new arrivals

Chet Baker — In New York Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering Double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings! Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish On Chet Baker — In New York, Chet plays like an angel with a muted trumpet. In New York captures the moody prince of cool stepping into the East Coast hard bop ring — and holding his own with charm, tone, and those impossibly lyrical lines that seem to float above the beat like cigarette smoke in a club basement. Chet Baker didn't play the trumpet. He seduced it. His tone? So velvety, you might try spreading it on toast. His solos? Like a conversation with someone who never raises their voice — but always gets the last word. On In New York, Chet proves that his famously fragile persona belied a rock-solid sense of melody, timing, and understated swagger. Chet may be the name on the cover, but he came to town with some serious firepower. Johnny Griffin (tenor sax), known as the "Little Giant" brings a big sound and a bebop bite, pushing Chet into edgier territory — and yes, it works. Al Haig (piano), is bebop royalty. Cool, crisp, and a perfect harmonic foil for Baker's phrasing. Paul Chambers (bass), is from Miles' first-call list. He doesn't just walk the bass — he struts. Lastly, Philly Joe Jones (drums) swings so hard, it's a wonder the studio walls didn't cave in. This lineup turns In New York from a moody trumpet feature into a full-on jazz heavyweight bout, where elegance and energy shake hands for 42 glorious minutes. Among the tracks, "Fair Weather" opens like a sigh and builds to a gorgeous melodic statement. Chet's tone is so pure, you'll swear it's whispering secrets. "Solar" is the Miles Davis tune. Chet steps into the master's world and makes it his own. Confident, cool, and swinging. "Polka Dots and Moonbeams" is a ballad done Baker-style: Romantic, vulnerable, and smoother than a vintage Cadillac. These are just a taste of the treasures that await on In New York. This vinyl reissue is par excellence: Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering, double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings! Plus it's housed in a Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish. This is an album that deserves space in every jazz fan's collection. It captures a unique moment in Chet's career — between the breezy West Coast cool and the rawer later years. It's a must-have for any jazz collector who values tone, taste, and a little touch of trumpet romance. Add to cart. Drop the needle. Cue the cool.

Gene Ammons — Blue Gene Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering Double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings! Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish Jazz lovers and sonic thrill seekers — here's a horn-heavy hangout starring the smooth, swaggering Gene Ammons and a dream team of mid-century jazz legends. Think of it as a top-shelf jam session that someone wisely remembered to hit "record" on. This 1958 Prestige gem is bluesy by name and bluesier by nature — three of the four tracks ride those familiar blues changes like a Cadillac with velvet seats. But don't get too comfortable, because pianist Mal Waldron penned the entire setlist, including the haunting, minor-key ballad "Hip Tip," just to keep your ears on their toes. Gene Ammons, aka "Jug," brings that famously expressive tenor sax of his — rich enough to butter toast with — and pairs up with two of the finest co-conspirators ever to bless a horn: the sharp, soulful Idrees Sulieman on trumpet and the baritone brawler himself, Pepper Adams. This trio doesn't just blow; they converse, they duel, and occasionally they just throw down. Every player on this date had already jammed with Gene before, so the chemistry is tighter than a snare drum. It's the kind of session where everyone shows up knowing it's about to go down — and it does. The vinyl reissue is par excellence: Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering, double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings! Plus it's housed in a Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish. Blue Gene is a must-have slice of golden-era jazz — equal parts brains, brawn, and bluesy brilliance. File it under "Instant Vibe."

Bill Evans — Quintessence Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering Double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings! Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish Ready yourselves, jazz aficionados, for modal piano brilliance, Bill Evans style! Released in 1977, Bill Evans — Quintessence, has the maestro diving headfirst into a lush, melodic hornscape — an elegant, smoky surprise. Let's start with the man himself. By 1977, Bill Evans was less of a pianist and more of a philosopher with 88 keys. His technique? Still gentle, still whispery, still capable of melting diamonds. But here, he brings his lyrical poetry into a new context: a quintet. That's right — not just his beloved trio format, but a quintet, people. No safety net. No piano bench to hide behind. Just sheer harmonic magic. The Evans dream team of supporting players was a stellar lineup. Starting with Harold Land (tenor sax) — The West Coast legend whose tone is so smooth it could pass as jazz-flavored gelato. Warm, reflective, and the perfect foil to Evans' crystalline touch. Next, there's Kenny Burrell (guitar). Playing with such subtlety you'd swear he was painting chords with a sable brush. Never flashy, always perfect. On bass, Ray Brown — The anchor of jazz itself. You want groove? He'll give you groove. You want soul? He's got that in spades too. And on drums, Philly Joe Jones. Because if you're gonna swing, you call the guy who made Miles Davis' band sweat. Together, they form a unit so tight it's basically a telepathic jazz circle. They're not just supporting Bill — they're expanding him! What's On the Menu? "Sweet Dulcinea" — A tune that proves you don't need to play fast to say something profound. "Bass Face" — Ray Brown gets the spotlight, and boy does he shine. "Martina" — A waltz so beautiful it should come with a warning label: may cause reflective gazing into middle distance. "Second Time Around" — A standard for an album that's all about elegance, subtle swing, and refined musicianship. "A Child Is Born" — The kind of rendition that makes you think maybe the world isn't so bad after all. So why add Quintessence to your collection? Because this is Bill Evans unplugged from the trio comfort zone, letting his lush harmonic sensibilities dance with top-tier horn players and rhythm gods. This album is meditative but never sleepy, introspective but never self-indulgent. It's rich, warm, and brimming with the quiet confidence of a master stretching his wings just because he can. This reissue brims with superior quality. Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering, double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings! Plus it's housed in a Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish. Bottom line, if your jazz collection is missing Quintessence, it's like owning a Picasso with a blank corner. This is the kind of record that sneaks up on you — not flashy, but unforgettable. Go ahead. You deserve this kind of quintet magic.

The Wes Montgomery Trio — A Dynamic New Sound: Guitar/Organ/Drums Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering Double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings! Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish The Wes Montgomery Trio - A Dynamic New Sound: Guitar/Organ/Drums, was the album that said: "Hello world, Wes has arrived — and he brought friends!" Before Full House brought the fire, The Wes Montgomery Trio brought the vibe. Released in 1959, this was Montgomery's debut on Riverside Records — and let's just say, he didn't exactly tiptoe onto the scene. He kicked the door in with thumb-picking swagger, octave magic, and tone so warm it could toast bread. So, what's the deal with this album? It's right there in the subtitle: Guitar. Organ. Drums. That's it. No bass, no brass, no safety net. Just Wes on guitar, the criminally underrated Melvin Rhyne on Hammond B-3 organ (talk about groove!), and Paul Parker on drums keeping it tight and tasteful. The result? A sound so lean and soulful, it practically invented the jazz organ trio aesthetic we know and love today. Wes' tone? Velvet meets voltage. Melvin's organ work? Church on Sunday meets smoky after-hours club. Paul's drumming? Like a good bartender — never flashy, but always exactly what you need. This was a bold move: no bass, no piano, just pure stripped-down swing — and it worked. Why? Because these guys listened to each other. They locked in and gave Wes the space to shine. You can hear the joy in the playing, the energy of three guys who knew they were onto something. Jazz fans didn't just nod politely — they flipped. Critics called it fresh, hip, and boundary-pushing. Montgomery's style, which fused bluesy soulfulness with dazzling technical control, immediately caught ears. This wasn't just a good debut — it was a statement. And it sold, helping launch Wes into the jazz stratosphere. We've given this timeless album the full Analogue Productions treatment: Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering, double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings! Plus it's housed in a Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish. This classic album belongs in your jazz collection because it symbolizes the moment the legend began. It's raw, it's real, and it's ridiculously cool. If jazz history were a superhero movie, The Wes Montgomery Trio would be the thrilling origin story. Plus, it grooves hard enough to make your neighbors forgive you for playing it at full volume (again). Go ahead — make room on the shelf. This one earns it.

Blue Mitchell — Blue's Moods Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering Double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings! Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish Meet your next favorite jazz record: Blue's Moods — because sometimes the mood is blue, but the groove is always gold. Released in 1960 on Riverside, this album finds trumpet wizard Blue Mitchell leading a top-shelf quartet that reads like a who's-who of tasteful, straight-ahead jazz. Mitchell's playing is lyrical without getting syrupy, swinging without showing off — think cool confidence with a velvet glove. Backing him is a rhythm section so tight they might be psychic. You've got Wynton Kelly on piano, a man whose comping is basically musical espresso — sharp, energizing, and never overdone. Sam Jones brings that rock-solid, walking bass that holds everything together like jazz duct tape (the fancy kind), and Roy Brooks on drums keeps the time crisp and the swing infinite. Stylistically, Blue's Moods sticks close to the heart of hard bop, with traces of soul, elegance, and a little late-night melancholy for good measure. It's the kind of record that doesn't shout for your attention — it just strolls into the room, sets down its drink, and has you hooked in two bars. This is a vinyl LP reissue unmatched. Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering, double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings! Plus it's housed in a Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish. Whether you're new to jazz or 15 crates deep into your collection, Blue's Moods is a must-own. It's smart, smooth, and cool without trying too hard — basically, the album equivalent of that one friend who always knows the best place to eat and never shows up late.

Kenny Dorham — Quiet Kenny Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering Double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings! Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish Quiet Kenny isn't just a highlight of the Prestige catalog; it is a definitive argument for Kenny Dorham's status as a titan of the trumpet. While often overshadowed by his flashier contemporaries, this 1959 session captures Dorham at the absolute peak of his powers, delivering a performance defined by understated elegance and profound emotional depth. Supported by a rock-solid rhythm section featuring Tommy Flanagan, Paul Chambers, and Art Taylor, Dorham navigates a program that balances heartbreaking ballads with sophisticated, original blues. On standards like "My Ideal" and "Alone Together," his tone is intimate and breathy-limning each melody with a vulnerability that few could replicate. Dorham also digs deep into his own compositions, exploring the harmonic richness of "Blue Friday" and "Blue Spring Shuffle." Double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings. Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish.