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Duke Ellington and Johnny Hodges – Back to Back
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 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 This is among the finest Ellington small group sides. The predominantly blues repertoire is the perfect setting for Sweets and Hodges to open out, with Duke getting a simpler, but no less forceful rhythm section backing than he did in his own band, notes Jazzwise. Hodges does some of the most soulful playing of his career 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' 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. -
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Eddie ‘Lockjaw’ Davis & Johnny Griffin Quintet – The Tenor Scene (Stereo)
58,00 €Add to cartDuring the two-year existence of their "Tough Tenors" quintet, Eddie "Lockjaw" Davis (a Prestige artist) and Johnny Griffin (under contract to Riverside/Jazzland) satisfied their contractual obligations by recording five albums for each company. This was the pair’s first for Prestige, and the first of a four-album series taped over the course of an extremely productive evening at the legendary Minton’s Playhouse in Harlem. The album, also known as The Breakfast Show in an earlier reissue, gives the rhythm section several opportunities to shine, with Ben Riley’s drums dominant on "Woody’n You," "Bingo Domingo" featuring Larry Gale’s bass, and Junior Mance’s piano solo almost stealing the show on "Light and Lovely." It is the leaders, though, who consistently deliver with their complimentary brand of intensity, which is heard at the boil throughout and reaches a particular peak when they exchange ideas on "Straight, No Chaser."
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Ella Fitzgerald – Clap Hands, Here Comes Charlie!
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 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 "...this new version mastered by Bernie Grundman ... sure sounds warmer than I remember the Classic being, but my system's much improved since I last played this record. ... if you have one of those — original, Classic or Acoustic Sounds double 45, you're all set, and if you don't, you'll definitely like this one for music, sound, gatefold laminated jacket and of course Ella's wonderful performance backed by a great combo! Easy to recommend and I do!" — Music = 9/11; Sound = 10/11 — Michael Fremer, TrackingAngle.com. Read the entire review here. Fourteen numbers from the heyday of swing, composed sometime between 1930 and 1945 — played and sung time and time again in ballrooms, or on the radio to advertise biscuits or war bonds, were recorded by Ella in completely new and personal interpretations in 1961. No one should be put off by the rather unfortunate cover. Clap Hands... is absolutely top notch as regards musicality, perfect recording quality, superb accompaniment by a small ensemble, with room for improvisations; it offers a wonderful opportunity to discover something new in these evergreens, despite the occasionally banal lyrics. The songs of this recording conjure up bygone days, with listeners in the 21st century being offered a highly personal homage to one of the most successful periods in the 100-year history of jazz. 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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Ella Fitzgerald – Ella Wishes You A Swinging Christmas
44,00 €Show item"Ella Fitzgerald's Christmas album is a secular holiday delight sure to please every listener, even atheists and agnostics. Originally released in 1960, the sound here is warm and inviting as a Yule log burning in the fireplace ... Perfect QRP pressing too." — Music = 9/11; Sound = 9/11 — Michael Fremer, AnalogPlanet.com. To read Fremer's full review, click here. A holiday album from the jazz legend! Have a swinging Christmas and a jazzy new year with this joyous 1960 Ella LP in your collection. She sings (and swings) "Jingle Bells," "Sleigh Ride," "Winter Wonderland," and more! She puts her singular stamp on everything from a sultry vamp like "What Are You Doing New Year's Eve?" to the sweet and cozy "The Christmas Song." Even potentially shopworn standards like "Santa Claus Is Comin' to Town" sound fresher when they're coming from Ella Fitzgerald.
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Ella Fitzgerald – Fine and Mellow
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 Step into the world of jazz like never before with Ella Fitzgerald — Fine And Mellow, a timeless masterpiece that captures the unparalleled artistry of Ella Fitzgerald, recorded live in a magic-filled moment. Released during the golden era of jazz in the early 1960s, this album is an audiophile's dream, showcasing not just the vocal brilliance of Ella, but the sonic chemistry of a legendary ensemble of jazz titans. The story behind Fine And Mellow begins with Ella Fitzgerald, often heralded as the "First Lady of Song," collaborating with a distinguished group of musicians who were at the pinnacle of jazz innovation. Recorded at the famed Los Angeles Philharmonic Auditorium in 1962, this live session presents a rare and authentic glimpse into the improvisational magic of the era. The album is a veritable "who's who" of jazz greats, chosen with a careful and deliberate focus on complementing Ella's vocal style. Ella's smooth yet powerful voice effortlessly rides the waves of a setlist filled with timeless classics, most notably the title track, Fine And Mellow. The album features Ella at the height of her vocal prowess, with each note floating in the air with an almost tactile quality. 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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Ella Fitzgerald – Let No Man Write My Epitaph
44,00 €Show itemConsidered one of Ella's greatest recordings, she's backed on this 1960 release by pianist Paul Smith. Let No Man Write My Epitaph was a 1960 Hollywood movie featuring Fitzgerald. The album hits at a depth of emotional understanding that critics often complained was missing in Ella's reading of jazz lyrics, and once again establishes her as one of the supreme interpreters of the Great American Songbook. 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.
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Ella Fitzgerald – Take Love Easy
54,00 €Show item180-gram vinyl Cut from parts mastered by Stan Ricker from the original analog master tape Pressed at Quality Record Pressings Housed in Stoughton Printing tip-on single pocket jacket Ella Fitzgerald and guitarist Joe Pass teamed up in 1973 for a set of duets for this album. The fabulous pairing's highlights include "Don't Be That Way" and "A Foggy Day." The album is the first of four studio albums that Ella recorded with Pass, and it was the latest in a long line of duets for Ella with just one other instrument. Cut from metal parts mastered by Stan Ricker from the original analog master tape, and pressed at Quality Record Pressings for optimal sound quality, this Analogue Productions 180-gram reissue is an audiophile treasure. Housed in a Stoughton Printing tip-on jacket.
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Ella Fitzgerald & Oscar Peterson – Ella and Oscar
54,00 €Add to cart180-gram vinyl Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape Pressed at Quality Record Pressings Housed in Stoughton Printing tip-on jacket Even with less than essential bonus material, Ella and Oscar — recorded May 19, 1975 — is a welcome reissue that warrants repeated listening. Bassist Ray Brown, closely associated to both artists, appears on four tracks, but this is a decidedly duo effort that focuses on two close friends who happened to be among jazz's most historic figures. To call this collection of Great American Songbook standards intimate would be an understatement. Ella and Oscar is a low-key album of small, quiet pleasures. Even during the second half where Brown's bass provides additional rhythmic variety, the focus is squarely on voice and piano. Most of the album's tracks are under five minutes in length. Only on the closing number, "April In Paris," do they really stretch out significantly. Peterson delivers a relaxed but swinging solo. Fitzgerald follows suit with remarkably expressive scatting. Earlier on "When Your Lover Has Gone," she and Peterson trades four bars solos in captivating exchange of melodic ideas. Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape, and pressed at Quality Record Pressings for optimal sound quality, this Analogue Productions 180-gram reissue is a must-have for jazz fans. Housed in a single pocket Stoughton Printing tip-on jacket.
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Ella Fitzgerald & Joe Pass – Fitzgerald & Pass… Again
54,00 €Add to cart180-gram vinyl Cut from existing metal 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 Ella Fitzgerald, often referred to as the "First Lady of Song," and Joe Pass, a legendary jazz guitarist, collaborated on four duet albums together. This album, their second, has endured as a classic in the jazz canon, remaining highly regarded by jazz enthusiasts and musicians alike. Fitzgerald's performance on this album, released in 1976, won her the 1977 Grammy Award for Best Jazz Vocal Album. Fitzgerald's celebrated musicianship remained exceptional after four decades in the limelight, and her ability to get inside the meaning of a lyric and convey it to an audience had been woefully underestimated. Pass, who gets to display the subtler aspects of his own virtuosity and his overlooked strengths as an accompanist, was the perfect partner for an effort where the relaxed "after hours" feeling intensified the level of communication. Duke Ellington's songbook is generously represented by four titles, "'Tis Autumn" and "Tennessee Waltz" are transformed, and there are spellbinding wordless performances of "Rain" and "One Note Samba." Cut from existing metal parts mastered by Doug Sax from the original analog master tape, and pressed at Quality Record Pressings for optimal sound quality, this Analogue Productions 180-gram reissue is a must-have for jazz fans. Housed in a single pocket Stoughton Printing tip-on jacket.
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Ella Fitzgerald and Louis Armstrong – Ella & Louis
44,00 €Add to cart"As with all the Acoustic Sounds releases I've reviewed here on Analog Planet thus far, this new production company is exemplary overall. The pressing is top-notch, manufactured on thick, dark black 180-gram vinyl that is quiet and well-centered. Overall, Ella's warm, melted-buttery voice makes for a tasty contrast when poured over Pops' more angular salty popcorn-crunch vocals. Add in Satch's rich round trumpet playing, and you've got the formula for a sweet sonic taste sensation." — Music = 10/11; Sound = 8/11 — Mark Smotroff, AnalogPlanet.com. To read the full review click here. "The classic jazz album that brought Ella Fitzgerald and Louis Armstrong together for the first time as they recorded their version of extraordinary standards." — Wax Time The evening before Louis Armstrong recorded this album, both he and Miss Fitzgerald were appearing in an all-star concert also featuring Art Tatum and Oscar Peterson that was recorded for an album titled Live At The Hollywood Bowl (1956). The following day the two singers, along with the Oscar Peterson Trio, were in a Los Angeles studio to record this gem of an album. With no time for rehearsals the songs were all set in Louis' key to make it easier, but this in no way inhibits Ella's performance. Another challenge for Pops was the fact that the material was not his normal repertoire, meaning he had to learn things on the fly in the studio. Again there's no hint of any issues, which all goes to highlight Armstrong's innate musical ability.
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Ella Fitzgerald and Louis Armstrong – Ella & Louis Again
44,00 €Add to cartThis new reissue of Ella And Louis Again is a much-needed solution for audiophile-leaning jazz fans the world over. If you’ve ever gone looking for original pressings of this record, you know that it is hard to find in any condition. ... The two 'Ella And Louis Again' LPs in the set I’m reviewing here are thick, dark, quiet, and, most importantly (for me, at least), well-centered. Ryan K. Smith’s disc mastering is once again excellent, delivering a clean and punchy vinyl playback experience while sounding true to the release’s era." — Music = 10/11; Sound = 9/11 - Mark Smotroff, AnalogPlanet.com. Producer Norman Granz had a stroke of genius when he signed the jazz greats Ella Fitzgerald and Louis Armstrong to his Verve label. The duo that critics have called "A match made in heaven," take to the microphone here for a repeat on Ella And Louis Again, the sequel to 1956's acclaimed Ella and Louis. Ella's voice — radiant, warm, sweet as honey, and Louis' gritty, gravelly, croon formed a sound rife with commercial success. The sequel album was backed by the Oscar Peterson trio, with Louie Bellson replacing Buddy Rich on the drums. The 10-track album had seven tracks with solo singing and three duet tracks. Ella and Louis Again stood out from their first album and subsequent album Porgy and Bess. It focused more on the artist's voices rather than Louis' trumpet solos on Ella and Louis and didn't have a big band like the one featured in Porgy and Bess. This focus truly brought the voices of the two icons center stage, where they were able to perform in perfect black and white contrast. The Oscar Peterson trio did not go unnoticed, however. They were mentioned as a "solid rhythm section" by Alex Henderson at AllMusic. Ella and Louis Again will rein down in history as being an important piece to what could be considered the most iconic jazz trilogy of all time. Originally released in 1957. Musicians: Louis Armstrong, trumpet, vocals Ella Fitzgerald, vocals Louie Bellson, drums Ray Brown, bass Herb Ellis, guitar Oscar Peterson, piano
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Elmo Hope – Informal Jazz (Mono)
58,00 €Add to cartOvershadowed throughout his life by his friends Bud Powell and Thelonious Monk, Elmo Hope was a talented pianist and composer in his own right. He recorded in New York as a band leader (starting in 1953), and with greats Sonny Rollins, Lou Donaldson, Clifford Brown and Jackie McLean. But the loss of his cabaret card due to drug use made it difficult for him to make a living in New York. After touring with Chet Baker in 1957, Hope relocated to Los Angeles. He performed with Lionel Hampton in 1959, recorded with Harold Land and Curtis Counce, and returned to New York in 1961. A short prison sentence did little to help his drug problem; he died in May 1967. Although the album is titled Informal Jazz, reality dictates that a good deal of thought and care went into the recording session. The dynamic drum and bass team of Philly Joe Jones and Paul Chambers is "hardly the kind of rhythm section playing heard at a jam session, except possibly in heaven," All Music Guide notes. And Hope’s solo spots are the best part of the record — "It is a stretch to imagine an ’informal’ recording session where even material as complicated as this is played." Lastly, some of the most well-known and influential horn artists of the time make their presence known — tenor sax greats John Coltrane and Hank Mobley, as well as trumpeter Donald Byrd. Originally released in 1956. Elmo Hope, piano Philly Joe Jones, drums Paul Chambers, bass John Coltrane, tenor sax Donald Byrd, trumpet Hank Mobley, tenor sax
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Eric Dolphy – At The Five Spot, Vol. 1 (Stereo)
58,00 €Add to cartOne night during a one-time, two-week engagement at the Five Spot produced enough music of lasting merit for three albums. When Rudy Van Gelder took his portable equipment down to the fabled Cooper Square jazz club on July 16, 1961, he captured the interaction of an extraordinary quintet. Eric Dolphy, Booker Little, Mal Waldron, Richard Davis and Ed Blackwell had formed a cooperative group and, if LIttle had not died in October 1961, there is no doubt that it would have been a potent force in the music of the 1960s and beyond. Dolphy himself died in June 1964, after establishing himself as one of the important contemporary reedmen. Here his alto saxophone and bass clarinet and Little’s trumpet explore three originals: "The Prophet" by Dolphy, "Bee Vamp" by Little, and "Fire Waltz" by Waldron. It’s time caught in a bottle — music for the ages.
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Eric Dolphy – Far Cry (Stereo)
58,00 €Add to cartA half-century after his death at 36, the astonishing saxophonist and flutist Eric Dolphy is still influencing and inspiring the most adventuresome jazz musicians. Dolphy was daring and iconoclastic while fully immersed in the jazz tradition. His musicianship was so thorough that innovators like Charles Mingus and John Coltrane held him in awe. In a dream partnership, Dolphy and trumpeter Booker Little made a handful of recordings in 1960 and '61, shortly before Little's own premature death. The first of them are in this album. With Jaki Byard, Ron Carter and Roy Haynes.
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Eric Dolphy – Out There (Stereo)
58,00 €Add to cartIn 1960, the free jazz pioneered by Ornette Coleman, Cecil Taylor, Horace Tapscott and a very few others was rejected by many musicians and most listeners. For the visionary saxophonist, clarinetist and flutist Eric Dolphy, it was simply new music fed by the mainstream, a logical extension of the jazz tradition. In Far Cry without leaving form behind, he incorporated the spirit of adventure and abandon with which free jazz at its best infused freshness into jazz. Recording with a pianoless quartet that used Ron Carter’s cello as the other melody instrument, Dolphy worked from chord patterns developed within structures that depart from ordinary 32-bar jazz and popular song forms. He used 30-bar, 35-bar and 18-bar structures, but he also observed standard practice with 12-bar blues, “Serene.” Dolphy’s speech-like improvisations and Carter’s bowed or plucked cello solos soar over the impeccable and responsive accompaniments of bassist George Duvivier and drummer Roy Haynes.
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Eric Dolphy – Outward Bound (Stereo)
58,00 €Add to cartEric Dolphy has sometimes been described as an iconoclast, but in Outward Bound, he was not overturning his idol, Charlie Parker; he was building on Bird’s legacy. So deep was Dolphy’s musicianship, so free his imagination, that he enchanted trailblazers like John Coltrane and Charles Mingus. Partnering in this collection with the brilliant trumpeter Freddie Hubbard and a stunning rhythm section, Dolphy is at a peak of energy and creativity on alto saxophone, bass clarinet, and flute. He and Hubbard work with empathy reminiscent of the young Parker and Dizzy Gillespie. Pianist Jaki Byard, bassist George Tucker, and drummer Roy Haynes were ideal accompanists and co-conspirators in this widely influential work.