Impulse (Acoustic Sounds series)

Filters

 

Filter
  • There are no filter terms yet

  • AIMP 78301

    Low stock

    John Coltrane – Crescent

    44,00 

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

    "...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.

    Add to cart
  • AIMP 60201

    Backorder

    Charles Mingus – The Black Saint And The Sinner Lady

    44,00 

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

    "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.

    Show item
  • AIMP 42801

    Backorder

    Oliver Nelson – Blues And The Abstract Truth

    44,00 

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

    "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

    Show item
  • AIMP 80001

    Backorder

    John Coltrane and Johnny Hartman – John Coltrane & Johnny Hartman

    44,00 

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

    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.

    Show item
  • AIMP 67501 1

    In stock

    Alice Coltrane – Journey In Satchidananda

    44,00 

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

    "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.

    Add to cart
  • AIMP 7701

    In stock

    John Coltrane – A Love Supreme

    44,00 

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

    "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.

    Add to cart
  • AIMP 42701

    In stock

    Sonny Rollins – On Impulse

    44,00 

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

    "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."

    Add to cart
  • AIMP 57201

    Backorder

    Pharoah Sanders – Karma

    44,00 

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

    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.

    Show item
  • AIMP 7801

    Backorder

    John Coltrane – Ballads

    44,00 

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

    "(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

    Show item
  • AIMP 60101

    Backorder

    Charles Mingus – Mingus Mingus Mingus Mingus Mingus

    44,00 

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

    "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

    Show item
  • AIMP 79501

    Low stock

    Duke Ellington and Coleman Hawkins – Duke Ellington Meets Coleman Hawkins

    44,00 

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

    "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

    Add to cart
  • AIMP 79901

    Backorder

    Duke Ellington & John Coltrane – Duke Ellington & John Coltrane

    44,00 

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

    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.

    Show item
  • AIMP 78201

    In stock

    John Coltrane – ‘Live’ At The Village Vanguard

    44,00 

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

    "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

    Add to cart
  • AVER 21001

    Backorder

    Ray Charles – Genius + Soul = Jazz

    44,00 

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

    "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."

    Show item
  • AIMP 79801

    Backorder

    Roy Haynes – Out Of The Afternoon

    44,00 

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

    "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

    Show item
  • AVER 21101

    Backorder

    The Gil Evans Orchestra – Out Of The Cool

    44,00 

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

    "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.

    Show item