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Shelly Manne and Friends – My Fair Lady
44,00 €Add to cartCraft Recordings and Acoustic Sounds are proud to announce the Contemporary Records Acoustic Sounds series, which begins with six album releases from the Contemporary Records catalog, celebrating 70 years of the legendary jazz label. The releases are supervised by Chad Kassem, CEO of Acoustic Sounds, the world's largest source for audiophile recordings. Each title, originally engineered by Roy DuNann and/or Howard Holzer, features all-analog mastering from the original tapes by legendary engineer Bernie Grundman (himself a former employee of the label), as well as unsurpassed audiophile pressing on 180-gram vinyl at Quality Record Pressings, presented in a Stoughton Printing old-style tip-on jacket. The series highlights gems from Contemporary's extraordinary catalog and features artists who both defined and expanded the sound of West Coast jazz. This is drummer Shelly Manne's hugely popular 1956 trio session with bassist Leroy Vinnegar and pianist André Previn, which paved the way for hundreds of jazz albums dedicated to Broadway shows. Each title, originally engineered by Roy DuNann and/or Howard Holzer, features all-analog mastering from the original tapes by legendary engineer Bernie Grundman (himself a former employee of the label), as well as unsurpassed audiophile pressing on 180-gram vinyl at Quality Record Pressings, presented in a Stoughton Printing old-style tip-on jacket. The series highlights gems from Contemporary's extraordinary catalog and features artists who both defined and expanded the sound of West Coast jazz. Guitarist Barney Kessel, drummer Shelly Manne, bassist Red Mitchell, and the supremely soulful Hampton Hawes, one of jazz's most appealing yet unsung pianists, fill out the quartet scorecard of the 1958 release Four!. Although much later in his career Hawes experimented with electronic keyboards and fusion music, at heart he was a bebopper, as this session makes abundantly clear. With material like Charlie Parker's "Yardbird Suite," his own "Up Blues," and Red Mitchell's "Bow Jest" (on which Mitchell plays his first recorded bowed solo), Hawes is at a creative peak here. Kessel, who played on the date, paid tribute to Hawes' "inexhaustible ideas on the blues…no one else in modern jazz plays the blues better." And nobody could tie a rhythm section together better than Shelly Manne, the fourth party in this boundingly energetic Four!
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Shelly Manne and Jack Marshall – Sounds Unheard Of!
54,00 €Add to cartComing November 01, 2024 Shelly Manne & Jack Marshall — Sounds Unheard Of! 180-gram vinyl Mastered by Bernie Grundman from the original analog master tape Pressed at Quality Record Pressings Stoughton Printing Old Style Tip-On gatefold jacket "On a dozen standards, Marshall's playing serves as interludes between the percussion displays of Manne; the liners give a full description of every device he hits. ... the sound is excellent for the period." — Scott Yanow, AllMusic Revel in the sonic brilliance of Sounds Unheard Of! by Shelly Manne and Jack Marshall, a timeless jazz masterpiece available now from Analogue Productions — highest quality audiophile reissue! Shelly Manne, the drumming virtuoso, and Jack Marshall, the guitar genius, create an unparalleled musical experience on this classic released in 1962.
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Skip James – Today!
39,00 €Show itemThe Bluesville Series from Craft Recordings and Acoustic Sounds! Inspired by the original Prestige label imprint established in 1959 Today! by Skip James Highlighting trailblazing blues musicians from legendary labels "I have multiple copies of this record and this Bluesville reissue is by far the best sounding. It puts you in the room with the artist, or the artist in your room, whichever you prefer and there's no mystery about why that is. Matthew Lutthans cut lacquers multiple ways: from the original two track tape, from a mix down he created from the four track tape and finally a live to lathe cut, which is what this is. The improvement in 'you are there' transparency will be obvious to anyone reading this who's a fan of the record and has a previous iteration. Add Doug Sax's lathe, once again operating as TML fans expect, a dead quiet QRP pressing, a Stoughton 'Tip-on' jacket and a $29.98 price and this is a 'must have' reissue, especially worth picking up if you're unfamiliar with the record and/or the artist, though of course everyone knows Cream's cover of 'I'm So Glad' found here in the original version (though if you listen casually it sounds nothing like the 'rocked up' cover). Another plus is Bruce Jackson's excellent original annotation that tells the whole story and more. And you get the original orange Vanguard Stereolab label (by 1966 the black and silver label had been changed to orange and black). The Bluesville series is now two for two!" — Music = 10/11; Sound = 10/11 — Michael Fremer, TrackingAngle.com. To read Fremer's full review, click here. Today! is Skip James' second album, originally released in 1966. The album features James solo on all but one track, "How Long," which includes Russ Savakus on bass. AllMusic asserts, "wonderful vocals, superb guitar and a couple of tunes with tasty piano make this essential." Craft Recordings, in partnership with Acoustic Sounds, is releasing Today! as part of the Bluesville Series. Bluesville is a brand-new hub for all things blues, including vinyl reissues, curated playlists, and more! Inspired by the original label imprint established under Prestige Records in 1959, the Bluesville Series will highlight the many trailblazing musicians who contributed to the rich tradition of the blues, including titles from legendary artists on labels such as Vee-Jay, Riverside, Vanguard, Stax, and Rounder Records. The albums in the Bluesville Series are pressed on 180-gram vinyl at Quality Record Pressings and feature all-analog (AAA) mastering by Grammy-nominated engineer Matthew Lutthans at The Mastering Lab at Blue Heaven Studios, plus a tip-on jacket and obi strip with notes written by Grammy-winning producer, writer and musician Scott Billington.
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Societa Corelli – Vivaldi: The Four Seasons
58,00 €Show itemAnalogue Productions' RCA Living Stereo Reissue Series No. 2, with 25 newly remastered mainstay classical albums, will delight and astound your ears with their clarity and warm, rich tone. As with our first highly-regarded LSC series, shortcomings of previous editions have been improved upon - from the mastering, to the LP pressing, to the sharp-looking glossy heavyweight Stoughton Printing tip-on jackets that faithfully duplicate the original artwork, "Living Stereo" logo, "Shaded Dog" label and all! Mastered by Ryan K. Smith at Sterling Sound from the original 3-track master tapes, cut at 33 1/3, and plated and pressed at Quality Record Pressings - makers of the world's finest-sounding vinyl LPs, - no other editions match these for the quietest 180-gram platters available. The 13 string virtuosi who make up this conductor-less ensemble did well to name themselves after Areangelo Corelli. Both as a violinist and as a composer, Corelli brought the art of string-playing to heights never-before achieved, exploring new dimensions of dynamics and tonal richness. What makes the Societa Corelli virtually unique among interpreters of Corelli, Vaivaldi and other masters of that period is their style. Their tone production, use of vibrato and other subtleties evident in this performance are artistic, creative and vital music-making.
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Sonny Boy Williamson – The Real Folk Blues
44,00 €Add to cartSonny Boy Williamson — The Real Folk Blues Chess Records 75 Series from Chess Records and Acoustic Sounds! Brilliant collection of postwar blues! Electrifying tracks include "Bring It On Home," and "One Way Out" All-analog mastering by Matthew Lutthans at The Mastering Lab 180-gram vinyl pressed at Quality Record Pressings If you think the blues is just three chords and a cloud of dust, meet the man who turned that cloud into a thunderstorm: Sonny Boy Williamson II. This 1966 Chess Records gem, The Real Folk Blues, is a masterclass in attitude, sly humor, and harmonica sorcery. From the hypnotic sway of "Checkin' Up on My Baby" to the swaggering "Bring It On Home" and the heartbreak of "Sad to Be Alone," Sonny Boy's every note feels like he's letting you in on a dangerous secret. His tone? Razor-sharp and dripping with personality. His phrasing? As unpredictable as a pool hall hustler. He didn't just play the harmonica — he gave it a soul and a swagger that inspired a generation, influencing everyone from The Yardbirds to Led Zeppelin. (Hint: That "Bring It On Home" you love? Yeah, this is the blueprint.) Chess Records wasn't just a label; it was an institution of innovation. Muddy gave you muscle. Howlin' Wolf gave you menace. But Sonny Boy? He gave you mischief and magic in a 10-hole harp. This album captures that Chess-era electricity — a raw, amplified blues sound that rewrote the rules and laid the groundwork for rock's golden age. This isn't some dusty reprint. This is Matt Lutthans mastering at The Mastering Lab paired with Quality Record Pressings' world-class vinyl craft — translation: you're about to hear Sonny Boy like never before. The harmonica's growl, the guitar's bite, the Chess echo chamber's moody vibe — all rendered with jaw-dropping clarity on a 180-gram dead-quiet pressing. If you're building a serious blues collection — or just want to experience one of the most influential harmonica voices of all time — this is non-negotiable. Crank it up, and prepare to marvel at a man who made a small instrument sound bigger than life.
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Sonny Rollins – East Broadway Run Down
44,00 €Add to cartNew for 2024! Acoustic Sounds Series reissues from Verve/Universal Music Enterprises! Monthly releases highlighting the world's most historic and best jazz records! Mastered by Ryan K. Smith at Sterling Sound from the original analog tapes 180-gram LPs pressed at Quality Record Pressings! Stoughton Printing gatefold old-style tip-on jackets Series supervised by Chad Kassem CEO of Acoustic Sounds A heavyweight entry in the Rollins catalog, East Broadway Run Down was recorded in 1966 and released the following year by Impulse Records. It was his last album before industry pressures led him to take a six-year hiatus. "Around the ten-minute mark of the title track, things get very interesting indeed — moody and spooky as Jimmy Garrison hangs on a single note, making his bass throb along while Elvin Jones widens the space and fires drum and cymbal hits in all directions. Coming off bass and drum solos that never seem to fit anywhere in the piece, it's a supreme moment of tension-building, one that gets repeated after Rollins and trumpeter Freddie Hubbard restate the theme in unison. This is the sound of Rollins' group working in unity." — 5 Stars, AllMusic Seeking to offer definitive audiophile grade versions of some of the most historic and best jazz records ever recorded, Verve's Acoustic Sounds vinyl reissue series utilizes the skills of top mastering engineers and the unsurpassed production craft of Quality Record Pressings. All titles are mastered from the original analog tapes, pressed on 180-gram vinyl and packaged by Stoughton Printing Co. in high-quality gatefold sleeves with tip-on jackets. The releases are supervised by Chad Kassem, CEO of Acoustic Sounds, the world's largest source for audiophile recordings.
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Sonny Rollins – On Impulse
44,00 €Add to cart"If anything, Sonny Rollins on Impulse! feels as if it were a recording Rollins had to get out of his system. But thank goodness for us because it's a winner through and through." — AllMusic Seeking to offer definitive audiophile grade versions of some of the most historic and best jazz records ever recorded, Verve Label Group and Universal Music Enterprises' new audiophile Acoustic Sounds vinyl reissue series utilizes the skills of top mastering engineers and the unsurpassed production craft of Quality Record Pressings. All titles are mastered from the original analog tapes, pressed on 180-gram vinyl and packaged by Stoughton Printing Co. in high-quality gatefold sleeves with tip-on jackets. The releases are supervised by Chad Kassem, CEO of Acoustic Sounds, the world's largest source for audiophile recordings. In 1965 and 1966, tenor giant Sonny Rollins issued three albums for the Impulse! label. They were his last until 1972 when he re-emerged from a self-imposed retirement. Here on this July 8, 1965 date, Rollins attacks five standards with a quartet that included pianist Ray Bryant, bassist Walter Booker and drummer Mickey Roker. Rollins digs deeply into pulse and rhythm, leaving melody to take care of itself. AllMusic says "This is not a 'new thing' date but instead focuses on playing according to the dictates of the rhythm section and on interchanging with Booker and Roker, leaving much of the melodic aspect of these tunes to Bryant. Rollins could never quite leave the melody out of anything he played because of his intense gift as a lyrical improviser; he nonetheless stripped his approach back and played tunes like 'On Green Dolphin Street' by improvising according to theme rather than strict melody, where his interplay with the rhythm section becomes based on the dynamic and shifting times played by Roker. While things are more intimate and straight on 'Everything Happens to Me,' he nonetheless plays the edges, filling the space like a drummer. Melody happens throughout, the tune is recognizable, but it is stretched in his solo to a theme set by the shimmering cymbals and brushed snare work of Roker. The oddest cuts in the set are the last two; spaced out readings of 'Blue Room,' and 'Three Little Words'; they sound as if he were preparing the listener for a true change in his approach. "Melody gets inverted, with spaces and syncopation taking the place of notes. The swing is inherent in everything here, but it's clear that the saxophonist was hearing something else in his head, the way he squeezes notes tightly into some phrases where they might be placed elsewhere, and substitutes small, lithe lines inside Bryant's solos which dictate the harmonic intervals more conventionally with his singing approach. And speaking of rhythm, the album's hinge piece is the burning calypso 'Hold "Em Joe.' Here again, as Bryant's changes play it straight, Rollins shoves his horn inside them and draws out the beat on his horn over and over again."
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Sonny Rollins – Rollins Plays For Bird (Mono)
58,00 €Add to cartAs the tenor sax is not in the same key as an alto, Sonny Rollins would have to transpose a lot of music to take a tribute to Charlie Parker to a high level. Instead Rollins has chosen standards associated with Parker, and recorded them within a year after Bird’s passing. The music certainly has its moments, as on the inexhaustible 27-minute medley of seven tunes seamlessly stitched together. Rollins plays the melody on alternating songs "I Remember You" and "They Can’t Take That Away from Me," Kenny Dorham has at it for "My Melancholy Baby" and "Just Friends," with Wade Legge getting his two cents in on trio only versions of "Old Folks" and "My Little Suede Shoes." Finally the whole band joins in on the ten-minute medley finale "Star Eyes." Two independent selections accompany the medley: Rollins does the ballad "I’ve Grown Accustomed to Your (Her) Face," from the musical "My Fair Lady" and the horns finally play together for the nearly 12-minute cool waltz "Kids Know.
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Sonny Rollins – Saxophone Colossus (Mono)
58,00 €Show item"Since 2002, mastering facilities like those helmed by Kevin Gray have improved. Analogue Productions' 33RPM mastering produces an even larger soundstage with better depth. Add to that the fact that the new packaging is far superior to the 45RPM issue, and this one-disc package is Sonny Rollins nirvana. — 5/5 stars, Dennis Davis, vinylreviews.com. Read the whole review here. "Analogue Productions has continued to push its own already high bar higher still. Its Quality Record Pressings plant is delivering the best vinyl discs to be found, its jackets and cover reproduction quality have hit new levels, and it continues to have the best in the biz — such as Kevin Gray for this series (25 mono LPs from the Prestige label's exceptional late-50s run) cut lacquers from original analog master tapes. ... The sound on Saxophone Colossus is upfront and immediate. Rollin's tenor is appealingly fat and sweet-sounding, the piano and bass are as nimble as kittens' paws, and the drums have a great crispness and snap." — Wayne Garcia, The Absolute Sound, December 2015 One of the pivotal recordings in bringing about the widespread acceptance of Sonny Rollins as a major figure, Saxophone Colossus inspired critics to write scholarly analyses and fans to revel in the hard-swinging invention, humor, and tender-strength balladry. Up to this album, while most musicians recognized Rollins as one of the new influential forces in the jazz of the ’50s, most critics were carping at Rollins or damning him with faint praise. "St. Thomas," a traditional West Indian melody which Mal Waldron remembered as "The Carnival," was recorded by many artists after Sonny introduced it here, and it remains a jazz standard today. The contributions of Tommy Flanagan’s elegant swing, Doug Watkins’s steady lift, and Max Roach’s most musical accompaniment and soloing (hear "Blue 7") make this a landmark album.
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Sonny Rollins – Sonny Rollins And The Contemporary Leaders
39,00 €Add to cartContemporary Records Acoustic Sounds Series continues in 2025! Mastered AAA by Bernie Grundman from the original analog tapes 180-gram LP pressed at RTI Tip-on jacket Series supervised by Chad Kassem CEO of Acoustic Sounds Continuing Craft Recordings' celebration of seminal jazz artists from Contemporary Records Sonny Rollins and the Contemporary Leaders was originally released in 1959 by west coast jazz label Contemporary Records. Rollins is backed by a who's who of the labels players, including Hampton Hawes (piano), Barney Kessel (guitar), Leroy Vinnegar (bass) and Shelly Manne (drums). This edition, released as part of the Acoustic Sounds Contemporary Records Series, features (AAA) lacquers cut from the original master tapes by Bernie Grundman and is pressed at RTI on 180-gram vinyl, and presented in a tip-on jacket.
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Sonny Rollins – Tenor Madness (Mono)
58,00 €Show itemTenor Madness was the recording that, once and for all, established Rollins as one of the premier tenor saxophonists, an accolade that in retrospect, has continued through six full decades and gives an indication why as a young player, Rollins was so well liked, as his fluency, whimsical nature, and solid construct of melodies and solos gave him the title of the next Coleman Hawkins or Lester Young of mainstream jazz. Tenor Madness, using Miles Davis’ group – pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones, is the only recording of Rollins with John Coltrane, who was also in Davis’ group. Rollins and John Coltrane met in 1956 and went on to largely define the state of jazz tenor saxophone in the mid-Fifties. Their playing set a standard that has been a benchmark of excellence for saxophonists—and others—ever since. By the time this LP was released, Rollins already had such albums to his name as Worktime and Sonny Rollins Plus 4 in addition to his sideman exploits with the Clifford Brown/Max Roach Quintet. As well as the celebrated title track, Tenor Madness includes an intriguing original, “Paul’s Pal,” and the mining of unusual material such as “My Reverie,” and “The Most Beautiful Girl in the World.” Originally released in 1956
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Sonny Rollins – Way Out West
39,00 €Add to cartContemporary Records Acoustic Sounds Series continues in 2024! Twelve standout albums from the Contemporary Records catalog reissued on 180-gram vinyl Titles featuring Art Pepper, Sonny Rollins, Helen Humes, Ben Webster and many more! Mastered AAA by Bernie Grundman from the original analog tapes 180-gram LPs pressed at Quality Record Pressings! Stoughton Printing gatefold old-style tip-on jackets Series supervised by Chad Kassem CEO of Acoustic Sounds Continuing Craft Recordings' celebration of seminal jazz artists from Contemporary Records A classic of the genre, Way Out West was tenor saxophonist Sonny Rollins' first album for west coast label Contemporary Records. The New York Times wrote, "He is jazz's greatest living improviser, able to imbue his solos with wry humor, surprise, brilliant logical form, and profound emotion." In a genre where so much talent burned out too young, Rollins (now retired at age 93) held court as one of jazz's most formidable talents. Way Out West, his classic 1957 album, received 5 Stars from Rolling Stone's prestigious Jazz Record Guide and has prompted Pitchfork to deem it, "an album that looks like a novelty and sounds like transcendence." The album's infamous 3 a.m. recording sessions featured Rollins' sax strolling over the contributions of onetime Ella Fitzgerald bassist Ray Brown and iconic West Coast Jazz drummer Shelly Manne, neither of whom he'd ever played with. The results are incredible, with "I'm an Old Cowhand (From the Rio Grande)," a satirical song about Texas written by Johnny Mercer and made famous by Bing Crosby, skillfully merging country with jazz, while Rollins' own composition, the title track "Way Out West," reminds us of his dexterity and playful ambivalence towards time signatures. This new edition, released as part of the Contemporary Records Acoustic Sounds Series, features (AAA) lacquers cut from the original master tapes by Bernie Grundman and is pressed on 180-gram vinyl at QRP, and presented in a Stoughton Printing tip-on jacket.
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Stan Getz – Sweet Rain
44,00 €Add to cartNew for 2024! Acoustic Sounds Series reissues from Verve/Universal Music Enterprises! Monthly releases highlighting the world's most historic and best jazz records! Mastered by Ryan K. Smith at Sterling Sound from the original analog tapes 180-gram LPs pressed at Quality Record Pressings! Stoughton Printing gatefold old-style tip-on jackets Series supervised by Chad Kassem CEO of Acoustic Sounds Stan Getz's incomparable career includes such landmarks as the bossa nova blockbuster Getz/Gilberto, and stellar collaborations with Dizzy Gillespie, Oscar Peterson, Charlie Byrd, and Lionel Hampton. The saxophonist's superlative 1967 quartet recording Sweet Rain can be overlooked but Getz afficiandos recognize its quality. Standing in the shadow of the unprecedented mainstream success of Getz's bossa period that came before, the Creed Taylor produced Sweet Rain is as perfect a straight-ahead date as the leader ever made, with a remarkable young band including pianist Chick Corea, bassist Ron Carter, and drummer Grady Tate providing crackling energy that clearly inspired Getz to new heights of expression, writes sfjazz.org. Seeking to offer definitive audiophile grade versions of some of the most historic and best jazz records ever recorded, Verve's Acoustic Sounds vinyl reissue series utilizes the skills of top mastering engineers and the unsurpassed production craft of Quality Record Pressings. All titles are mastered from the original analog tapes, pressed on 180-gram vinyl and packaged by Stoughton Printing Co. in high-quality gatefold sleeves with tip-on jackets. The releases are supervised by Chad Kassem, CEO of Acoustic Sounds, the world's largest source for audiophile recordings.Litha O Grande Amor Sweet Rain Con Alma -
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Stan Getz & Bill Evans – Previously Unreleased Recordings
44,00 €Add to cartNew for 2024! Stan Getz & Bill Evans Previously Unreleased Recordings Acoustic Sounds Series reissues from Verve/Universal Music Enterprises! Monthly releases highlighting the world's most historic and best jazz records! Mastered by Ryan K. Smith at Sterling Sound from the original analog tapes 180-gram LPs pressed at Quality Record Pressings! Stoughton Printing gatefold old-style tip-on jackets Series supervised by Chad Kassem CEO of Acoustic Sounds Bill Evans and Stan Getz are about as close as musicians can get in terms of artistry, musical philosophy and technique. These sessions, recorded in 1963 with drummer Elvin Jones and bassists Ron Carter (Side A) and Richard Davis (Side B), perfectly blend their strong individual styles and collaborative sensibilities — with both artists at the peak of their creative powers. Seeking to offer definitive audiophile grade versions of some of the most historic and best jazz records ever recorded, Verve's Acoustic Sounds vinyl reissue series utilizes the skills of top mastering engineers and the unsurpassed production craft of Quality Record Pressings. All titles are mastered from the original analog tapes, pressed on 180-gram vinyl and packaged by Stoughton Printing Co. in high-quality gatefold sleeves with tip-on jackets. The releases are supervised by Chad Kassem, CEO of Acoustic Sounds, the world's largest source for audiophile recordings.
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Stan Getz & Gerry Mulligan – Getz Meets Mulligan In Hi-Fi
42,00 €Add to cartAcoustic Sounds Series reissues from Verve/Universal Music Enterprises Monthly releases highlighting the world's most historic and best jazz records! Mastered by Matthew Lutthans at The Mastering Lab from the original master tape 180-gram LPs pressed at Quality Record Pressings! Stoughton Printing gatefold old-style tip-on jackets Series supervised by Chad Kassem CEO of Acoustic Sounds Getz Meets Mulligan in Hi-Fi is the 1957 Verve Records album featuring jazz saxophonists Stan Getz and Gerry Mulligan, showcasing a unique first-time collaboration where they traded instruments, with Getz playing baritone sax and Mulligan playing tenor sax on the initial tracks. The session was produced by Norman Granz and featured a stellar rhythm section including pianist Lou Levy, bassist Ray Brown, and drummer Stan Levey. Mulligan always seems to open up whole new sides of his playing when sharing the leader spotlight with another star — and here, in the company of Getz, he hits a shimmering, sparkling sound that's really great, and filled with feeling. Getz is wonderful too — very much in his best mid '50s Verve period — working in a groove that's deep and laidback, with a strong undercurrent of warmth — thanks to familiar rhythm backing from the trio of Lou Levy on piano, Ray Brown on bass, and Stan Levey on drums. Titles include "Anything Goes," "Ballad," and "That Old Feeling."
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Stan Getz & Joao Gilberto – Getz and Gilberto
44,00 €Add to cart"The Acoustic Sounds LP under review isn't the first audiophile LP reissue. I have a 200-gram LP version of Getz/Gilberto from Mobile Fidelity. To me, there are subtle differences. Listening to 'The Girl from Ipanema,' I hear a slightly more focused, precise sound on the new Acoustic Sounds LP. The stereo separation is a bit extreme, as it was on the original: I would have changed that. Familiar though it is, and successful though it was, the music remains marvelous. It's wonderful to relive the heft and forthright mastery we hear on Getz's solos throughout." — Michael Ullman, The Arts Fuse, Sept. 24, 2020. Read the entire review here. "Acoustic Sounds/Universal Music Group has released a vibrant 180-gram stereo vinyl of Getz/Gilberto. Engineered by George Marino (Sterling Sound) under the supervision of Acoustic Sounds founder Chad Kassem, this is a vibrant analog update of a jazz essential. ... The overall mix of this remastered 180-gram vinyl is excellent. The stereo separation is precise, with double bass/percussion on one channel and guitar/piano on the other. Getz' distinctive tenor is centered, as are the vocals. ... The pressing is superior with no hisses or pops." — 5 stars / Robbie Gerson, Audiophile Audition, Aug. 12, 2020. Read the entire review here. Seeking to offer definitive audiophile grade versions of some of the most historic and best jazz records ever recorded, Verve Label Group and Universal Music Enterprises' new audiophile Acoustic Sounds vinyl reissue series will launch July 31, 2020 with inaugural releases — the sensational collaborations, Stan Getz and João Gilberto's landmark Getz/Gilberto (1964) and the remarkable Louis Armstrong Meets Oscar Peterson (1959). Utilizing the skills of the top mastering engineers and the unsurpassed production craft of Quality Record Pressings, all titles will be mastered from the original analog tapes, pressed on 180-gram vinyl and packaged by Stoughton Printing Co. in high-quality gatefold sleeves with tip-on jackets. The releases will be supervised by Chad Kassem, CEO of Acoustic Sounds, the world's largest source for audiophile recordings. The Acoustic Sounds series will feature two releases a month highlighting a different storied label spanning Verve/UMe's extraordinarily rich archive. To begin with, the series will largely focus on some of the most popular albums from the ‘50s and ‘60s in their unmatched catalog. The July releases will celebrate two of Verve's most beloved albums, the aforementioned Getz/Gilberto and Louis Armstrong Meets Oscar Peterson, and will be followed in August by John Coltrane's immortal Impulse! records, A Love Supreme (1964) and Ballads (1963). Two of Nina Simone's legendary Phillips albums I Put A Spell On You (1965) and Pastel Blues (1965) will come in September which will be succeeded in October by two from the EmArcy Records vault: Sarah Vaughan's self-titled 1954 album, the vocal great's sole collaboration with influential trumpeter Clifford Brown, who is also represented alongside pioneering drummer Max Roach on the hard bop classic, Study In Brown (1955). November will spotlight Decca Records with the iconic Peggy Lee's first album, Black Coffee (1956), and composer George Russell's important New York, N.Y. (1959) performed by an all-star orchestra that includes Bill Evans, John Coltrane, Art Farmer and Milt Hinton, among others. All titles and exact release dates are listed below. Additional titles will be announced as the series progresses. "We are excited to launch our Acoustic Sounds series," said Bruce Resnikoff, President & CEO of UMe. "Verve and UMe have one of the richest jazz catalogs ever recorded and our goal is to give vinyl and music lovers the best possible versions of classic albums. The Acoustic Sounds series is designed to appeal to today's most discriminating fans, and those discovering this treasured legacy for the first time, looking for the very finest in both artistic content and audio quality." "We're very honored to have Verve and UME partnering with us to create what we believe will be the highest quality reissues of some of the world's greatest jazz albums. Each step in our production process — from title selection to mastering, pressing and packaging — is designed to meet the highest standards, and we want everyone who hears these albums to feel the love and hard work we put into everything we do," Kassem said. "We've long had a great relationship with UME, pressing classic titles at our Quality Record Pressings from many of their highest-profile artists. We look forward to strengthening that partnership even further with these reissues from Verve, home of the world's largest jazz catalog." Getz/Gilberto is not only a marvelous album, but one which had a profound influence upon the face of jazz and American popular music. This stunning 1964 collaboration between Stan Getz, one of the most popular and respected tenor saxophonists of the era, and the remarkable Brazilian guitarist João Gilberto, launched the bossa nova craze and the career of João's wife Astrud Gilberto with the hugely popular and iconic hit song, "The Girl from Ipanema (Garota de Ipanema)." Even more impactful, it introduced the famed Brazilian composer Antonio Carlos Jobim to the English-speaking musical world. In addition to playing piano on the album, Jobim also composed six of the eight compositions, including two of his most popular masterpieces, "Desafinado" and "Corcovado," along with the aforementioned "Garota de Ipanema." While Getz had embraced the music of Brazil prior to this with two outstanding Verve albums — Jazz Samba and Big Band Bossa Nova — Getz/Gilberto, with multiple Grammy Awards and a permanent place on various Best Albums of All-time lists is the album that launched a revolution. Regardless of that, the collaborative blending of Getz's fluid, muscular virtuosity and João's impeccable acoustic guitar stylings and captivating vocals, Astrud's enchanting almost-whispered singing on two tracks, all backed by Jobim's minimalist subtlety on piano and the flawless support of Sebãstio Neto and Milton Banana on bass and drums, make this an utterly momentous musical experience regardless of its lofty place in musical history. Now these albums and many more will be heard better than ever in the exciting new audiophile Acoustic Sounds series.