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Booker Ervin – The Song Book (Stereo)
58,00 €Add to cartOf Booker Ervin's nine Prestige albums, this one is special because it presents him exclusively in the contexts of standard songs. Ervin's aggressiveness, his ferocity, his incomparable Texas spaciousness of sound and style, are undiminished. But the compositions provide familiar guideposts by which to track his explorations, which were unfailingly full of adventure and daring. In his only recorded appearance with Ervin, pianist Tommy Flanagan balances the music with his customary elegance. On bass and drums are Ervin's frequent recording companions Richard Davis and Alan Dawson.
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Caelan Cardello – Chapter One
58,00 €Add to cartCaelan Cardello — Chapter One Lacquers cut by TrackingAngle.com contributor and mastering engineer Dave McNair Pressed on 180-gram vinyl at Quality Record Pressings Packaged in a Stoughton Printing old-style, tip-on jacket "When somebody's 'Got it' ... you know ... instantly! Caelan Cardello's 'Got it' ... all of it: Heart, brains, dimension, drama, imagination, taste, time, spirit, blues, nuance, virtuosity, variety, and personality. He communicates directly from the piano, telling his story with optimism and depth, intelligence and passion. Caelan Cardello has arrived!" — Bill Charlap "Caelan Cardello is a one-in-a-million talent. He is gifted as a composer and player." — Vincent Herring Chapter One, the debut studio album by pianist Caelan Cardello, had audiences from the recent Warsaw Audio Video Fair to The Capital Audio Festival applauding as if Caelan and his trio were playing live instead of on 180-gram vinyl. Musically, Caelan's studio set debut is nothing like the now sold-out LP Rufus Reid Presents Caelan Cardello. "On this often-raucous studio set, the young jazz pianist backed by bassist Jonathon Muir-Cotton and power house drummer Domo Branch tears through a set of mostly Caelan original compositions — some at start-and-stop breakneck speed — while others have a more contemplative feel," writes reviewer Michael Fremer for TrackingAngle.com. In an album of highlights, the high point may well be Cardello's virtuosic solo piano rendition of Thelonious Monk's "Ask Me Now" exclusively available on this vinyl edition distributed by Acoustic Sounds. Cardello started playing piano at the age of 5 and within two years had begun parallel arcs of formal training in both classical and jazz piano, starting with jazz pianist/arranger Allen Farnham and Juilliard classical alum Steve Masi. Cardello graduated from William Paterson University with a bachelors degree in Jazz Piano Performance. During his time there he found himself again under the tutelage of many venerable Jazz Masters including Bill Charlap and the late great Harold Mabern. He regularly performed with William Paterson Jazz Ensembles, being featured at WBGO and playing shows at Dizzys Club in NYC. When not performing, Cardello devotes his attention to furthering his musical studies in performance, composition, arrangement and digital music technology. Over time, Cardello's musical accomplishments and live performances have garnered him several prestigious awards including the New Jersey Governor's Award, the James Moody College Scholarship Award for "Outstanding Musicianship," the 2021 BMI Foundation's Future Jazz Master Award, and the prestigious Herbie Hancock International Piano Competition.
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Cannonball Adderley Quintet – In Chicago
44,00 €Show itemTwo saxophone gods join together before creating future masterpieces on their own! Instead of the usual trumpet of Nat Adderley in the front line on this classic 1959 album, it's the tenor saxophone of John Coltrane on the left, and Cannonball Adderley's alto sax on the right. It's a studio recording with Wynton Kelly leading the Miles Davis rhythm section. They join together seamlessly. With Bill Evans substituting for Wynton Kelly on most tracks, these musicians would record the classic album Kind of Blue (1959), with regular employer trumpeter Miles Davis, shortly after this session. "Altoist Cannonball Adderley and tenor saxophonist John Coltrane really push each other on these six selections... Coltrane's very serious sound is a striking contrast to the jubilant Adderley alto... With pianist Wynton Kelly, bassist Paul Chambers and drummer Jimmy Cobb playing up to their usual level, this gem is highly recommended." 4.5/5 stars, Scott Yanow, 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' audiophile Acoustic Sounds vinyl reissue series utilizes the skills of top mastering engineers and the unsurpassed production craft of Quality Record Pressings. All titles are mastered from the original analog tapes, pressed on 180-gram vinyl and packaged by Stoughton Printing Co. in high-quality gatefold sleeves with tip-on jackets. The releases are supervised by Chad Kassem, CEO of Acoustic Sounds, the world's largest source for audiophile recordings. Musicians: John Coltrane, tenor sax Cannonball Adderley, alto sax Wynton Kelly, piano Paul Chambers, bass Jimmy Cobb, drums
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Charles Mingus – Mingus Mingus Mingus Mingus Mingus
44,00 €Show item"The album features the two sides of Mingus' compositional genius: the beautiful balladry that I always feel has a bit of a film-noir feel to it, alongside those joyous upbeat numbers that are filled with an organized chaos that categorizes much of the bassist's best work. ... Throw in the fact that it also features Jaki Byard (who is just phenomenal on this recording and remains criminally underrated), Booker Ervin, Dannie Richmond and Eric Dolphy and you have some of Mingus' finest sidemen driving his compositions to the fantastical places they seemed preordained to go. ... Mingus, Mingus, Mingus, Mingus, Mingus is a record that has more than stood the test of time and is an everlasting testament to the talents of Mingus and the players who had the ability to follow his musical vision." — The Jazz Record Mingus, Mingus, Mingus, Mingus, Mingus was Charles Mingus' last major studio recording of the 1960s (the solo Mingus Plays Piano would also be released the same year in 1964) and it's a real treasure in the great jazz bassist's discography Two of the tracks ("Celia" and "I X Love") were recorded at the sessions for The Black Saint And The Sinner Lady, while the rest were laid down eight months later with a group that included Booker Ervin, Eric Dolphy and Jaki Byard (Byard also played on the two earlier tracks). Both sessions featured groups of 11 players, all of whom were in top form in performing Mingus' notoriously complex compositions, writes jazzrecord.com. All but two tracks on Mingus, Mingus, Mingus, Mingus, Mingus were re-interpretations of songs from the bassist's earlier catalog, only "Celia" rates as a new original number, and "Mood Indigo" is a cover of the famous tune by Mingus's hero Duke Ellington. If you happen to have lost your Mingus decoder ring, the remaining tracks correlate to their past counterparts as such: "II B.S." = "Haitian Fight Song" "I X Love" = "Nouroog" "Better Get Hit In Yo' Soul" = "Better Git It In Yo' Soul" "Theme For Lester Young" = "Goodbye Pork Pie Hat" "Hora Decubitus" = "E's Flat Ah's Flat Too" For Mingus, Mingus, Mingus, Mingus, Mingus Mingus collaborated with arranger/orchestrator Bob Hammer to score the music for the large ensemble of brass and saxophones. Recorded January 20 and September 20, 1963 in New York City. Musicians: On A2 & A3: Charles Mingus - Bass, Piano Jerome Richardson - Baritone Sax, Soprano Sax, Flute Dick Hafer - Tenor Sax, Flute Charlie Mariano - Alto Sax Rolf Ericson - Trumpet Richard Williams - Trumpet Quentin Jackson - Trombone Don Butterfield - Contrabass Trombone, Tuba Jay Berliner - Guitar Jaki Byard - Piano Dannie Richmond - Drums On A2, A4, B1, B2, & B3 Charles Mingus - Bass Dick Hafer - Tenor Sax, Flute, Clarinet Jerome Richardson - Baritone Sax, Soprano Sax, Flute Booker Ervin - Tenor Sax Eric Dolphy - Alto Sax, Flute Eddie Preston - Trumpet Richard Williams - Trumpet Britt Woodman - Trombone Don Butterfield - Tuba Jaki Byard - Piano Walter Perkins - Drums
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Charles Mingus – The Black Saint And The Sinner Lady
44,00 €Add to cart"A comparison between this reissue and an original Impulse produced a sonic draw with each having its own attractive qualities — warmer original versus more transparent reissue — but the reissue is pressed on far quieter vinyl and given a choice I'd take the reissue. Musical and sonic fireworks well worth getting." — Music = 10/11; Sound = 10/11 — Michael Fremer, AnalogPlanet.com. Read the whole review here. On January 20, 1963, bassist and composer Charles Mingus recorded in just one session — astonishingly — a very personal and socially conscious work he titled The Black Saint & The Sinner Lady. With liner notes written by Mingus's psychotherapist, the album uses ornate ensemble orchestration to produce a sound somewhere between jazz and folk. Released on Impulse! Records in 1963, the album consists of a single continuous composition — partially written as a ballet — divided into four tracks and six movements. Of his adventurous and hauntingly eloquent work, among his other creations, Mingus said: "My music is evidence of my soul's will to live." The evidence of that life-force amounts to some of the most dramatic and powerful jazz composed in the 20th century. Mingus was born in Arizona on April 22, 1922 and raised in Los Angeles. He was taught double-bass by Red Callendar, and by the New York Philharmonic Orchestra's Herman Rheinshagen (classical music played as big a part in his compositional thinking as gospel songs and the blues). Mingus toured with New Orleans players Louis Armstrong and Kid Ory in the 40s, and later worked briefly with Lionel Hampton and Duke Ellington. If he had been an improvising instrumentalist alone, Mingus would have been a jazz legend simply for his bass playing. Yet bass-playing also gave Mingus an insight into the low sonorities and inner hamonies of jazz composition, and his melodic approach was profoundly influenced by the blues and gospel music of his childhood.
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Charles Munch – A Stereo Spectacular: Saint-Saens Symphony No.3
58,00 €Show item“So far, Analogue Productions’ series of outstanding reissues have avoided the missteps of the previous Classic Records issues, instead offering real improvements over the originals. … The latest release, of this title and the Offenbach Gaite Parisienne (LSC 1817), keeps a perfect track record of outstanding Living Stereo releases by Analogue Productions. Pristine surfaces and better-defined layers of sound along with much finer texture add up to a wonderful experience of the famous Organ Symphony. The original is almost coarse sounding compared to this reissue. While the Offenbach reissue does not eclipse the original in all areas, the original remains very expensive and the reissue is superb.” Recording = 10/10; Music = 10/10 – Dennis D. Davis, Hi-Fi +, Issue 119 “These are the best vinyl releases of RCA LPs I’ve yet heard.” — Jonathan Valin, executive editor, The Absolute Sound This performance of the Saint-Saëns Symphony No. 3 (Organ Symphony) is a favorite Living Stereo release. To say that it is incredible might be an understatement. The original 3-track session tapes were used in mastering for the LPs and SACDS in this Analogue Productions reissue series. The record reveals all of the glory of the recording and the precision and passion of Munch and the Boston Symphony Orchestra in Boston’s Symphony Hall. It’s more than ever the sonic blockbuster par excellence! It doesn’t get any better than this. Musicians: Berj Zamchokian, organ Boston Symphony Charles Munch, conductor
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Chet Baker – Baker’s Holiday
44,00 €Add to cartRelease date: 1st of november 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 Baker's Holiday is an album of songs associated with Billie Holiday by trumpeter/vocalist Chet Baker which was recorded in 1965 and released on the Limelight label. Baker pays tribute to Holiday with mellow trumpet solos and occasional vocals. Baker's backed by a full sax section and a four-piece rhythm section that includes pianist Hank Jones; Jimmy Munday contributed the colorful arrangements. Scott Yanow, writing for AllMusic, says "His performance of ten songs associated with Lady Day (most of which he had not recorded previously) is often exquisite." 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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Chuck Berry – Berry Is On Top
44,00 €Add to cartChuck Berry — Berry Is On Top (Mono) Chess Records 75 Series from Chess Records and Acoustic Sounds! Rock 'n' roll anthems abound, includes "Johnny B. Goode" and "Roll Over Beethoven" All-analog mastering by Matthew Lutthans at The Mastering Lab 180-gram vinyl pressed at Quality Record Pressings Chuck Berry didn't just play rock 'n' roll; he invented its swagger. Released in 1959 on Chess Records, Berry On Top is where Berry slammed his flag into the musical mountaintop and declared, "This land is rock 'n' roll, and I own the real estate." This album and its anthems that built rock — "Johnny B. Goode," "Roll Over Beethoven" — was a starter kit for everything that came after. The riffs? Every garage band you've ever heard learned them here. The attitude? Let's just say Elvis may have swiveled his hips but Chuck wrote the manual. Chess Records was the beating heart of American music in the 1950s — the place where blues went electric, soul started to simmer, and rock 'n' roll took its first wild steps. With Berry, and others, Chess didn't just join the rock 'n' roll revolution, they launched it. Berry On Top showed that blues roots and a country twang could collide and create something explosive! This reissue is the real deal as well. Mastered by Matt Lutthans at The Mastering Lab, the sound makes Berry's riffs snap like live wires while keeping the bottom end tight and warm. The Quality Record Pressings vinyl is so flat and silent, you'll hear every nuance — every pick scrape, every finger pop, every ounce of Chess mojo. Berry On Top is a cornerstone of rock, where swagger met swing, and a guitar god was born.
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Chuck Berry – St. Louis To Liverpool
44,00 €Add to cartChuck Berry — St. Louis To Liverpool Chess Records 75 Series from Chess Records and Acoustic Sounds! Rock 'n' roll pioneer's seventh studio album! All-analog mastering by Matthew Lutthans at The Mastering Lab 180-gram vinyl pressed at Quality Record Pressings Includes the charting singles "No Particular Place To Go," "You Never Can Tell," "Little Marie" and more! By 1964, Chuck Berry had already rewritten the rules of rock 'n' roll. With St. Louis to Liverpool, his seventh studio album for Chess Records, he proved he could still push the music forward with style, swagger, and unforgettable songwriting. This was the first Berry studio LP to crack the U.S. Billboard album chart — a long-overdue breakthrough that signaled just how deeply his sound had taken hold. The album is stacked with hits, featuring four of Berry's five charting singles from 1964: the cruising, grin-inducing "No Particular Place to Go," the effortlessly cool "You Never Can Tell," the runaway-train energy of "Promised Land," and the bright, melodic "Little Marie." Decades later, You Never Can Tell would achieve a second life — and iconic status — when John Travolta and Uma Thurman danced to it in Quentin Tarantino's Pulp Fiction. All-analog mastering by Matthew Lutthans at The Mastering Lab, 180-gram vinyl pressed by Quality Record Pressings. For collectors and rock enthusiasts, St. Louis to Liverpool stands as one of Berry's most cohesive, joyfully creative records — a perfect blend of sharp storytelling, signature guitar fire, and pure rock 'n' roll charm.
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Clark Terry, Freddie Hubbard, Dizzy Gillespie Plus Oscar Peterson – The Alternate Blues
54,00 €Add to cart180-gram vinyl Cut from metal parts mastered by Doug Sax from the original analog master tape Pressed at Quality Record Pressings Housed in Stoughton Printing tip-on jacket For The Alternate Blues, producer Norman Granz set aside his rule against issuing what are variously called in the recording business outtakes, breakdowns, or alternate takes. The reason was that despite missed cues and procedural problems in the rhythm section, Dizzy Gillespie, Freddie Hubbard, and Clark Terry played the blues at a level of passion and expressiveness the equal of the versions originally released on The Trumpet Summit Meets the Oscar Peterson Big 4. In addition, there are four standards not heard in the original album. With Joe Pass, Bobby Durham and Ray Brown. Cut from metal parts mastered by Doug Sax from the original analog master tape. Pressed at Quality Record Pressings for superior sound quality, and housed in a handsome Stoughton Printing tip-on jacket.
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Coleman Hawkins – Coleman Hawkins Encounters Ben Webster
44,00 €Add to cartAs critic Nat Hentoff makes clear, Coleman Hawkins and Ben Webster were larger than life. Formidable, even forbidding presences, they revealed a depth of feeling in their playing that spoke of their vast life experiences, as great writers or painters speak through their work. Recorded in 1957. Seeking to offer definitive audiophile grade versions of some of the most historic and best jazz records ever recorded, Verve Label Group and Universal Music Enterprises' audiophile Acoustic Sounds vinyl reissue series utilizes the skills of top mastering engineers and the unsurpassed production craft of Quality Record Pressings. All titles are mastered from the original analog tapes, pressed on 180-gram vinyl and packaged by Stoughton Printing Co. in high-quality gatefold sleeves with tip-on jackets. The releases are supervised by Chad Kassem, CEO of Acoustic Sounds, the world's largest source for audiophile recordings. Musicians: Coleman Hawkins, tenor saxophone Ben Webster, tenor saxophone Ray Brown, bass Herb Ellis, guitar Oscar Peterson, piano Alvin Stoller, drums
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Count Basie – 88 Basie Street
54,00 €Show item180-gram vinyl Mastered by Kevin Gray from the original analog master tape Pressed at Quality Record Pressings Housed in Stoughton Printing tip-on single pocket jacket One of the pieces on this album is called "The Blues Machine," which could stand as a description of the big band Count Basie operated for half a century. In the 1983 edition, Basie molded the talents of a mixture of veterans and relative youngsters to produce the immediately identifiable Basie sound and spirit. Sam Nestico's arrangements, so vital to the band in Basie's final years, are featured on four tracks. On the remaining two, Basie heads up a small unit with saxophonists Chris Woods and Kenny King, the rapidly developing young trumpeter Bob Summers, and guitar wizard Joe Pass. Mastered by Kevin Gray from the original analog master tape, and pressed at Quality Record Pressings for optimal sound quality, this Analogue Productions 180-gram reissue is everything jazz fans expect from an audiophile reissue. Housed in a single pocket Stoughton Printing tip-on jacket.
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Count Basie – Basie Jam
54,00 €Add to cart180-gram vinyl Cut from parts mastered by Doug Sax from the original analog master tape Pressed at Quality Record Pressings Housed in Stoughton Printing tip-on gatefold jacket Basie Jam is two sides of some of the best swing ever recorded. This record was produced by Norman Granz and Pablo Records. Granz, responsible for one of the greatest jazz labels ever — Verve — knew what he was doing in a studio. The Big Band sound of Count Basie and the other orchestra leaders dominated dance halls and the airwaves for almost two decades. This late 1973 session features the Count with an eight-piece band. As the title indicates, this recording is like a jam session, so all the tracks are based around the blues. After a classic Basie Piano intro the first track "Doubling Blues" swings like mad, but then you notice there's something different going on when the solos start. What's different is that Basie is playing Organ for most of the rest of the track and the difference is amazing. The little Piano phrases that we're all so used to hearing Basie play aren't there. Then after six minutes the piano comes back in and we finish track with Basie as we started. For more of Basie's organ playing have a listen to "One-Nighter" — a lovely medium tempo number on which he plays a restrained introductory solo, before Zoot Sims plays the opening tenor sax solo. The running time is just under 50 minutes, and with only five tracks on the album that tells you that the musicians were given plenty of opportunity to stretch out. They do, and its well worth getting a copy of this album. Cut from metal parts mastered by Doug Sax from the original analog master tape. Pressed at Quality Record Pressings for superior sound quality, and housed in a handsome Stoughton Printing tip-on gatefold jacket.
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Count Basie – Farmer’s Market Barbecue
54,00 €Show item180-gram vinyl Cut from parts mastered by Doug Sax from the original analog master tape Pressed at Quality Record Pressings Housed in Stoughton Printing tip-on single pocket jacket From his earliest days in territory bands in the Southwest, Count Basie had a secret: How to make a collection of instrumentalists generate rhythmic thrust so irresistible that no listener's foot could remain motionless. Basie's swing was the opposite of tense. Relaxed is what it was, and powerful. Through five and a half decades, Basie never lost the ability to infect a band with his swing magic. This edition of his swing machine, recorded just a couple of years before his death, is evidence of the continuing force of that magic. Cut from metal parts mastered by Doug Sax from the original analog master tape. Pressed at Quality Record Pressings for superior sound quality, and housed in a Stoughton Printing tip-on single pocket jacket.
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Count Basie – Me And You
54,00 €Add to cart180-gram vinyl Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape Pressed at Quality Record Pressings Housed in a Stoughton Printing tip-on jacket Virtually to the end, Count Basie was at the piano in front of the band that was his natural environment for more than half a century, inspiring music that defined the verb "to swing." In this collection recorded a little more than a year before he died, Basie divided the performances between the big band and a small group. In his last couple of decades, Basie went into the Pablo studios frequently with combos ranging in size from two (the pianist and Zoot Sims) to the octet heard here. In this case, the small group came out of the big band and featured the bright young trumpeter Bob Summers along with veteran trombonist Booty Wood and saxophonists Eric Dixon and Chris Woods. In large group or small, Basie and guitarist Freddie Green were at the heart of the rhythm, lifting the proceedings to a rarified plane of swing never to be duplicated after they were gone. Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape. Pressed at Quality Record Pressings for superior sound quality, and housed in a Stoughton Printing tip-on single pocket jacket.
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Count Basie & Joe Turner – The Bosses
52,00 €Add to cart180-gram vinyl Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape Pressed at Quality Record Pressings Housed in a Stoughton Printing tip-on jacket The essence of Kansas City wafts from the tracks of this album. How could it not, with Count Basie and Joe Turner in charge? The essence, of course, is the blues, and every man in the band is a master of that most basic and most demanding of forms. Their résumés cover every jazz environ from the 12th Street clubs where Southwest swing matured to the Harlem hothouses that germinated bebop. The common language of the blues, and Basie's catalytic keyboard, bind them tightly together in support of Big Joe Turner, a shouter, a smooth talker, a testifier to the power, tenderness, despair, and joy of the blues and of life, which are the same. Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape. Pressed at Quality Record Pressings for superior sound quality, and housed in a Stoughton Printing tip-on single pocket jacket.