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Bill Evans Trio – At Shelly’s Manne-Hole
82,00 €Add to cartBill Evans — At Shelly's Mann-Hole Individual title from The Bill Evans Riverside Recordings Box Set 180-gram 45 RPM double LP Mastered by Kevin Gray & Steve Hoffman at AcousTech Mastering AAA analog from original master tapes Praise for our Riverside Recordings LP Box Set from Analogue Productions "These are, for the most part, extraordinary-sounding recordings, better than any you're likely to find. If you love the music, you should consider the purchase." — Fred Kaplan, Stereophile, Nov. 1, 2017 "Bill Evans' recordings almost always received good to excellent sound, and the Analogue Productions reissues are no exception. ... The 45 rpm reissues are more musical and transparent; instruments have greater three-dimensionality and frequency extremes, especially lower octaves, exhibit greater resolution and impact. Get them before they're sold out!" Myles Astor, Positive-Feedback Online, Issue 34 Of everything Analogue Productions has reissued, few titles have sparked the accolades accorded our 45 RPM versions of Bill Evans titles from his Riverside catalog. Now, we're breaking the titles out from that terrific set for individual sale. These are the audiophile jazz fan's definitive releases for your collection!For jazz collectors, At Shelly's Manne-Hole isn't just another Bill Evans record — it's a landmark. This was Evans' final album for Riverside, the label that first brought his genius to light, and his last chapter in one of the most creative partnerships in modern jazz recording.Captured live at drummer Shelly Manne's famous Hollywood club in 1963, the album finds Evans in rare form — intimate, reflective, yet full of quiet fire. It's only the second time Riverside ever caught him in a live setting (the first being the legendary Village Vanguard sessions), and it documents a fleeting but brilliant trio: Evans with bassist Chuck Israels and drummer Larry Bunker.The sound is wonderfully alive — you can feel the room, the energy, the warmth of an audience hanging on every note. For collectors, this is the bridge between Evans' early introspection and the confident, searching tone of his later work.Musicians:Bill Evans, pianoChuck Israels, bassLarry Bunker, drums -
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Bill Evans Trio – Everybody Digs Bill Evans
82,00 €Add to cartBill Evans — Everybody Digs Bill Evans Individual title from The Bill Evans Riverside Recordings Box Set 180-gram 45 RPM double LP Mastered by Kevin Gray & Steve Hoffman at AcousTech Mastering AAA analog from original master tapes Praise for our Riverside Recordings LP Box Set from Analogue Productions "These are, for the most part, extraordinary-sounding recordings, better than any you're likely to find. If you love the music, you should consider the purchase." — Fred Kaplan, Stereophile, Nov. 1, 2017 "Bill Evans' recordings almost always received good to excellent sound, and the Analogue Productions reissues are no exception. ... The 45 rpm reissues are more musical and transparent; instruments have greater three-dimensionality and frequency extremes, especially lower octaves, exhibit greater resolution and impact. Get them before they're sold out!" Myles Astor, Positive-Feedback Online, Issue 34 Of everything Analogue Productions has reissued, few titles have sparked the accolades accorded our 45 RPM versions of Bill Evans titles from his Riverside catalog. Now, we're breaking the titles out from that terrific set for individual sale. These are the audiophile jazz fan's definitive releases for your collection!The legend of Bill Evans really begins with this album, his second. The pianist had just spent most of 1958 as part of one of the major units in jazz history: The Miles Davis Sextet that also featured John Coltrane and Cannonball Adderley. His fellow musicians already knew his worth (the album title was almost literally accurate, and the four endorsements on the cover, which embarrassed Bill, could easily have been greatly multiplied). With this record, the jazz public began to follow their lead.Here, joined by bassist Sam Jones and drummer Philly Joe Jones, Evans delivers some of his most fluid, swinging trio performances — elegant, lyrical, and rhythmically alive. Yet it's the solo improvisation "Peace Piece" that forever marked his arrival. Built on two hypnotic chords, it unfolds with a quiet intensity that feels both spontaneous and transcendent — a glimpse into the meditative, deeply personal world Evans would explore for the rest of his career.For collectors, Everybody Digs Bill Evans captures that pivotal moment when a brilliant accompanist became an icon in his own right. It's the bridge between promise and legend, a record that doesn't just showcase Evans' genius — it invites you into it.Musicians: Bill Evans, piano Sam Jones, bass Philly Joe Jones, drums -
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Sarah Vaughan – Crazy and Mixed Up
54,00 €Add to cart180-gram vinyl Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape Pressed at Quality Record Pressings Housed in a Stoughton Printing tip-on jacket The Penguin Guide to Jazz Recordings considers Crazy and Mixed Up to be possibly Sarah Vaughan's best album for the Pablo label. Vaughan was nominated for the Grammy Award for Best Jazz Vocal Performance, Female at the 26th Annual Grammy Awards for her performance. This release is an essential addition to any serious jazz collection, captivating audiophiles and music lovers alike. This album blends her impeccable phrasing with inventive, boundary-pushing jazz arrangements, making it a must-have for those who appreciate vocal jazz that transcends the genre. Vaughan's impeccable sense of timing and emotional depth, paired with the intricate instrumental backing, elevate these tracks into an extraordinary listening experience. Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape. Pressed at Quality Record Pressings for superior sound quality, and housed in a Stoughton Printing tip-on single pocket jacket.
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Count Basie 6 – Kansas City
54,00 €Add to cart180-gram vinyl Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape Pressed at Quality Record Pressings Housed in Stoughton Printing tip-on jacket With Count Basie, Cleanhead Vinson, and Willie Cook all gone, there is cause for gratitude that Norman Granz thought in 1981 to bring them together with a great rhythm section. The result was one of the happiest of Basie's celebrated "Kansas City" sessions for Pablo. Cook and Vinson, marvelous soloists who deserved wider fame, were both great bebop players able to tailor their work to Basie's more elemental requirements without condescending or losing anything essential. Additionally, as he demonstrates to a fare-thee-well on "Wee Baby," Vinson was a terrific blues shouter. In his small groups, Basie the pianist was on more prominent display than in the big band, and there are plenty of reminders here that his keyboard talent encompassed much more than wryness and subtlety. Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape. Pressed at Quality Record Pressings for superior sound quality, and housed in a handsome Stoughton Printing tip-on jacket. Musicians: Count Basie, piano Niels-Henning Ørsted Pedersen, double bass Louis Bellson, drums Joe Pass, guitar Eddie Vinson, saxophone Willie Cook, trumpet
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Count Basie & Oscar Peterson – ‘Satch’ and ‘Josh’
54,00 €Add to cart180-gram vinyl Mastered by Matthew Lutthans at The Mastering Lab from the original analog tape Pressed at Quality Record Pressings Housed in Stoughton Printing tip-on jacket A beautiful pairing of two legendary pianists — Count Basie and Oscar Peterson — heard late in Basie's career, in a setting that lets both of them open up nicely! Basie also plays a bit of organ. Freddie Green, Basie's longtime guitarist in his band — he stayed 50 years with Basie — cannot be missed on this recording. 10 track stereo LP. Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape, and pressed at Quality Record Pressings for optimal sound quality, this Analogue Productions 180-gram reissue sounds exceptional! Housed in a gatefold Stoughton Printing tip-on jacket. Musicians: Count Basie, piano Oscar Peterson, piano Freddie Green, guitar Ray Brown, double bass Louie Bellson, drums
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Miles Davis – Kind of Blue (Corrected Speed)
84,00 €Add to cart180-gram double LP 33 1/3 edition (Side 4 will be 45 RPM) Side 1 Speed Corrected for recording adjustment Pressed at Quality Record Pressings using Classic Records parts that were mastered by Bernie Grundman from the original master tape Includes 4-panel insert with corrected speed information and liner notes by Robert Palmer Stoughton Printing Old Style tip-on gatefold heavyweight jacket with scuff-resistant matte finish Standard black vinyl pressing Also available as a limited edition blue vinyl pressing A minor audio complication with Kind of Blue has been addressed with our UHQR edition, and now with this 331/3 RPM double LP reissue. The motor on the studio's 3-track master recorder was running slowly the day of the album's first session. This speed issue affected the album's first three tracks, "So What," "Freddie Freeloader" and "Blue in Green," making them a barely perceptible quarter-tone sharp. Before now, it was only addressed in 1995 for the Classic Records edition and by Columbia Records — or their latter-day parent, Sony Music — on a CD reissue in the late '90s. This edition also contains on Side 4 "Flamenco Sketches (alternate take)" cut at 45 RPM. Legends have a way of sticking around. If there was ever an album awaiting a high-fidelity, custom-pressed vinyl treatment of the level you now hold in your hands, it is Miles Davis' Kind of Blue. The top-selling jazz album of all time, it has been lauded, entered into "Best Of" lists and Halls of Fame, and universally acknowledged as a landmark recording - a five-track masterpiece of melancholy mood and melody. It continues to be one of the most listened-to and studied recordings of all time, a required primer for many young musicians, and one of the most transcendent pieces of music ever recorded. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley with Wynton Kelly playing piano on "Freddy the Freeloader." Kind of Blue is more than Miles Davis's most enduring recording, it's a testament to Miles' experimental approach, drastically simplifying modern jazz by returning to melody unlike the chord complexity more often heard at the time. "The music has gotten thick," Davis complained in a 1958 interview for The Jazz Review. "... There will be fewer chords but infinite possibilities as to what to do with them." Kind of Blue is, in a sense, all melody — and atmosphere. None of the musicians had played any of the tunes before heading into the first of two recording sessions in early spring of 1959. In fact Miles had written out the settings for most of them only a few hours before the session. Miles also stuck to his old recording procedure of having virtually no rehearsal and only one take for each tune. Miles remained proud of the album, performing at least two of its tracks — "So What" and "All Blues" — for years after, until his musical path took him in a different direction. History was on the side of Kind of Blue; it was born in 1959, at the peak of the golden age of high-fidelity, featuring innovations in studio equipment (magnetic tape, high-quality condenser microphones), matched by advancements in home audio reproduction (long-player records — LPs; high-end turntables, and other stereo components). Kind of Blue also benefited from Miles' being signed to the leading major record company of the day — Columbia Records, a part of the CBS media conglomerate. Columbia had the means and wisdom to invest in cutting edge recording technology, and their own professional recording studio. This LP bridges the time span since the album's original recording in the best way possible, struck from the master reel of Kind of Blue, free of speed issues and replete with all the instrumental detail, sonic environment and minimal noise. All-in-all this edition of Kind of Blue meets the highest audiophile standards and offers the truest sound for the most enjoyment
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Cannonball Adderley With Bill Evans – Know What I Mean?
82,00 €Add to cartCannonball Adderley w/ Bill Evans — Know What I Mean? Individual title from The Bill Evans Riverside Recordings Box Set 180-gram 45 RPM double LP pressed at RTI Mastered by Kevin Gray & Steve Hoffman at AcousTech Mastering AAA analog from original master tapes Praise for our Riverside Recordings LP Box Set from Analogue Productions "These are, for the most part, extraordinary-sounding recordings, better than any you're likely to find. If you love the music, you should consider the purchase." — Fred Kaplan, Stereophile, Nov. 1, 2017 "Bill Evans' recordings almost always received good to excellent sound, and the Analogue Productions reissues are no exception. ... The 45 rpm reissues are more musical and transparent; instruments have greater three-dimensionality and frequency extremes, especially lower octaves, exhibit greater resolution and impact. Get them before they're sold out!" Myles Astor, Positive-Feedback Online, Issue 34 Of everything Analogue Productions has reissued, few titles have sparked the accolades accorded our 45 RPM versions of Bill Evans titles from his Riverside catalog. Now, we're breaking the titles out from that terrific set for individual sale. These are the audiophile jazz fan's definitive releases for your collection!In a remarkable display of their musical range and sensitivity, the buoyant alto sax of Cannonball Adderley and introspective piano of Bill Evans move effortlessly toward a middle ground here that shows both to great advantage. Recorded in 1961, the sound quality of these master tapes is breathtaking: a real audiophile dream disc! Featuring Percy Heath on bass and Connie Kay on drums. Originally released in 1961.Musicians:Cannonball Adderley, saxophone (alto) Bill Evans, piano Percy Heath, bass Connie Kay, drums -
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Bill Evans – New Jazz Conceptions (Mono)
82,00 €Add to cartBill Evans — New Jazz Conceptions (Mono) Individual title from The Bill Evans Riverside Recordings Box Set 180-gram 45 RPM double LP pressed at RTI Mastered by Kevin Gray & Steve Hoffman at AcousTech Mastering AAA analog from original master tapes Praise for our Riverside Recordings LP Box Set from Analogue Productions "These are, for the most part, extraordinary-sounding recordings, better than any you're likely to find. If you love the music, you should consider the purchase." — Fred Kaplan, Stereophile, Nov. 1, 2017 Of everything Analogue Productions has reissued, few titles have sparked the accolades accorded our 45 RPM versions of Bill Evans titles from his Riverside catalog. Now, we're breaking the titles out from that terrific set for individual sale. These are the audiophile jazz fan's definitive releases for your collection! In September 1956, a 27-year-old pianist named Bill Evans quietly recorded New Jazz Conceptions — his debut album, and a bold opening statement from a musician still flying under the radar. At the time, Evans wasn't yet the name whispered with reverence in every jazz circle; Miles Davis hadn't called him up yet, and most listeners had no idea what was coming. But listening now, you can hear the spark of genius that would soon reshape modern jazz piano. Here, Evans' introspective touch, harmonic daring, and rhythmic sensitivity were already fully formed. Whether in his intricate trio interplay or the luminous solo passages, there's an unmistakable sense of discovery — of an artist thinking and feeling at the keyboard in real time. It's the kind of music, both cerebral and deeply human, that never loses its emotional pull. For collectors, New Jazz Conceptions isn't just Evans' first step — it's the blueprint for everything that followed. You can trace the DNA of later masterpieces, the sound that inspired Herbie Hancock, Chick Corea, Keith Jarrett, and generations beyond. This is Bill Evans before the legend-still refining, still exploring — but already unmistakably himself. Musicians: Bill Evans, piano Teddy Kotick, bass Paul Motian, drums
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Muddy Waters – The Best Of Muddy Waters
42,00 €Add to cartMuddy Waters — The Best Of Muddy Waters (Mono) Chess Records 75 Series from Chess Records and Acoustic Sounds! Inspired by the record label that pioneered electrifying Chicago blues, rock 'n' roll, stirring soul, and R&B! All-analog mastering by Matthew Lutthans at The Mastering Lab at Blue Heaven Studios! 180-gram vinyl pressed at Quality Record Pressings Audiophile vinyl reissue series launches with two blues classics by Muddy Waters and Howlin' Wolf Muddy Waters' The Best of Muddy Waters is a powerful collection of blues songs that include essential tracks such as "Hoochie Coochie Man," and "Rollin' Stone." If the blues had a Mount Rushmore, Muddy Waters' face would be carved front and center, cigar in hand, guitar slung low, smirk that says "You're about to feel this in your bones." If there's one record that cemented Waters' legend (and made Chess Records the powerhouse that rewrote American music), it's The Best of Muddy Waters. Originally released in 1958, this was Chess Records' very first LP — a bold move in an era when blues records were singles-driven. Leonard and Phil Chess weren't just pressing vinyl; they were pressing the future. The album gathered 12 scorching sides recorded between 1948 and 1954, each one a blueprint for modern electric blues and a direct ancestor of rock 'n' roll. Why It Matters • For Muddy Waters: This album wasn't just a compilation — it was his coronation. Tracks such as "I Just Want to Make Love to You" and "I'm Ready" showcase Muddy's swagger: raw, electric, and dangerous enough to make polite society clutch their pearls. • For Chess Records: This LP marked the label's leap into the long-playing format, proving blues could stand shoulder-to-shoulder with jazz and pop on the hi-fi shelf. Spoiler: It sounded better there, too. • For Music History: Every guitar riff that ever strutted out of a Marshall stack owes a drink to this record. Rolling Stones? Led Zeppelin? Eric Clapton? They didn't just love Muddy — they worshipped him. Tracks That Slap (and Groove) • "Hoochie Coochie Man" — Willie Dixon's swaggering masterpiece that gave Muddy the myth-making juice. • "Rollin' Stone" — The slow burn that not only inspired a British band's name but practically birthed a movement. The Best of Muddy Waters isn't just a greatest-hits record, it's a cultural document. A snapshot of when the Delta plugged in, Chicago turned the volume up, and American music changed forever. Own this and you're holding history that still swings like a wrecking ball. Each release in the Chess Records 75 Series is remastered from the original analog tapes by Matt Lutthans at The Mastering Lab, pressed on 180-gram vinyl at Quality Record Pressings (QRP) and housed in archival quality tip-on gatefold jackets, offering both audiophiles and collectors a premium listening experience.
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Pink Anderson – Carolina Blues Man
42,00 €Add to cartPink Anderson — Carolina Blues Man The Bluesville Series from Craft Recordings and Acoustic Sounds! Inspired by the original Prestige label imprint established in 1959 All-analog mastering by Matthew Lutthans at The Mastering Lab at Blue Heaven Studios! 180-gram vinyl pressed at Quality Record Pressings Highlighting trailblazing blues musicians from legendary labels Pink Anderson was never a big name on the blues circuit, yet he was perhaps the most polished and personal of all the rural bluesmen who recorded for Prestige's Bluesville subsidiary. He was seldom recorded during his long career which began around 1915 with his first of many associations with traveling medicine shows and ended with his death in 1973. He cut three fine albums for Bluesville during the early Sixties, this solo acoustic 1960 date being the first. Anderson, who had a strong influence on folk guitarists Roy Bookbinder and Paul Geremina, specialized in interpretations of blues standards, bringing to each a gentle, uniquely plaintive quality. Originally released in 1961 on Prestige's Bluesville imprint, this album features his blend of fingerpicking and strumming styles to create a unique take on blues standards such as "My Baby Left Me This Morning" and "Baby, Please Don't Go". This release has been pressed on 180-gram vinyl at QRP and newly (AAA) remastered from the original, while a replica tip-on jacket completes the package.
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Terry Callier – The New Folk Sound Of Terry Callier
42,00 €Add to cartTerry Callier — The New Folk Sound Of Terry Callier The Bluesville Series from Craft Recordings and Acoustic Sounds! Inspired by the original Prestige label imprint established in 1959 All-analog mastering by Matthew Lutthans at The Mastering Lab at Blue Heaven Studios! 180-gram vinyl pressed at Quality Record Pressings Highlighting trailblazing blues musicians from legendary labels The New Folk Sound Of Terry Callier released in 1968 on Prestige is exactly what its title suggests — a fresh take on American folk from the then-newcomer Callier. Drawing inspiration from jazz, blues, and soul, Callier re-interprets traditional folk standards bringing a uniquely African American perspective to classics like "Cotton Eyed Joe" and "900 Miles." Pressed on 180-gram vinyl at QRP and newly (AAA) remastered from the original tapes, while a replica tip-on jacket completes the package. The music is hauntingly beautiful, with Callier's warm crooning supported sparsely with bass from Attenborough and Tweedle. The original 1968 release is a mono record collector holy grail, but for everyone else, we recommend this new Bluesville Records reissue that sounds terrific! AllMusic calls it Callier's "most timeless and inviting" release."
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Howlin’ Wolf – Moanin’ In The Moonlight
42,00 €Add to cartHowlin' Wolf — Moanin' in the Moonlight (Mono) Chess Records 75 Series from Chess Records and Acoustic Sounds! Haunting 1959 album debut introduced Wolf's signature growl on "Smokestack Lightnin'" and "Evil" All-analog mastering by Matthew Lutthans at The Mastering Lab 180-gram vinyl pressed at Quality Record Pressings Rolling Stone's 500 Greatest Albums of All Time rated No. 477/500! Howlin' Wolf's Moanin' in the Moonlight is a compilation album released by Chess Records in 1959, comprising songs recorded between 1951 and 1959 previously issued as singles, including the iconic hit "Smokestack Lightnin'." As Rolling Stone put it, "The Wolf had the biggest roar in Chicago blues — he raved in a fierce growl, backed by explosive playing from guitar geniuses Willie Johnson and Hubert Sumlin. His 1959 debut album has some of the meanest electric blues ever heard ... from the eerie railroad drone 'Smokestack Lightnin' to the lowdown 'I Asked for Water (She Gave Me Gasoline)." Founded in 1950 by Polish immigrant brothers Leonard and Phil Chess, Chess Records emerged from the south side of Chicago and enhanced and transformed the blues from folk music to popular sound. Wolf added the raw, untamed electricity that turned the blues into a primal force. With Willie Dixon's songwriting magic, Hubert Sumlin's razor-sharp guitar lines, and Wolf's voice — a voice that sounds like it was carved out of granite with a switchblade — Moanin' in the Moonlight became an anchor of the Chess empire. Each release in the Chess Records 75 Series is remastered from the original analog tapes by Matt Lutthans at The Mastering Lab, the wizard who understands that the Wolf's growl should shake your floorboards, not your ears! Likewise, if vinyl had a luxury spa, Quality Record Pressings would be it. Dead-quiet surfaces, 180-gram heft, and grooves so pristine — it's Chess mono magic, restored with soul! It's big, it's warm, and the sound is alive. Like Wolf himself just walked into your listening room. Lastly, reissues in this series are housed in archival quality tip-on gatefold jackets, offering both audiophiles and collectors a premium listening experience. Bottom line — Moanin' in the Moonlight isn't just an album; it's the cornerstone of electric blues. It's the sound of raw power before marketing departments figured out how to package it. Spin this reissue and rediscover why blues fans treat this record like sacred text — because when the Wolf howls, the world still listens.
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Humble Pie – Smokin’ (45 RPM)
82,00 €Add to cart180-gram 45 RPM double LP! Turn up the heat with the iconic Smokin' 1972 album by Humble Pie! Mastered by Kevin Gray from a 1/2” flat tape copy of the original master Pressed at Quality Record Pressings Shortly before cutting the hard-rock classic Smokin', Humble Pie played the biggest US gig of them all: Shea Stadium, opening for Grand Funk Railroad. It was a make-or-break moment for the U.K. band, and just as the set was heating up, it began to rain. Playing during a storm is a risky situation in the best of times, but in 1971 it meant taking your life in your hands. Frontman Steve Marriott took the mic and dramatically announced that the group didn't care: "It's comin' down rain, and we don't give a f***! We're gonna rock your asses all night long!" "The audience went absolutely berserk," drummer Jerry Shirley recalls. Even Grand Funk's fastidious manager Terry Knight was impressed enough to allow a couple of encores. The band managed to avoid getting killed. And America was now Humble Pie territory. Lucky for the group, the next studio album they released had just as much rock ‘n roll bravado — seasoned with deep blues roots and a whole lot of soul. Smokin', Humble Pie's fifth studio set, made Steve Marriott a star for a second time, gave the band its most enduring song — "30 Days in the Hole" — and made them U.S. headliners. It was also the sound of a band in transition, both in sound and personnel. When Humble Pie formed in 1969, everybody had something of a profile: Marriott had been in the Small Faces; guitarist/singer Peter Frampton, fresh from the Herd, was known both for his chops and his good looks (the U.K. press called him the "face of ‘68"). Bassist Greg Ridley and drummer Jerry Shirley, meanwhile, came from cult favorite hard-rock bands Spooky Tooth and Apostolic Intervention. So Humble Pie initially functioned as a democratic supergroup: Everybody wrote songs, everybody sang lead, and the sound seesawed from heavy rock to the acoustic direction of their second LP, Town & Country. Eventually, they acquired a U.S. manager and booking agent — Dee Anthony and Frank Barsalona — who gave them a recipe for American success: More hard rock, more Marriott upfront. This paid off handsomely on the live album Rockin' the Fillmore, with their classic take on Ray Charles' "I Don't Need No Doctor." But shortly after its release, and just after the Shea show, Frampton jumped ship, realizing that the band's direction was shifting away from his interests. Frampton, of course, became a sensation with his own double live album, but it took some time. "He could see that acoustic side of things was going to be sidelined," Shirley now recalls. "But he'd be the first to tell you that when he left and wound up opening for us, he was thinking ‘Oh dear, what did I do?'" Humble Pie soldiered on. After the first round of auditions for a new guitarist didn't work out, they wrote a bunch of heavier songs and considered going out as a trio. Enter guitarist Dave "Clem" Clempson, who was immediately hired after Marriott spotted a couple of hot solos on a Colosseum live album. Clempson wasn't as much of a singer or acoustic player, but he was a powerhouse of a blues-based guitarist. But that's another story. Meanwhile, Humble Pie's fifth album remains incredibly influential — just ask the Black Crowes, Gov't Mule, or the countless other bands who've referenced it. In short, it's still Smokin' after all these years. Now, settle in with this ultimate reissue — mastered by Kevin Gray from a 1/2” flat tape copy of the original master. And pressed at 45 RPM on two LPs — flat, virtually silent vinyl pressed by Quality Record Pressings! Dive into a rock 'n' roll masterpiece that's guaranteed to leave you craving more!
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Benny Carter & Oscar Peterson – Benny Carter Meets Oscar Peterson
52,00 €Add to cart180-gram vinyl Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape Pressed at Quality Record Pressings Housed in a Stoughton Printing tip-on jacket Benny Carter meets Oscar Peterson — two older giants from the Verve jazz scene of the 50s, recording here in loose quintet format three decades later! The album's got a format that's similar to some of the easy-flowing Verve dates from years back — no surprise, given that Norman Granz produced the set — and there's plenty of room for Carter's amazing tone on the alto to stretch out over mellow rhythms from Joe Pass on guitar, Dave Young on bass, and Martin Drew on drums. Titles include "Sweet Lorraine," "Just Friends," "Whispering," "Some Kind Of Blues," and "Baubles Bangles & Beads." Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape, and pressed at Quality Record Pressings for optimal sound quality, this Analogue Productions 180-gram reissue is an exceptional audiophile disc. Housed in a gatefold Stoughton Printing tip-on jacket.
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The Clark Terry Five – Memories Of Duke
52,00 €Add to cart180-gram vinyl Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape Pressed at Quality Record Pressings Housed in a Stoughton Printing tip-on jacket Unlike many musicians who became stars in the Duke Ellington orchestra, Clark Terry became an even more commanding presence in the jazz world following his near-decade with the Duke. His Ellington memories are notable for a quintet that features Jos Pass's eloquent guitar in place of a second horn, and a program including as many uncommon tune choices as familiar warhorses. Among the highlights are "Echoes of Harlem," with Terry growling in the manner of the trumpeter first featured on the piece, Cootie Williams; "Sophisticated Lady," which receives an unlikely Latin-hustle setting; and "Everything But You," with Terry alternating between trumpet and flugelhorn in a patented conversation with himself. Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape, and pressed at Quality Record Pressings for optimal sound quality, this Analogue Productions 180-gram reissue is an exceptional audiophile disc. Housed in a gatefold Stoughton Printing tip-on jacket.
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Duke Ellington – The Ellington Suites
52,00 €Add to cart180-gram vinyl Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape Pressed at Quality Record Pressings Housed in a Stoughton Printing tip-on jacket The three Ellington Suites in this release were recorded at different times along Ellington's legendary and prolific arc: "The Queen's Suite" in February and April 1959 (written for and dedicated to Queen Elizabeth II, but not widely released until 1970); "The Goutelas Suite" in April 1971; and "The Uwis Suite" in October 1972. "Ellington would record his orchestra at his own expense, and then stockpile the recordings," says Nick Phillips, Vice President, Catalog and Jazz A&R at Concord and producer of the Original Jazz Classics Remasters series. "These were recordings that were later sold to Norman Granz, who had the good sense in the '70s to collect these then-unreleased suites on one album." Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape. Pressed at Quality Record Pressings for superior sound quality, and housed in a Stoughton Printing tip-on single pocket jacket.
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Count Basie & Joe Turner – The Bosses
52,00 €Add to cart180-gram vinyl Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape Pressed at Quality Record Pressings Housed in a Stoughton Printing tip-on jacket The essence of Kansas City wafts from the tracks of this album. How could it not, with Count Basie and Joe Turner in charge? The essence, of course, is the blues, and every man in the band is a master of that most basic and most demanding of forms. Their résumés cover every jazz environ from the 12th Street clubs where Southwest swing matured to the Harlem hothouses that germinated bebop. The common language of the blues, and Basie's catalytic keyboard, bind them tightly together in support of Big Joe Turner, a shouter, a smooth talker, a testifier to the power, tenderness, despair, and joy of the blues and of life, which are the same. Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape. Pressed at Quality Record Pressings for superior sound quality, and housed in a Stoughton Printing tip-on single pocket jacket.
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Joe Pass and Zoot Sims – Blues For 2
54,00 €Add to cart180-gram vinyl Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape Pressed at Quality Record Pressings Housed in a Stoughton Printing tip-on jacket Joe Pass observed in his notes for this album that when he was a young man he determined that his ideal tenor saxophone companion would have a rich tone, harmonic wisdom, respect of the melody, and the will to swing. That figures; Pass was describing his own qualities, and in 1982 when the time came for the guitarist and Zoot Sims to record as a duo, it became clear after about six bars that this was a perfect artistic match. Pass was a supremely natural player whose solos swung from the first note. Sims was also in his later years a master of lyrical expression in ballads. His lyricism here, notably in "Remember," is complemented by his relaxed urgency in the faster pieces. Pass accompanies Sims beautifully and solos with his customary ingenuity. Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape. Pressed at Quality Record Pressings for superior sound quality, and housed in a Stoughton Printing tip-on single pocket jacket.
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Joe Pass – Portraits Of Duke Ellington
54,00 €Add to cart180-gram vinyl Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape Pressed at Quality Record Pressings Housed in Stoughton Printing tip-on jacket Portraits of Duke Ellington is a 1975 album by jazz guitarist Joe Pass that pays tribute to the jazz legend Duke Ellington. The album was recorded just a month after Ellington's death and reached No. 37 on the Jazz Albums Chart. Featuring guitarist Joe Pass (just beginning to become famous), bassist Ray Brown, and drummer Bobby Durham, they are jamming on eight Ellington tunes and "Caravan" (which was penned by one of Duke's key sidemen, Juan Tizol). AllMusic says "The interplay between the three musicians is quite impressive, and Pass' mastery of the guitar is obvious (he didn't really need the other sidemen). Highlights include "In a Mellow Tone," "Don't Get Around Much Anymore," and "I Got It Bad (And That Ain't Good)." Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape, and pressed at Quality Record Pressings for optimal sound quality, this Analogue Productions 180-gram reissue is a must-have for jazz fans. Housed in a single pocket Stoughton Printing tip-on jacket.
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Jethro Tull – Benefit
82,00 €Show item180-gram 45 RPM double LP from Analogue Productions! Mastered by Matthew Lutthans at The Mastering Lab from flat copies of the original U.K. and U.S. analog master tapes Third studio album featured advanced studio recording techniques Featuring original U.S. tracklisting with bonus track "Alive And Well And Living In" from U.K. release Plated and pressed at Quality Record Pressings Gatefold old-style tip-on jacket by Stoughton Printing Jethro Tull's 1970 classic Benefit was their third studio album in as many years, following the successes of This Was (1968) and Stand Up (1969). For Benefit, Ian Anderson (flute, guitars, vocals), Martin Barre (guitars), Glenn Cornick (bass), and Clive Bunker (drums) were joined by John Evan on piano and organ. Evan would go on to play on all of Jethro Tull's albums throughout the '70s. It was also the last to include Cornick, who was fired from the band upon completion of touring for the album. Recorded at Morgan Studios, where the band recorded Stand Up, the album featured more advanced studio techniques, such as a backward-recorded flute on "With You There To Help Me" and a sped-up guitar on "Play In Time." Frontman Ian Anderson said Evan had changed the band's style: "John has added a new dimension musically and I can write more freely now. In fact anything is possible with him at the keyboard." Compared to Stand Up, although containing a similar mix of bluesy hard-rockers and melodic acoustic numbers, Benefit had, as Ian Anderson put it, a "harder, slightly darker feel" compared to previous material. The eclectic fusion of folk, rock, and progressive elements creates a sonic tapestry unlike any other. Anderson's virtuosic flute playing intertwines with Barre's electrifying guitar work, weaving intricate melodies that transport listeners to a world of introspection and imagination. From the hauntingly beautiful "With You There to Help Me" to the whimsical energy of "To Cry You a Song," each track invites exploration of both the inner self and the world beyond. This Analogue Productions 45 RPM release, plated and pressed at Quality Record Pressings, gives this historic album the rich sonic presentation it deserves. The dead-quiet double-LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. Benefit stands as a testament to Jethro Tull's pioneering spirit, pushing the boundaries of musical expression and leaving an indelible mark on the landscape of rock music. This reissue is clean, balanced and richly detailed, the way an Analogue Productions reissue should sound.
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SACD Hugh Masekela – Hope
SACD44,00 €Show item"…Hope is one of those intensely visceral, large as life, and immediately present recordings that will make pretty much any system sound at least very good, and will cause better ones to raise goose bumps." – Wayne Garcia, The Absolute Sound, August 2008 "…The high quality original mix plus Analogue Productions' superb mastering has resulted in a terrific, very transparent sonic with great impact." – John Henry, Audiophile Audition "A stunning demo disc to test or show off any stereo system." – Playback, June 2008 "Here's another masterpiece from Chad Kassem and Kevin Gray…you would swear that you are listening to a master tape in your living room…this one is great for showing off what your stereo system can do." – Jeff Dorgay, Tone Audio, No. 15, 2008 A longtime audiophile demonstration disc. Hope will show off your system's dynamic range as well as any record ever released. Hugh Masekela, the outstanding South African trumpeter, assembled a seven-piece group and recorded this great set live at Washington, D.C.'s Blues Alley. The songs stretch over a period of nearly five decades and serve as an informal guided tour of Masekela's life. The songs are honest and bare, and as for the sound – WOW! Reviews of the LP: "…Believe me, this double 45 makes the CD sound like digital dog crap. It you thought the CD version sounded good, you ain't heard nuttin' yet." "Wow! Hugh Masekela never sounded more real – the BEST Masekela album, a definitive must have!" – Danny Kaey, Positive-Feedback Online
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The Staple Singers – Hit Singles
34,00 €Add to cartTwo monumental hits, cut at 45 on 180-gram vinyl. Mastered by Kevin Gray & Steve Hoffman at AcousTech Mastering from the original analog tapes! "I’ll Take You There" (Side 1) A beautiful and now instantly-recognizable call-and-response chorus that scored a smash Number One hit on the Billboard charts of 1972. The backing instrumentation is simple with almost no changes. Atop that rock-solid foundation, we’re taken "there" with, "I know a place/Ain't nobody crying/Ain't nobody worried/Ain't no smiling faces/Lying to the races/Help me (backing vocals: "I'll take you there)." "Respect Yourself" (Side 2) The Staple Singers' 1972 hit that rose to Number Two on the Billboard charts, and, along with "I'll Take You There," affirmed this Chicago group as stars of the soul and pop worlds. The song begins with a blues-tinged electric piano introduction and then builds to a crescendo full of inspiration. Pops Staples begins the lyrics with, "If you disrespect anyone that you're running to/How in the world do you think anybody's supposed to respect you/If you don't give a heck about the man with the Bible in his hand/Just get out the way and let the gentleman do his thing." Pops' daughter Mavis, an absolute vocal giant, then takes over the vocals with, "If you're walking 'round thinking that the world owes you something 'cause you're here/You're going out the world backwards like you did when you first come here/You curse around women but you don't even know their name/Then you’re dumb enough to think it'll make you a big ol' man." Analogue Productions introduced test pressings from their Stax Records reissue at the June 2003 Home Entertainment Expo in San Francisco. Among the exhibitors to show off their wares using these yet-to-be-released 45s was Richard Vandersteen of Vandersteen Audio. "It was a big hit. The visitors packed the room every time we put it on. For once at one of these shows, there was some music that people wanted to hear. I mean, famous, classic music sounding incredible. It's just great old music that sounds much better than it ever had before. The people just loved it, and we loved playing it." - Richard Vandersteen, Vandersteen Audio
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SACD Miles Davis – Birth Of The Blue
SACD44,00 €Add to cartMiles Davis — Birth of the Blue Smash prequel to what many consider the greatest jazz record ever! Four more songs from the pioneering ensemble that produced Miles Davis' Kind of Blue! Modal jazz precursor laid groundwork for future jazz innovation! Hybrid Stereo SACD Mastered by Matthew Lutthans at The Mastering Lab direct to DSD from a new 30 ips quarter-inch stereo master tape transferred from the original 3-track session tapes Miles Davis's Kind of Blue was the number-one jazz album in history. It totaled five songs. There are four more songs from that same historic group, recorded in the same time period and at the same studio. And here they are. These songs deserve to stand on their own with artwork to highlight the quality of the music and that matches the time period of the recording. This is a rare opportunity to have a smash follow-up to what many consider the greatest jazz record ever! Through the years, these four remarkable performances — all from a single recording session in 1958 and all exemplary of the sound of Miles Davis' legend-loaded sextet of that year — have not been served well. They have been largely treated as add-ons for other compilations. Now, for the first time, Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., has deservedly given these tracks a stellar stand-alone release for jazz fans to savor! The once-in-a-generation lineup that recorded these tunes is the very same that would be immortalized for the enduring classic they would record almost a year later, Kind of Blue. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley. Undervalued since their recording, the tunes on this album reflect historial and musical significance. They offer early glimpses into the modal jazz that Kind of Blue would bring to the forefront. Using modes common in modern classical music, rather than the chords of popular songs, Miles had begun to experiment with the new approach on the Milestones recording sessions previously. Analogue Productions is proud to present Birth of the Blue in an exclusive first-of-its-kind stand-alone release that reflects our reputation for meticulous production, capturing authentic sound with clarity, depth and fidelity that exceeds the audiophile standard. For this release, we started with the original 3-track recording session tapes that were mixed down to a brand-new 30 ips quarter-inch stereo master tape by senior mastering engineer Vic Anesini at Battery Studios. From that stereo master tape, Matthew Lutthans at The Mastering Lab mastered the album direct to DSD for this Hybrid Stereo SACD. Features: • Pioneering Ensemble: Captured the same rare and short-lived alignment of jazz legends including Miles Davis, John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers, and Jimmy Cobb, as heard on the historic Kind of Blue. • Innovative Sound: The session represented a crucial transition in jazz, blending elements of hard bop with early modal jazz influences, showcasing the ensemble's experimentation and forward-thinking approach. • Undervalued Legacy: Despite its historical and musical significance, the session's recordings have been historically overlooked, often relegated to being add-ons in compilations rather than recognized as standalone masterpieces. • Modal Jazz Precursor: Offered early glimpses into the modal jazz that would later be fully realized in Davis's groundbreaking album "Kind of Blue," laying the groundwork for future jazz innovation. • Impact on Artists: Served as a critical point of development and confidence for the musicians involved, particularly Bill Evans, who noted the significant impact of this experience on his own identity and style. • Historical Context: Occurred at a peak moment in Miles Davis's career, following his signing with Columbia Records and his critical and commercial successes with albums such as ‘Round About Midnight and Miles Ahead.
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Bob Marley and The Wailers – Kaya
82,00 €Add to cartBob Marley & The Wailers — Kaya Mastered by Ryan K. Smith at Sterling Sound from the original master tape Two 45 RPM LPs pressed on 180-gram vinyl at Quality Record Pressings Deluxe Old-Style Tip-On Stoughton Printing gatefold jacket Kaya, released in 1978, was the tenth studio album by the Jamaican band Bob Marley & The Wailers, comprising tracks recorded alongside those released on the Exodus album. On Kaya, the band continued what has become an unspoken tradition in the evolution of Bob Marley & The Wailers discography — blending western sounds and motifs with the icons and traditions from the very core of Jamaican society. Released in 1978, Kaya wasn't necessarily made with American tastes in mind, but it was an album that presented a more accessible version of Bob Marley. Lyrically, the songs avoided the political commentary or Rastafarian philosophizing that was at the forefront of Natty Dread and Rastaman Vibration, and instead emphasized tunes about love and ganga, such as "Easy Skanking" and the title cut. And the palpable musical tension that simmered beneath the surface on the Wailers' earlier material gave way to a more laid-back riddim that was more comfortable but a bit less demanding. Kaya presented a gentler and friendlier version of Bob Marley & the Wailers, but it also documented Marley and his group at the peak of their abilities. Likewise, Kaya could also be easily construed as an open love letter or musical paean to the lifestyle that Marley so eagerly embraced and promoted. Evidence that the spirituality that permeates the Wailers music is real and not lip service. Now, Analogue Productions presents Kaya in sonic perfection — featured on 180-gram vinyl pressed at 45 RPM at Quality Record Pressings. Housed in a deluxe Old Style Tip-On Jacket from Stoughton Printing.
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Bob Marley and The Wailers – Uprising
82,00 €Add to cartBob Marley & The Wailers — Uprising Mastered by Ryan K. Smith at Sterling Sound from the original master tape Two 45 RPM LPs pressed on 180-gram vinyl at Quality Record Pressings/Also on Hybrid Multichannel SACD Deluxe Old-Style Tip-On Stoughton Printing gatefold jacket Uprising would be the final studio album featuring Bob Marley & the Wailers to be released during Marley's lifetime. Prophetically, it also contains some of the band's finest crafted material, as if they were cognizant that this would be their final outing. Released in 1980, Uprising stands as one of Bob Marley's most poignant and spiritually charged albums, embodying both his enduring reggae genius and his reflective, almost prophetic musings on life and faith. What makes Uprising particularly unique in Marley's discography is its duality-balancing socially conscious anthems with deeply personal expressions of faith, hope, and mortality. Tracks such as the iconic "Redemption Song," with its acoustic simplicity and universal message of liberation, and the haunting "Forever Loving Jah," reveal a man at peace with his spirituality. Meanwhile, songs such as "Could You Be Loved" deliver infectious grooves and crossover appeal, proving Marley's ability to blend message and melody effortlessly. Critics and fans alike hailed Uprising as a high point in Marley's career. It received acclaim for its mature sound and cohesive vision, with reviewers highlighting its raw emotional power. While it didn't achieve the explosive commercial success of Exodus or Kaya, it cemented Marley's status as a global ambassador for reggae and freedom. For Marley fans, it's more than an album — it's a testament to his enduring spirit. Now, Analogue Productions gives Uprising the deluxe treatment this album, with its rich heritage, deserves. Pressed on 180-gram vinyl pressed at 45 RPM at Quality Record Pressings. Housed in a deluxe Old Style Tip-On Jacket from Stoughton Printing.