

    44,00 

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    "The sound of both of these records is the best that's been produced from these tapes and both records are well worth owning." — Music = 9/11; Sound = 9/11 — Michael Fremer, AnalogPlanet.com. Read the whole 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. I Put a Spell on You is the 1965 album by Nina Simone, and features some of her best known songs. "I Put a Spell on You" is a song originally by Screamin' Jay Hawkins. The original version gave the song an ironic theme, but Simone transformed it into a thrilling love song, complete with horns and strings. It had become one of her most well-known songs. She used the title for her autobiography I Put A Spell On You (1992).

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  • Copy AVER 8545 6851 01152009112053 2889

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    Stan Getz & Joao Gilberto – Getz and Gilberto

    88,00 

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    Mono & Stereo magazine's reviewer Matej Isak says Chad Kassem's efforts via his Quality Record Pressings pressing plant "goes beyond simple vinyl revival." "What can I say? I have a few different copies of this album and this release is of a completely different nature of sound. Like with another unforgettable (release) Nat 'King' Cole — Love Is The Thing (AAPP 824-45) this is as good as it gets, without having the real master tapes on hand. It's a celebration of analog." Isak also raves, "Everything is even more subtle and present. Astrud's vocals finally got the needed three-dimensionality and 'spirit' and Getz's saxophone breathes out of proportion. When compared to other pressings, for example, Astrud is a mere statue. Here, she came alive with the feeling of real life-size. ... With 45 RPM benefits, the album gained better transients and a sense of atmosphere. It moves you more intimately and straight to the core." Matej Isak, Mono & Stereo magazine, May 2013. Beyond highly recommended." Named a Mono & Stereo Strictly Vinyl Analog Award winner. Read the entire review. http://www.monoandstereo.com/2013/05/acoustic-sounds-stan-getz-joao-gilberto.html "...these are all truly classic Verve titles that you simply don't want to miss...most importantly, the sound of these reissues is nothing short of astounding. Particularly the early Billie and Ella mono records are incredible treasures of sonic beauty. I'd definitely ask Santa for the whole set, or, if you want to cherry pick, the most classic titles. Whatever you decide, you owe yourself at least a half dozen!" Winner of a 2012 Positive Feedback Online Writers' Choice Award - Danny Kaey, Positive Feedback Online, November/December 2011 "...To say that the resulting new stereo master is anything but a major sonic breakthrough would be to make the understatement of the decade. Simply put, audiophile jargon and usual hyperbolas aside, this new release is like hearing the record for the very first time, in the studio, with Astrud and team granting you a personal performance for the night. There is just so much more information present, that you really can't fairly compare any of the previous releases with this one." - Danny Kaey, Positive Feedback, September/October 2011 The original master tapes for this title had not been used since 1980 previous to this reissue. Also, for this Analogue Productions reissue the decision was made to master and present this album as it was originally mixed to master tape. With very few exceptions all versions of this title to date, including the original, have had the channels incorrectly reversed. With this version, you'll hear this title as it was intended to be heard, without the channels reversed. And again, those reissues you've heard up until now - definitely still breathy, warm and rich - were made from something less than the master. Prepare to hear the veil removed.  Astrud Gilberto says that her husband, Joao, informed Stan Getz that she "could sing at the recording." Creed Taylor recalls that it took Getz's wife, Monica, to get both Astrud and Joao into the recording studio; Mrs. Getz had a sense that Astrud could make a hit. And Getz himself is on record saying that he insisted on Astrud's presence over the others' objections. So who's right? What does it matter? The Gilbertos, Getz and the legendary Antonio Carlos Jobim followed up the bossa nova success of Jazz Samba with this, the defining LP of the genre. With one of the greatest hit singles jazz has ever known - each one who hears it goes "Ahhh!"

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  • AVER 83001

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    Stan Getz and Charlie Byrd – Jazz Samba

    44,00 

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    The words "bossa nova" are often synonymous with the name Stan Getz. But North Americans might not have ever known the bright sound of bossa nova had it not been for Charlie Byrd. In 1961 Byrd returned from a tour of South America, where bossa nova music was thriving. The style was the invention of singer Joao Gilberto and songwriter Antonio Carlos Jobim — an adaptation of infectious Brazilian samba rhythms with the harmonic structures and "cool" surface of West Coast jazz. Byrd brought back records for Getz to hear, they planned a session, and the result was Jazz Samba — the first album of true bossa nova music by jazz artists and the one that broke the bossa nova wave in 1960s America. Originally released in 1962. Seeking to offer definitive audiophile grade versions of some of the most historic and best jazz records ever recorded, Verve Label Group and Universal Music Enterprises' audiophile Acoustic Sounds vinyl reissue series utilizes the skills of top mastering engineers and the unsurpassed production craft of Quality Record Pressings. All titles are mastered from the original analog tapes, pressed on 180-gram vinyl and packaged by Stoughton Printing Co. in high-quality gatefold sleeves with tip-on jackets. The releases are supervised by Chad Kassem, CEO of Acoustic Sounds, the world's largest source for audiophile recordings. Musicians: Stan Getz, tenor saxophone Charlie Byrd, guitar Keter Betts, bass Gene Byrd, bass, guitar Buddy Deppenschmidt, drums Antonio Carlos Jobim, guitar Bill Reichenbach, drums

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  • ACONC 390

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    André Previn And His Pals, Shelly Manne & Red Mitchell – West Side Story

    44,00 

    Includes 19% MwSt DE
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    Craft Recordings and Acoustic Sounds are proud to announce the Contemporary Records Acoustic Sounds series, which continues for 2023 with seven album releases from the Contemporary Records catalog, celebrating 70 years of the legendary jazz label. The releases are supervised by Chad Kassem, CEO of Acoustic Sounds, the world's largest source for audiophile recordings. Each title, originally engineered by Roy DuNann and/or Howard Holzer, features all-analog mastering from the original tapes by legendary engineer Bernie Grundman (himself a former employee of the label), as well as unsurpassed audiophile pressing on 180-gram vinyl at Quality Record Pressings, presented in a Stoughton Printing old-style tip-on jacket. The series highlights gems from Contemporary's extraordinary catalog and features artists who both defined and expanded the sound of West Coast jazz. One of the best of a series of showtune albums — perhaps THE best — recorded by the trio of pianist Andre Previn, bassist Red Mitchell and drummer Shelly Manne. Here the all-star group is focusing on the music of West Side Story (AllMusic notes Previn and Manne alternated leadership, and it was the drummer's good fortune to have the famous My Fair Lady alum under his own name). The album has eight of the main themes from the famous musical, including "I Feel Pretty," "Maria" and "America." As usual, the melodies are treated respectfully yet swingingly, and Andre Previn in particular excels in this setting. Recommended. Founded in 1951 by film producer, screenwriter and record collector Lester Koenig (1917-1977), Contemporary Records became the epicenter of the West Coast jazz scene, while its cutting-edge approach to sound and design attracted some of the era's most exciting artists. The Contemporary Records Acoustic Sounds series — which launched in the spring of 2022 with titles by Art Pepper, Barney Kessel and Benny Carter, among others — honors the label's rich legacy through meticulous reissues that highlight the label's influential classics, as well as its must-hear rarities. Since its initial rollout, the series has earned accolades from a slew of outlets, including JazzTimes, which spoke to the impact of the label, reflecting: "Artists, producers, and engineers alike have held Contemporary aloft...as a label dedicated to presenting jazz at its absolute purest, richest, and live-est," adding that the new reissues "are living, breathing proof of that label's hotly cutting clarity." Audiophile Review, meanwhile, marveled at the stereo pressing of Art Pepper + Eleven: Modern Jazz Classics, which it called "top-notch," elaborating that it sounds "richer and more inviting...deliver[ing] a bit more cinemascopic ‘view' of the group." Praising Hampton Hawes' Four! as "pristine," Audiophile Audition added, "Kudos to Craft Recordings for re-introducing a brilliant pianist."

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  • AVER 82901

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    Wynton Kelly Trio and Wes Montgomery – Smokin’ At The Half Note

    44,00 

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    This important historic jazz record pairs guitar virtuoso Wes Montgomery with Miles Davis' rhythm section — featuring Paul Chambers on bass, Jimmy Cobb on drums and Wynton Kelly on piano. This is timeless music that has inspired innumerable jazz guitarists and aficionados. In fact, jazz guitar great Pat Metheny has said, "I learned to play listening to Wes Montgomery's Smokin' At The Half Note." Metheny additionally said that the solo on "If You Could See Me Now" is his favorite of all time. This legendary session was recorded at a New York nightclub. It captures Montgomery at the height of his improvisational powers. Many consider it the best performance on record by one of the most inventive guitarists in jazz history. Highlights include the Miles Davis opener, "No Blues" and the following track, Tadd Dameron's "If You Could See Me Now." And the album's versions of "Unit 7" and "Four On Six" have helped to establish these songs as jazz standards. Seeking to offer definitive audiophile grade versions of some of the most historic and best jazz records ever recorded, Verve Label Group and Universal Music Enterprises' audiophile Acoustic Sounds vinyl reissue series utilizes the skills of top mastering engineers and the unsurpassed production craft of Quality Record Pressings. All titles are mastered from the original analog tapes, pressed on 180-gram vinyl and packaged by Stoughton Printing Co. in high-quality gatefold sleeves with tip-on jackets. The releases are supervised by Chad Kassem, CEO of Acoustic Sounds, the world's largest source for audiophile recordings. Musicians: Wynton Kelly, piano Wes Montgomery, guitar Paul Chambers, bass Jimmy Cobb, drums

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  • ACONC 384

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    Benny Carter – Jazz Giant

    44,00 

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    Craft 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. The 1958 classic Jazz Giant showcases the alto saxophone, trumpet and arrangements of triple threat Benny Carter, whose majestic talent awed four generations of jazz artists (he's joined by a formidable cast including Manne, Kessel and tenor sax titan Ben Webster). Here, Carter displays three of his many talents, principally as an alto saxophonist, but also as a composer on two numbers and a trumpeter on two. The company he kept, with Webster and Frank Rosolino rounding out the front line, and such fellow giants as Andre Previn, Barney Kessel, Leroy Vinnegar, and Shelly Manne in the rhythm section (Jimmy Rowles replaces Previn on two tracks) left no doubt that this album would be a milestone in straight-ahead, small group, mainstream jazz.

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  • AVER 69001

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    Stan Getz & Joao Gilberto – Getz and Gilberto

    44,00 

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    "The Acoustic Sounds LP under review isn't the first audiophile LP reissue. I have a 200-gram LP version of Getz/Gilberto from Mobile Fidelity. To me, there are subtle differences. Listening to 'The Girl from Ipanema,' I hear a slightly more focused, precise sound on the new Acoustic Sounds LP. The stereo separation is a bit extreme, as it was on the original: I would have changed that. Familiar though it is, and successful though it was, the music remains marvelous. It's wonderful to relive the heft and forthright mastery we hear on Getz's solos throughout." — Michael Ullman, The Arts Fuse, Sept. 24, 2020. Read the entire review here. "Acoustic Sounds/Universal Music Group has released a vibrant 180-gram stereo vinyl of Getz/Gilberto. Engineered by George Marino (Sterling Sound) under the supervision of Acoustic Sounds founder Chad Kassem, this is a vibrant analog update of a jazz essential. ... The overall mix of this remastered 180-gram vinyl is excellent. The stereo separation is precise, with double bass/percussion on one channel and guitar/piano on the other. Getz' distinctive tenor is centered, as are the vocals. ... The pressing is superior with no hisses or pops." — 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." Getz/Gilberto is not only a marvelous album, but one which had a profound influence upon the face of jazz and American popular music. This stunning 1964 collaboration between Stan Getz, one of the most popular and respected tenor saxophonists of the era, and the remarkable Brazilian guitarist João Gilberto, launched the bossa nova craze and the career of João's wife Astrud Gilberto with the hugely popular and iconic hit song, "The Girl from Ipanema (Garota de Ipanema)." Even more impactful, it introduced the famed Brazilian composer Antonio Carlos Jobim to the English-speaking musical world. In addition to playing piano on the album, Jobim also composed six of the eight compositions, including two of his most popular masterpieces, "Desafinado" and "Corcovado," along with the aforementioned "Garota de Ipanema." While Getz had embraced the music of Brazil prior to this with two outstanding Verve albums — Jazz Samba and Big Band Bossa Nova — Getz/Gilberto, with multiple Grammy Awards and a permanent place on various Best Albums of All-time lists is the album that launched a revolution. Regardless of that, the collaborative blending of Getz's fluid, muscular virtuosity and João's impeccable acoustic guitar stylings and captivating vocals, Astrud's enchanting almost-whispered singing on two tracks, all backed by Jobim's minimalist subtlety on piano and the flawless support of Sebãstio Neto and Milton Banana on bass and drums, make this an utterly momentous musical experience regardless of its lofty place in musical history. Now these albums and many more will be heard better than ever in the exciting new audiophile Acoustic Sounds series.

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  • AIMP 78301

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    John Coltrane – Crescent

    44,00 

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    "...the pressing is solid — manufactured at Quality Record Pressings — with dark black 180-gram vinyl that is well centered. It sounds great and sounds like what I would expect a 1964 Impulse Records release to sound like — it does not feel like the recording has been overly EQ'd or modernized along the way. So kudos again to Ryan K. Smith who has handled all the mastering for the Acoustic Sounds releases at Sterling Sound — if you look closely at the run-out-groove (aka "dead wax") you'll see his initials and the "Sterling" stamp. The cover art is again, like most of the Acoustic Sounds and Tone Poet series reissues I've encountered, manufactured to a very high standard that is arguably better than the originals - super glossy laminated sleeves made of thick cardboard with superb quality reproduction of the original artwork, design and photography. ... If you are a vinyl and Coltrane fan, you'll probably want to pick up one of these fine reissues sooner than later as they tend to disappear from store shelves quickly." — Mark Smotroff, Audiophile Review, Sept. 14, 202. Read the entire review here. "Mastered by Ryan K. Smith at Sterling Sound from the original analog tapes, the Acoustic Sounds vinyl edition of the stereo recording stands out for its transparency, pinpointing the individual contributions of each band member and also capturing the synergy of an ensemble that, since its first performance in 1960, continued to reach new musical heights. The deep, woody sound of Jimmy Garrison's bass solo on 'Lonnie's Lament' and the timbre of Elvin Jones' drum solo on "The Drum Thing" have a startling in-the-room presence." — Music = 5/5; Sound = 4.5/5 — Jeff Wilson, The Absolute Sound. "Recorded in December of 1964, A Love Supreme was Coltrane's biggest seller and the record most familiar to casual listeners. However, if called on to satisfy myself with a single Coltrane album for the rest of time, the title I would choose is Crescent. ... Rudy Van Gelder recorded the music on Crescent during two sessions. ... Crescent was recorded in stereo only and released in both mono fold-down and stereo versions. ... Remastered by Ryan Smith at Sterling Sound, this reissue, which was pressed at Quality Record Pressings, blends the channels into a seamless soundstage, one that sounds more natural than that of my original mono pressing. ... In some subtle ways relating to air and delicacy, I'd have to give the slight edge to my original mono pressing, but this reissue's increase in dynamics and punch, coupled with the wonderful soundstage and impressive tonal quality, make it the one I'll reach for most often." — Music = 5/5; Sound = 4.5/5 — Dennis Davis, The Audio Beat. Read Davis's full review here. "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. ... On Crescent, Coltrane is vivid throughout, but on the tracks recorded in April, the piano and drums sound thin; on the tracks from June they sound fine. Luckily 'Wise One' and 'Lonnie's Lament' were laid down in June. These are classics." — Fred Kaplan, Stereophile, April 2022 "Ryan Smith has done a masterful job (no pun intended) with what again sounds like a master tape copy (unless the original tape has just lost some top end) at least based on a 'top end' comparison where on the original Coltrane's sax has greater 'presence' texture and air and Jones's drum kit more natural sizzle — as well as there being more 'room air' — but it's also easy to make a case for far better bass and piano presentation on the reissue. Rudy's original sounds as if he's rolled off the bottom and done a bit of compression. Overall if forced to choose one, I'm not sure I'd take the original over the new reissue, though I'm not selling the original (mine's a second label, red/black, but otherwise a first pressing). That's how good this is." — Music = 10/11; Sound = 10/11 — Michael Fremer, AnalogPlanet.com. To read Fremer's full review, click here. Released in 1964, Crescent is one of sax master John Coltrane's finest albums, featuring the talents of McCoy Tyner, Jimmy Garrison and Elvin Jones. During 1964 John Coltrane spent the least amount of time in the recording studio of his entire solo career. It wasn't until April 27 that ‘Trane, along with Tyner, Garrison and Jones went to the familiar surroundings of Rudy Van Gelder's Englewood Cliff's studio to begin work on the album that came to be called, Crescent. They recorded all the tracks that appear on Crescent, along with "Songs Of Praise," but not the final versions of the album's five tracks. From that first day's recording the ones that make the final cut are, "Lonnie's Lament," "The Drum Thing" and "Wise One." The first two of these three tracks make up all of side two of the album and on "Lonnie's Lament" Coltrane does not solo at all, instead it features a long bass solo by Garrison. Garrison's widow recalled that this album along with A Love Supreme, which was released a year later in 1965, were the two that her husband listened to the most.

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  • AIMP 60201

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    Charles Mingus – The Black Saint And The Sinner Lady

    44,00 

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    "A comparison between this reissue and an original Impulse produced a sonic draw with each having its own attractive qualities — warmer original versus more transparent reissue — but the reissue is pressed on far quieter vinyl and given a choice I'd take the reissue. Musical and sonic fireworks well worth getting." — Music = 10/11; Sound = 10/11 — Michael Fremer, AnalogPlanet.com. Read the whole review here. On January 20, 1963, bassist and composer Charles Mingus recorded in just one session — astonishingly — a very personal and socially conscious work he titled The Black Saint & The Sinner Lady. With liner notes written by Mingus's psychotherapist, the album uses ornate ensemble orchestration to produce a sound somewhere between jazz and folk. Released on Impulse! Records in 1963, the album consists of a single continuous composition — partially written as a ballet — divided into four tracks and six movements. Of his adventurous and hauntingly eloquent work, among his other creations, Mingus said: "My music is evidence of my soul's will to live."  The evidence of that life-force amounts to some of the most dramatic and powerful jazz composed in the 20th century. Mingus was born in Arizona on April 22, 1922 and raised in Los Angeles. He was taught double-bass by Red Callendar, and by the New York Philharmonic Orchestra's Herman Rheinshagen (classical music played as big a part in his compositional thinking as gospel songs and the blues). Mingus toured with New Orleans players Louis Armstrong and Kid Ory in the 40s, and later worked briefly with Lionel Hampton and Duke Ellington. If he had been an improvising instrumentalist alone, Mingus would have been a jazz legend simply for his bass playing. Yet bass-playing also gave Mingus an insight into the low sonorities and inner hamonies of jazz composition, and his melodic approach was profoundly influenced by the blues and gospel music of his childhood.

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  • AIMP 42801

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    Oliver Nelson – Blues And The Abstract Truth

    44,00 

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    "Another superb release from the Acoustic Sounds Series of reissues for Verve/Universal Music Enterprises! Mastered by Ryan K. Smith at Sterling Sound, supervised by Chad Kassem himself, and pressed at QRP, the results are simply breathtaking. ... Along with the Gil Evans Out of the Cool release, this is my favorite reissue so far. Bravo to Chad and his entire team. Originally released on the Impulse label in 1965, this is truly a jazz classic and without question this is Oliver Nelson's magnum opus." — Read Robert S. Youman's review for Positive Feedback online here. "The Blues and the Abstract Truth is one of my favorite jazz recordings. What a group of heavy-weight performers! Besides Oliver Nelson on tenor sax, you've got the incomparable Bill Evans on piano, Freddie Hubbard on trumpet, Paul Chambers on bass, Roy Haynes on drums, and Eric Dolphy on flute and alto sax. This is the jazz equivalent of a super-group." — Jim Hannon, AVguide.com Here we go with another round from the Acoustic Sounds Series. 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. As Oliver Nelson is known primarily as a big band leader and arranger, he is lesser known as a saxophonist and organizer of small ensembles. Blues And The Abstract Truth is his triumph as a musician for the aspects of not only defining the sound of an era with his all-time classic "Stolen Moments," but on this recording, assembling one of the most potent modern jazz sextets ever. Lead trumpeter Freddie Hubbard is at his peak of performance, while alto saxophonists Nelson and Eric Dolphy (Nelson doubling on tenor) team to for an unlikely union that was simmered to perfection. Bill Evans (piano), Paul Chambers (bass) and Roy Haynes (drums) can do no wrong as a rhythm section. Originally released in 1961. Musicians: Oliver Nelson, alto saxophone, tenor saxophone George Barrow, baritone saxophone Paul Chambers, bass Eric Dolphy, flute, alto saxophone Bill Evans, piano Roy Haynes, drums Freddie Hubbard, trumpet

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  • AIMP 80001

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    John Coltrane and Johnny Hartman – John Coltrane & Johnny Hartman

    44,00 

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    A match made in heaven! This 1963 Impulse! LP is a career highlight for Johnny Hartman's beautiful baritone voice and John Coltrane's exploratory yet empathetic tenor sax. John Coltrane and Johnny Hartman is one of the three all-ballad albums that John Coltrane recorded in late 1962 and early 1963. Hartman was apparently Coltrane's suggestion, and his deep, dark voice meshes perfectly here with Coltrane's tenor. "The material is well-chosen, including definitive readings of 'My One and Only Love' and 'Lush Life.' McCoy Tyner fills out the chords, augmenting the harmonies and keeping the tone of these ballads respectful but not overly sentimental. All the players get to the deep structure of the songs and are not afraid to play in the most essential and elegant manner. This is beautiful jazz." — Michael Monhart Recorded on March 7, 1963 at the Van Gelder Studio in Englewood Cliffs, New Jersey. The album was inducted into the Grammy Hall of Fame in 2013.

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  • AIMP 67501 1

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    Alice Coltrane – Journey In Satchidananda

    44,00 

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    "Satchidananda means knowledge, existence, bliss. Listen with your inner ear to Alice along with Pharoah Sanders, Charlie Haden, Rashied Ali, Cecil McBee, and others." — Downbeat Alice Coltrane had become a disciple of Swami Satchidananda, which explains the title of her 1971 masterpiece Journey in Satchidananda, recorded November 8, 1970 (except for one live track) and issued in January of 1971. It was recorded at the Coltrane home studio in Dix Hills, New York. Coltrane and Ed Michel produced the album. Album photography was by Chuck Stewart and Ed Michel. It was issued as impulse! AS 9203. The band for the studio tracks included Alice Coltrane. piano, harp; Pharoah Sanders, soprano saxophone, percussion; Cecil McBee, double bass; Rashied Ali, drums; Tulsi, tanpura; and Majid Shabazz, bells, tambourine. For "Isis and Osiris," recorded live July 4, 1970, at The Village Gate in New York City, the group was: Alice Coltrane. harp; Pharoah Sanders, soprano saxophone, percussion; Charlie Haden, double bass; Rashied Ali, drums; and Vishnu Wood, oud. All songs were by Coltrane. Allmusic says the landmark Journey to Satchidananda reveals just how far the pianist and widow of John Coltrane had come in the three years after his death. "The compositions here are wildly open and droning figures built on whole tones and minor modes. And while it's true that one can definitely hear her late husband's influence on this music, she wouldn't have had it any other way. Pharoah Sanders' playing on the title cut, 'Shiva-Loka,' and 'Isis and Osiris' (which also features the Vishnu Wood on oud and Charlie Haden on bass) is gloriously restrained and melodic." 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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  • AIMP 7701

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    John Coltrane – A Love Supreme

    44,00 

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    "I picked up the new Acoustic Sounds (Series) reissue of A Love Supreme, John Coltrane's classic album originally released in 1965 on Impulse! Records. I've owned it on CD (Impulse! Records GRD-155) for years, but I bought a vinyl copy (Impulse! Records GR-155) a few years ago. ... Ryan Smith at Sterling Sound mastered A Love Supreme from original analog tapes for the new pressing, and he gives the recording more space and realism than I hear in the other versions I own. Instruments are lifelike and more clearly presented. Even Garrison's double bass, which could have been more forward in the original recording, has more impact and body. Jones's cymbals have more shimmer, each drum sounds out forcefully, and it's easier to hear the unique tones of each drum. McCoy Tyner's piano chords are harmonically richer and more dynamic. The new LP has a much deeper and wider soundstage and gives me a better sense that the music was performed in a three-dimensional space. ... On the CD and my other vinyl pressings, the music seems to stop at the speakers, while on this reissue it has more room to spread out and show itself. During Elvin Jones's solo drum feature on the opening of "Part III — Pursuance," the drums sound larger and echo more clearly into the left channel than on the CD and the other LPs I own. Cymbals splash with more excitement, and when Coltrane enters with the rest of the quartet, his sax has more fire and edge. ... For a reasonable price, you can pick up this great-sounding version of A Love Supreme by Acoustic Sounds and be assured that you are closer to hearing what occurred in the studio during the recording of this seminal jazz album." — Music = 5/5; Sound = 4/5; Overall Enjoyment = 4.5/5 — Recording of the Month December 2020, Joseph Taylor, soundstagenetwork.com. Read Taylor's entire review here. "Anyone who tells you the original pressing bests this new one simply has not heard either! ... The original is just not very good at all. Quite the opposite for Ryan Smith's cut. Tyner's piano in particular is spectacularly well-served sitting clearly and convincingly in three-dimensions between the speakers. You could say Coltrane's sax is slightly thinner than you might want but that would be system-dependent and as far as I'm concerned the cut is another out of the park home run set against black backgrounds." Music = 11/11; Sound = 10/11 - Michael Fremer, AnalogPlanet.com. Read Fremer's entire review here. The original master tape is available but it's not in the best shape. This LP was cut from a flat tape copy made by Rudy Van Gelder and used for cutting in the UK in April of 1965. Of course, the original recording was in December '64, so only a handful of months later. This tape was discovered at Abbey Road and had been untouched between 1965 and 2002. So while the original tape is available and while we would always opt for the original whenever we can, in this case this copy was the better choice as the tape has incurred less overall wear and sounds much better than the original. 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. In fact, jazz critics have lauded A Love Supreme as Coltrane's most important recording. The rave reviews which appeared in the magazines DownbeatJazz HotJazz Podium and Swingjournal reflected this: critics all over the world, in America, Europe and Japan recognized that Coltrane's deep religious belief had influenced both his approach to life and his music-making. A Love Supreme was his pinnacle studio outing that at once compiled all of his innovations from his past, spoke of his current deep spirituality, and also gave a glimpse into the next two and a half years (sadly, those would be his last). Recorded at the end of 1964, Trane's classic quartet of Elvin Jones, McCoy Tyner, and Jimmy Garrison stepped in and created one of the most thought-provoking albums of their relationship. The album not only enabled Coltrane to express himself with great intensity but also lent him the necessary inner peace to conceive a work of almost 40 minutes in length and to lead his quartet along the same path as himself.

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  • AVER 12301

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    Bill Evans – Trio ’64

    44,00 

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    There'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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  • ACONC 383

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    Art Pepper – +11

    44,00 

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    Craft 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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  • AVER 12401

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    Bill Evans – Trio ’65

    44,00 

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    There'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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  • AIMP 42701

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    Sonny Rollins – On Impulse

    44,00 

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    "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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    Pharoah Sanders – Karma

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    Verve 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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  • AVER 74801

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    Ella Fitzgerald and Louis Armstrong – Ella & Louis

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    "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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    Oscar Peterson – We Get Requests

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    This 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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  • AIMP 7801

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    John Coltrane – Ballads

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    "(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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    Billie Holiday – Songs For Distingue Lovers

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    It 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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  • AIMP 60101

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    Charles Mingus – Mingus Mingus Mingus Mingus Mingus

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    "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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  • AIMP 79501

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    Duke Ellington and Coleman Hawkins – Duke Ellington Meets Coleman Hawkins

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    "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

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    As 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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  • AIMP 79901

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    Duke Ellington & John Coltrane – Duke Ellington & John Coltrane

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    The 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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  • AIMP 78201

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    John Coltrane – ‘Live’ At The Village Vanguard

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    "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

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    This 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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    Louis Armstrong and Oscar Peterson – Louis Armstrong Meets Oscar Peterson (Remastered)

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    "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.

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  • AVER 21001

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    Ray Charles – Genius + Soul = Jazz

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    "Genius + Soul = Jazz is a winner, now sounding better than ever. I like this reissue so much I'll probably not play my original again since it isn't in quite as nice condition. In fact, I'm not sure if I really need to even keep my original in the collection at this point given the quality of this reissue. And that is probably the best complement I can offer." — Mark Smotroff, Audiophile Review, May 17, 2021. Read the entire review here. Ray Charles was best known for his work in the idioms of R&B, rock 'n' roll and even successful forays into country. But he also recorded influential jazz albums, including the groundbreaking Genius + Soul = Jazz originally released in 1961. Recorded at the Van Gelder Studios in Englewood Cliffs, New Jersey, in late 1960, Genius + Soul = Jazz was produced by Creed Taylor and includes arrangements by Quincy Jones and Ralph Burns. Ray Charles played the organ with three vocals ("I've Got News For You," "I'm Gonna Move To The Outskirts Of Town" and "One Mint Julep") and band members included members of the Count Basie Orchestra: Thad Jones, Joe Newman, Billy Mitchell, Frank Wess, Freddie Green and Sonny Payne among others. The record ascended to the No. 4 spot on Billboard's pop album chart and spawned the very first singles on Impulse. "I've Got News For You" rose to No. 8 R&B and No. 66 on the Hot 100. In addition, Charles' version of "One Mint Julep" charted No. 1 R&B and No. 8 pop and his rendition of the blues standard "I'm Gonna Move To The Outskirts Of Town" reached No. 25 R&B and No. 84 pop. Although Basie himself does not appear on the album, the Count was a major model as Charles assembled a full-scale, working orchestra. Basie also influenced his use of organ in a jazz context, and Charles was happy to record at the Van Gelder studio, where Jimmy Smith had recorded his classic Blue Note albums. Truly, as Dick Katz wrote in his original January 1961 liner notes, "The combination here of rare talent plus uncommon craftsmanship has produced a record that showcases the timeless quality an innate taste that is uniquely that of Ray Charles."

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  • AVER 37801

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    Oscar Peterson Trio with Milt Jackson – Very Tall

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    "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.

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  • AIMP 79801

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    Roy Haynes – Out Of The Afternoon

    44,00 

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    "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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  • AVER 21101

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    The Gil Evans Orchestra – Out Of The Cool

    44,00 

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    "Out Of The Cool is nearly as striking an album now as it must have been when it hit the bins in 1961. Not only is it Gil Evans' masterpiece and his best album that didn't front Miles Davis as a soloist; it's a peculiar masterpiece, stretching modal jazz to minimalist extremes yet soaking with swing. ... This Acoustic Sounds QRP pressing comes very close to the sound of the Impulse! original. Piano, percussion, guitar, bass, and horns all waft through what seems to be a vast space (perhaps the result of subtly mixed echo) with tonal colors, crisp transients, and bloom intact. Trombones lack some of the oomph heard on the original pressing, and in a few spots where horns play loud in unison, there's some distortion — a problem with the original as well. Otherwise, no complaints at all." — Performance = 5/5; Sonics = 4.5/5 - Fred Kaplan, Stereophile, August 2021. Read the entire review here. "The album is worth getting for the 15 minutes of 'La Nevada' alone but the rest is equally great including the cinematic side closer 'Where Flamingoes Fly.' ... The sonics here with a cut from the master tape by Ryan K. Smith (yes, the master tape- I have a current photo that for some reason I can't share with you) are incredibly transparent, spacious and flat-out thrilling ... and somewhat brighter and less mid-band rich than the long out of print Alto-Analogue edition Bernie Grundman cut in 1997. Both are worth having for different sonic reasons and if you have a clean original Rudy Van Gelder cut (A-4) you may think you are set, but that cut is less spacious, somewhat dynamically compressed, has the RVG lower bass roll-off and is definitely less transparent — not that it's bad and some people do like the more 'in your face' excitement. This one's here now though! Do not miss it!" — Music = 10/11; Sound = 10/11 - Michael Fremer, AnalogPlanet.com. To read Fremer's full review, click here. "And in keeping with past releases from these folks — and the Blue Note Tone Poet releases for that matter — the results are exemplary. The pressing quality is excellent, delivering pretty much everything you could want and expect from a reissue like this: 180-gram, dark black, dead quiet and perfectly centered vinyl. Kudos again to Quality Record Pressing (QRP) for that attention to important details." — Mark Smotroff, Audiophile Review, May 18, 2021. Read the entire review here. A groundbreaking jazz recording by the longtime Miles Davis collaborator Gil Evans highlights the latter's supreme and influential skills as a jazz orchestrator. This album is a brilliant example of Evans' ability to make a large orchestra sound like a smaller jazz combo using orchestrations that infuse the larger unit with the immediacy and spontaneity of the smaller. Out Of The Cool features some of Evan's finest compositions, including the famous "La Nevada" as well as a magnificent performance of George Russell's "Sratosphunk." Soloists include Budd Johnson (tenor), Johnny Coles (trumpet), Ray Crawford (guitar), Elvin Jones (drums), Ron Carter (bass) and Jimmy Knepper (trombone). The ensemble is superbly recorded by the legendary Rudy Van Gelder. A must-have for all lovers of jazz.

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  • ACONC 386

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    Barney Kessel, Ray Brown, and Shelly Manne – The Poll Winners

    44,00 

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    Craft 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. 1957's The Poll Winners was the first of five all-star trio sessions featuring the dazzling interplay of guitarist Barney Kessel, drummer Shelly Manne and bassist Ray Brown. For The Poll Winners, Kessel, Manne, and Brown did not record together simply because they all happened to have won first place on their respective instruments in the Down Beat, Playboy, and Metronome polls. Their collaboration was due to mutual respect, and their sensitivity to one another's musical requirements. Here, in a set composed mainly of pop and jazz standards, they represent the ultimate in their fields, constituting a rhythm section that also provides brilliant solo interludes by all three members. Collectively, Kessel, Manne, and Brown won dozens of polls over the years; this record eloquently tells you why.

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  • ACONC 387

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    Hampton Hawes – Four! With Barney Kessel, Shelly Manne & Red Mitchell

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    Craft 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. Guitarist Barney Kessel, drummer Shelly Manne, bassist Red Mitchell, and the supremely soulful Hampton Hawes, one of jazz's most appealing yet unsung pianists, fill out the quartet scorecard of the 1958 release Four!. Although much later in his career Hawes experimented with electronic keyboards and fusion music, at heart he was a bebopper, as this session makes abundantly clear. With material like Charlie Parker's "Yardbird Suite," his own "Up Blues," and Red Mitchell's "Bow Jest" (on which Mitchell plays his first recorded bowed solo), Hawes is at a creative peak here. Kessel, who played on the date, paid tribute to Hawes' "inexhaustible ideas on the blues…no one else in modern jazz plays the blues better." And nobody could tie a rhythm section together better than Shelly Manne, the fourth party in this boundingly energetic Four!

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  • ACONC 595

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    Ornette Coleman – Something Else

    44,00 

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    Craft Recordings and Acoustic Sounds are proud to continue the Contemporary Records Acoustic Sounds series for 2023 with seven album releases from the Contemporary Records catalog, celebrating 70 years of the legendary jazz label. The releases are supervised by Chad Kassem, CEO of Acoustic Sounds, the world's largest source for audiophile recordings. Each title, originally engineered by Roy DuNann and/or Howard Holzer, features all-analog mastering from the original tapes by legendary engineer Bernie Grundman (himself a former employee of the label), as well as unsurpassed audiophile pressing on 180-gram vinyl at Quality Record Pressings, presented in a Stoughton Printing old-style tip-on jacket. The series highlights gems from Contemporary's extraordinary catalog and features artists who both defined and expanded the sound of West Coast jazz. Acclaimed alto saxophonist and composer Ornette Coleman's debut album was released by Contemporary Records in September 1958. AllMusic says the album Something Else "shook up the jazz world," revitalizing the union of blues and jazz and restoring "blues to their 'classic' beginnings in African music." Coleman was from Texas, but he was in Los Angeles when he got his big break from Lester Koenig at Contemporary Records. Coleman had begun to play with Don Cherry, who would begin recording on the "pocket trumpet" and the great drummer Billy Higgins. For this first set of nine tunes, Coleman also worked with pianist Walter Norris and bassist Don Payne. Pop Matters says: "Well, if you were a jazz fan in 1958, you might have thought that this Coleman kid had taken a poop in his horn and then lit it afire. Such was the reaction of many to this crazy music. Fifty-three years later, the music sounds positively tame — well within the conventions of bebop that ruled the time." Founded in 1951 by film producer, screenwriter and record collector Lester Koenig (1917-1977), Contemporary Records became the epicenter of the West Coast jazz scene, while its cutting-edge approach to sound and design attracted some of the era's most exciting artists. The Contemporary Records Acoustic Sounds series — which launched in the spring of 2022 with titles by Art Pepper, Barney Kessel and Benny Carter, among others — honors the label's rich legacy through meticulous reissues that highlight the label's influential classics, as well as its must-hear rarities. Since its initial rollout, the series has earned accolades from a slew of outlets, including JazzTimes, which spoke to the impact of the label, reflecting: "Artists, producers, and engineers alike have held Contemporary aloft...as a label dedicated to presenting jazz at its absolute purest, richest, and live-est," adding that the new reissues "are living, breathing proof of that label's hotly cutting clarity." Audiophile Review, meanwhile, marveled at the stereo pressing of Art Pepper + Eleven: Modern Jazz Classics, which it called "top-notch," elaborating that it sounds "richer and more inviting...deliver[ing] a bit more cinemascopic ‘view' of the group." Praising Hampton Hawes' Four! as "pristine," Audiophile Audition added, "Kudos to Craft Recordings for re-introducing a brilliant pianist."

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  • ACONC 606

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    Phineas Newborn Jr. – A World Of Piano!

    44,00 

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    Craft Recordings and Acoustic Sounds are proud to continue the Contemporary Records Acoustic Sounds series for 2023 with seven album releases from the Contemporary Records catalog, celebrating 70 years of the legendary jazz label. The releases are supervised by Chad Kassem, CEO of Acoustic Sounds, the world's largest source for audiophile recordings. Each title, originally engineered by Roy DuNann and/or Howard Holzer, features all-analog mastering from the original tapes by legendary engineer Bernie Grundman (himself a former employee of the label), as well as unsurpassed audiophile pressing on 180-gram vinyl at Quality Record Pressings, presented in a Stoughton Printing old-style tip-on jacket. The series highlights gems from Contemporary's extraordinary catalog and features artists who both defined and expanded the sound of West Coast jazz. American jazz piano virtuoso Phineas Newborn Jr. recorded A World of Piano! in 1961 for the Contemporary label, which released it in June 1962. Newborn performs five jazz standards and three lesser-known rarities by jazz composers on this superb album. The album consists of tracks from two 1961 sessions paring the pianist with two all-star rhythm sections: Paul Chambers and Philly Joe Jones (October 16) and Sam Jones and Louis Hayes (November 21). Founded in 1951 by film producer, screenwriter and record collector Lester Koenig (1917-1977), Contemporary Records became the epicenter of the West Coast jazz scene, while its cutting-edge approach to sound and design attracted some of the era's most exciting artists. The Contemporary Records Acoustic Sounds series — which launched in the spring of 2022 with titles by Art Pepper, Barney Kessel and Benny Carter, among others — honors the label's rich legacy through meticulous reissues that highlight the label's influential classics, as well as its must-hear rarities. Since its initial rollout, the series has earned accolades from a slew of outlets, including JazzTimes, which spoke to the impact of the label, reflecting: "Artists, producers, and engineers alike have held Contemporary aloft...as a label dedicated to presenting jazz at its absolute purest, richest, and live-est," adding that the new reissues "are living, breathing proof of that label's hotly cutting clarity." Audiophile Review, meanwhile, marveled at the stereo pressing of Art Pepper + ElevenModern Jazz Classics, which it called "top-notch," elaborating that it sounds "richer and more inviting...deliver[ing] a bit more cinemascopic ‘view' of the group." Praising Hampton Hawes' Four! as "pristine," Audiophile Audition added, "Kudos to Craft Recordings for re-introducing a brilliant pianist." Musicians: (Tracks 1-4) Phineas Newborn Jr., piano Paul Chambers, bass Philly Joe Jones, drums Recorded in Los Angeles, Oct. 16, 1961 (Tracks 5-8) Phineas Newborn Jr., piano Sam Jones, bass Louis Hayes, drums Recorded in Los Angeles, November 21, 1961

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  • ACONC 391

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    Shelly Manne and Friends – My Fair Lady

    44,00 

    Includes 19% MwSt DE
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    Craft 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. This is drummer Shelly Manne's hugely popular 1956 trio session with bassist Leroy Vinnegar and pianist André Previn, which paved the way for hundreds of jazz albums dedicated to Broadway shows. 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. Guitarist Barney Kessel, drummer Shelly Manne, bassist Red Mitchell, and the supremely soulful Hampton Hawes, one of jazz's most appealing yet unsung pianists, fill out the quartet scorecard of the 1958 release Four!. Although much later in his career Hawes experimented with electronic keyboards and fusion music, at heart he was a bebopper, as this session makes abundantly clear. With material like Charlie Parker's "Yardbird Suite," his own "Up Blues," and Red Mitchell's "Bow Jest" (on which Mitchell plays his first recorded bowed solo), Hawes is at a creative peak here. Kessel, who played on the date, paid tribute to Hawes' "inexhaustible ideas on the blues…no one else in modern jazz plays the blues better." And nobody could tie a rhythm section together better than Shelly Manne, the fourth party in this boundingly energetic Four!

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  • ACONC 594

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    Leroy Vinnegar – Leroy Walks!

    44,00 

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    Craft Recordings and Acoustic Sounds are proud to announce the Contemporary Records Acoustic Sounds series, which continues for 2023 with seven album releases from the Contemporary Records catalog, celebrating 70 years of the legendary jazz label. The releases are supervised by Chad Kassem, CEO of Acoustic Sounds, the world's largest source for audiophile recordings. Each title, originally engineered by Roy DuNann and/or Howard Holzer, features all-analog mastering from the original tapes by legendary engineer Bernie Grundman (himself a former employee of the label), as well as unsurpassed audiophile pressing on 180-gram vinyl at Quality Record Pressings, presented in a Stoughton Printing old-style tip-on jacket. The series highlights gems from Contemporary's extraordinary catalog and features artists who both defined and expanded the sound of West Coast jazz. American bassist Leroy Vinnegar's debut album! Making up the rest of sextet are Gerald Wilson, trumpet; Teddy Edwards, tenor saxophone; Carl Perkins, piano; Tony Bazely, drums; and British import Victor Feldman on vibes (Feldman also arranged three of the seven songs). The album was produced by Lester Koenig and recorded in three 1957 sessions in Los Angeles. Six of the seven songs in this set have the word "walk" in their title, including "Would You Like To Take a Walk," "Walkin' My Baby Back Home," "I'll Walk Alone," and Vinnegar's original "Walk On." All-in-all, a fine, straight-ahead session. 4 Stars, AllMusic. Founded in 1951 by film producer, screenwriter and record collector Lester Koenig (1917-1977), Contemporary Records became the epicenter of the West Coast jazz scene, while its cutting-edge approach to sound and design attracted some of the era's most exciting artists. The Contemporary Records Acoustic Sounds series — which launched in the spring of 2022 with titles by Art Pepper, Barney Kessel and Benny Carter, among others — honors the label's rich legacy through meticulous reissues that highlight the label's influential classics, as well as its must-hear rarities. Since its initial rollout, the series has earned accolades from a slew of outlets, including JazzTimes, which spoke to the impact of the label, reflecting: "Artists, producers, and engineers alike have held Contemporary aloft...as a label dedicated to presenting jazz at its absolute purest, richest, and live-est," adding that the new reissues "are living, breathing proof of that label's hotly cutting clarity." Audiophile Review, meanwhile, marveled at the stereo pressing of Art Pepper + Eleven: Modern Jazz Classics, which it called "top-notch," elaborating that it sounds "richer and more inviting...deliver[ing] a bit more cinemascopic ‘view' of the group." Praising Hampton Hawes' Four! as "pristine," Audiophile Audition added, "Kudos to Craft Recordings for re-introducing a brilliant pianist."

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  • AVER 79601

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    Oscar Peterson – Night Train

    46,00 

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    5 stars Downbeat Magazine! — 4.5 stars AllMusic! This release presents the complete original album Night Train (Verve V6-538), one of the many masterpieces recorded by the classic Oscar Peterson Trio with Ray Brown and Ed Thigpen. Particularly focused on Duke Ellington compositions, this LP also features the earliest version of Peterson's own "Hymn to Freedom." Recorded Radio Recorders Studio, Hollywood, December 16, 1962

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  • ACONC 382 Pepper Meets

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    Art Pepper – Meets The Rhythm Section (Stereo Version)

    42,50 

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    Craft 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. Art Pepper Meets the Rhythm Section is the alto saxophone master's auspicious 1957 Contemporary debut paring him with pianist Red Garland, bassist Paul Chambers and drummer Philly Joe Jones — the East Coast rhythm section for Miles Davis' nonpareil quintet. Recorded by legendary engineer Roy DuNann.

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  • AVER 78101

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    Bill Evans – At Town Hall Vol. 1

    44,00 

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    Of pianist Bill Evans' many live albums, At Town Hall ... Vol. 1 has always been among his most delicate and elegant, writes Marc Myers for JazzWax. Evans' playing is taut and graceful, with lovely long improvisational lines and a snappy, fluid attack on the keyboard. The mix of standards and two originals — one was a suite in memory of his' father, who died just three days earlier — also were neatly selected and assembled. Despite playing New York club dates for 10 years, the Town Hall recording on February 21, 1966 was Evans' first New York concert appearance. Evans played the first half of the Town Hall concert with just bassist Chuck Israels and drummer Arnie Wise, and the second half with an orchestra. The orchestra performed four Al Cohn-arranged tunes: "Willow Weep for Me" and "What Kind of Fool Am I" as well as Evans' originals "Funkallero" and "Waltz for Debby." Musicians: Bil Evans - piano, keyboards Chuck Israels - bass Arnold Wide - drums Orchestra: Ernie Royal, Clark Terry and Bill Berry - trumpets Bob Brookmeyer, Quentin Jackson and Bill Watrous - trombone Bob Northern - French horn Jerry Dodgion, George Marge, Eddie Daniels, Frank Petrovsky and Marvin Holladay - reeds

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  • AVER 74601

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    Ella Fitzgerald – Ella Wishes You A Swinging Christmas

    44,00 

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    "Ella Fitzgerald's Christmas album is a secular holiday delight sure to please every listener, even atheists and agnostics. Originally released in 1960, the sound here is warm and inviting as a Yule log burning in the fireplace ... Perfect QRP pressing too." — Music = 9/11; Sound = 9/11 — Michael Fremer, AnalogPlanet.com. To read Fremer's full review, click here. A holiday album from the jazz legend! Have a swinging Christmas and a jazzy new year with this joyous 1960 Ella LP in your collection. She sings (and swings) "Jingle Bells," "Sleigh Ride," "Winter Wonderland," and more! She puts her singular stamp on everything from a sultry vamp like "What Are You Doing New Year's Eve?" to the sweet and cozy "The Christmas Song." Even potentially shopworn standards like "Santa Claus Is Comin' to Town" sound fresher when they're coming from Ella Fitzgerald.

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