180 Gram Vinyl Record
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Norah Jones – Come Away With Me
92,00 €Show item"The entire project from the songs to the superb recorded sound and packaging just reeks of good taste. And it couldn't have come cheaply. The label or someone made a major financial investment in an unknown's debut album. The investment paid off, as the album sold more than 26 million copies and won numerous awards. It wasn't that much of a risk, really. Jones' amalgam of jazz, country, folk and a touch of rock produced something new and highly attractive to a wide demographic. ... The records coming out of QRP are definitely living up to the pressing plant's early promise. This kind of drop dead black quiet is precisely what's required for Jones' music and QRP delivers it. Kevin Gray's mastering is equally superb." — Michael Fremer, AnalogPlanet.com, January 24, 2013. To read Fremer's full review, click here: http://tinyurl.com/bj8rkf7 "The original CD of Come Away With Me was never too bad on the ears, but (on the QRP pressing) the warmth and detail from the clean, flat vinyl shines through." — Review of the Norah Jones Vinyl Collection by Paul Sinclair, Superdeluxeedition.com The winner of eight 2003 Grammys, Come Away With Me was Norah Jones’ breakthrough triumph. Now Jones’ mellow, soul-and-country tinged music gets the richly-deserved Analogue Productions treatment on 180-gram, super-silent vinyl! Hits like the signature cut of this record "Don’t Know Why," have never sounded clearer and more sensual. Close your eyes and you’ll swear you’re sitting in the recording studio, watching the magic happen. Jones’ debut on Blue Note was immaculately produced by the great Arif Mardin. Jones, the the daughter of Ravi Shankar, is not quite a jazz singer, but she is joined by some highly regarded jazz talent: guitarists Adam Levy, Adam Rogers, Tony Scherr, Bill Frisell, and Kevin Breit; drummers Brian Blade, Dan Rieser, and Kenny Wolleson; organist Sam Yahel; accordionist Rob Burger; and violinist Jenny Scheinman. Her regular guitarist and bassist, Jesse Harris and Lee Alexander, respectively, play on every track and also serve as the chief songwriters. Both have a gift for melody, simple yet elegant progressions, and evocative lyrics. 2003 Grammy Winner ~ Record of the Year, Don't Know Why ~ Album of the Year, Come Away With Me ~ Song of the Year, Don't Know Why ~ Best New Artist, Norah Jones ~ Best Female Pop Vocal Performance, Don't Know Why ~ Best Pop Vocal Album, Come Away With Me ~ Best Engineered Album, Non-Classical, S. Husky Höskulds & Jay Newland, engineers ~ Producer of the Year, Non-Classical, Arif Mardin, producer
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Cowboy Junkies – The Trinity Session
88,00 €Show item"Regardless, sonics are first-rate, as is Analogue Productions' knockout reissue. The sound is exceptionally ambient and airy, with a remarkable sense of depth and a seemingly endless stage. Instruments are creamy-rich in texture, as is Timmins' come-hither vocal style. If you love Trinity Sessions, you'll want this edition." — Wayne Garcia, The Absolute Sound, February 2017. Read the whole review here. Read about the making of this spectacular album in Tom Doyle's October 2015 article for Sound On Sound magazine here. Cowboy Junkies recorded this spectacular LP as a "live" event Nov. 27, 1987 at the Church of the Holy Trinity in Toronto. It was recorded with a digital R-Dat and using only a Calrec Ambisonic Microphone. What this means is the record sounds like the band was playing right in front of you with the perfect ambiance. Yes, this is a digital recording. True to our company principles, Analogue Productions in almost all cases reissues recordings only where the analog master tape is available. However, there are rare exceptions that whether digitally recorded or otherwise, a recording is so outstanding it's worthy of the highest quality vinyl reissue. Featuring the sultry voice of Margo Timmins, the precise musicianship of her brothers Peter (on drums) and Michael (on guitar), and bassist Alan Anton, The Trinity Session is a spare, evocative, countrified-rock classic. First released in late 1988, The Trinity Session was named "Album of the Year" by The Los Angeles Times and The New York Times described it as "a quiet, special record that challenges traditional music." Rolling Stone declared the album to be "as important as it its inspiring." Today, it remains much more than a snapshot of a single day's work captured on tape. So for this deluxe Analogue Productions reissue, we pulled out all the stops. Starting with new mastering from the original session digital tapes by the original recording engineer, Peter Moore. And lacquer cutting by Ryan K. Smith at Sterling Sound. The church where the album was recorded was selected on the basis of work Moore had done there with other jazz and classical artists. Using a single Calrec Ambisonic microphone, the results are stunning. Next, we kicked up the packaging and content several notches. You're holding a heavyweight old-style tip-on Stoughton Printing jacket, and it has brand-new liner notes by author and music editor Jason Schneider. Schneider is the author of Whispering Pines: the Northern Roots of American Music from Hank Snow to The Band. He's also the roots music editor at Exclaim! and his work has been published in Paste, The Word, The Toronto Star and other publications. The liner notes share space with additional recording session photos, inside and on the back cover. Additionally, the cover has been redesigned to remove the lettering and photo distortion originally applied and make it appear as the musicians/artist originally intended. Lastly, this sonic treasure has been pressed on 180g vinyl at Quality Record Pressings, maker of the world's finest LPs, with stampers plated by master plating technician Gary Salstrom. The inspired reworking of both "Blue Moon" and "Working On A Building" reveal the Timmins family to be talented interpreters and insightful neo-traditionalists. Mixing the ambitious songwriting of Margo and Michael Timmins with subdued covers of Lou Reed's "Sweet Jane" and Hank Williams' "I'm So Lonesome I Could Cry," The Trinity Session is an exquisite collection that holds up quite well under repeated listenings. "The main appeal of The Trinity Session, the Cowboy Junkies' second album, remains its lo-fi sound. The ambient buzz of Toronto's Church of the Holy Trinity, where the Junkies recorded the album around one microphone, colors every song, reinforcing the live setting and generating vinyl intimacy even on CD. It's as if the church itself was an instrument, one that Junkies could play pretty well. It allows Margo Timmins' voice to fill your field of vision, simultaneously soothing and unsettling, while her brother Michael's guitar rumbles through the songs, a little louder and sharper than anticipated." — Pitchfork
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The Beach Boys – Little Deuce Coupe
58,00 €Add to cart"These are the best sounding and best-looking versions of the Beach Boys records that have ever been produced. We want everything about these to be better than the original." — Chad Kassem, owner and CEO, Acoustic Sounds "These reissues restore whatever was really on the tapes — and given who was involved and where they were recorded, you can be sure the bass heard on these reissues was not added by Kevin Gray. ... As for the quality of these reissues, it's quite clear that, whether or not you like the sonic results, Analogue Productions sets the reissue standard. The company insists upon using analog master tapes (where available), not analog copies, it uses the best available artwork, and packages in 'Tip-on'TM jackets. It masters where the tapes are located using Kevin Gray in California, Ryan K. Smith in New York and Willem Makkee in Germany." — Michael Fremer, AnalogPlanet.com "Listening to the stereo version, I was struck by the separation, the wide soundscape, the detail, and the depth; I could imagine the voices filling a cathedral. ... The rich blending of the vocal harmonies on the stereo versions of 'Surfer Girl,' 'The Warmth of the Sun,' 'In My Room,' and other songs is praiseworthy ... the voices envelop you in a three-dimensional soundscape that can be mesmerizing." — Jeff Wilson, The Absolute Sound, October 2015 "What I can say is that Kevin Gray has been able to extract every last bit of information from whatever tape is in the box, and present it in a way that is pleasing and natural to the ear. ... in my opinion, the Analogue Productions pressings are now THE definitive issue of each Beach Boys album, and will be my reference copies until if and when something better comes along — which may be never." — Lee Dempsey, Endless Summer Quarterly, Summer 2015 Edition "Here you have a choice between mono and stereo versions. I think the mono version has it all over the stereo version, which, while not hard left/right like early Beatles albums, still sounds as if the intent was to combine the elements to create a mono mix. The mono mix holds together far better in every way — particularly the way in which Dennis's drums are mixed and in the vocal integrity. ... Both the mono and stereo reissues sound open, transparent and full frequency." — Michael Fremer, AnalogPlanet.com. Read the whole review here. A musical legacy that began in Hawthorne, California and went on to conquer the world. Analogue Productions presents the ultimate pressings of 14 essential Beach Boys albums! Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in "old school" Stoughton tip-on jackets, these time honored favorites shine brighter than the originals! Surfin' USA was the Beach Boys' real breakthough album, showing Brian Wilson asserting himself in the studio as both a premier songwriter and arranger on a set of material that was stronger than their Surfin' Safari debut. Apart from Surfin' Safari, which was mono only, the Beach Boys did turn in stereo masters on all of their early albums up until 1965. The Beach Boys Today! was the first LP for which they only delivered a mono master. The stereo editions of Surfin' USA, Surfer Girl, Little Deuce Coupe, Shut Down Vol. 2, All Summer Long, Beach Boys Christmas Album and Beach Boys Concert were all mixed in stereo by their own preferred engineer, Chuck Britz, ostensibly under the group's supervision. "Brian may or may not have been present for those mixing sessions — evidence suggests that he trusted Chuck's skills enough to let him prepare those mixes on his own — but the group held onto their multitrack tapes and delivered stereo masters to Capitol, rather than allowing Capitol to prepare their own stereo versions. Later, when Brian was only delivering mono masters, Capitol would prepare the Duophonic pseudo stereo editions for the stereo market," says Alan Boyd, producer and Beach Boys' archivist. The Beach Boys' practice of double-tracking their vocals really lends itself to stereo mixes. Split left and right, as they are on a lot of those early stereo versions, those doubled vocal parts can really envelop the listener, surrounding them with Wilsons, Loves and Jardines! All of the newer stereo mixes on these remastered albums (The Beach Boys Today!, Summer Days (And Summer Nights!!), The Beach Boys' Party, Pet Sounds and Smiley Smile) were done by Mark Linett on behalf of the Beach Boys. Besides the hit title track on Surfin' USA and its popular drag-racing flip side ("Shut Down"), AllMusic.com notes that Surfin' USA has a lovely, heartbreaking ballad ("Lonely Sea") and a couple of strong Brian Wilson originals ("The Noble Surfer" and "Farmer's Daughter"). "There are also a surprisingly high quotient of instrumentals (five) that demonstrate that ... the Beach Boys could play respectably gutsy surf rock as a self-contained unit. Indeed, the album as a whole is the best they would make, prior to the late '60s, as a band that played most of their instruments, rather than as a vehicle for Brian Wilson's ideas. The LP was a huge hit, vital to launching surf music as a national craze, and one of the few truly strong records to be recorded by a self-contained American rock band prior to the British Invasion." — AllMusic.com "What I can say is that Kevin Gray has been able to extract every last bit of information from whatever tape is in the box, and present it in a way that is pleasing and natural to the ear. ... in my opinion, the Analogue Productions pressings are now THE definitive issue of each Beach Boys album, and will be my reference copies until if and when something better comes along — which may be never." — Lee Dempsey, Endless Summer Quarterly, Summer 2015 Edition "Even when in haste though, the group's vocal performances are outstanding. '409' was never recorded in stereo so here on the stereo version of the record you get the echoey 'Duophonic' take. ... The album ends with 'Custom Machine' another number obviously written and performed in haste, but by this time the group had gotten so damn good that even its trifles were ear-pleasing. Because of the 'Duophonic' tracks and the rushed nature of the production I'd go for the mono version." — Michael Fremer, AnalogPlanet.com. Read the whole review here. A musical legacy that began in Hawthorne, California and went on to conquer the world. Analogue Productions presents the ultimate pressings of 14 essential Beach Boys albums! Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in "old school" Stoughton tip-on jackets, these time honored favorites shine brighter than the originals! Released just one month after the Surfer Girl album, Little Deuce Coupe was, incredibly, the Beach Boys' fourth album in less than a year. Brian Wilson and the band responded by turning in arguably their most consistent effort to date — and a concept album, to boot. Little Deuce Coupe expanded the band's subject matter to encompass 1963 America's burgeoning love affair with hot rods, surrounding previously released cuts such as the title track, "409," and others with strong new material (much of it cowritten by Wilson and a DJ, Roger Christian). A highpoint: the a cappella James Dean tribute "A Young Man Is Gone" (a reworking of Bobby Troup's beautiful "Their Hearts Were Full of Spring"), a prime example of Wilson's arranging genius and the band's vocal prowess. "Their Hearts Were Full Of Spring" had been a standard for the vocal group The Four Freshmen, whose lush and distinctive jazz-based vocal arrangements had a huge influence on Brian's musical development. Apart from Surfin' Safari, which was mono only, the Beach Boys did turn in stereo masters on all of their early albums up until 1965. The Beach Boys Today! was the first LP for which they only delivered a mono master. The stereo editions of Surfin' USA, Surfer Girl, Little Deuce Coupe, Shut Down Vol. 2, All Summer Long, Beach Boys Christmas Album and Beach Boys Concert were all mixed in stereo by their own preferred engineer, Chuck Britz, ostensibly under the group's supervision. "Brian may or may not have been present for those mixing sessions — evidence suggests that he trusted Chuck's skills enough to let him prepare those mixes on his own — but the group held onto their multitrack tapes and delivered stereo masters to Capitol, rather than allowing Capitol to prepare their own stereo versions. Later, when Brian was only delivering mono masters, Capitol would prepare the Duophonic pseudo stereo editions for the stereo market," says Alan Boyd, producer and Beach Boys' archivist. The Beach Boys' practice of double-tracking their vocals really lends itself to stereo mixes. Split left and right, as they are on a lot of those early stereo versions, those doubled vocal parts can really envelop the listener, surrounding them with Wilsons, Loves and Jardines! All of the newer stereo mixes on these remastered albums (The Beach Boys Today!, Summer Days (And Summer Nights!!), The Beach Boys' Party, Pet Sounds and Smiley Smile) were done by Mark Linett on behalf of the Beach Boys.
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Henryk Szeryng – Henryk Szeryng in Recital
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. Polish-born violinist Henryk Szeryng was probably the finest product of Carl Flesch's legendary teaching career (other luminaries to emerge from his studio in the years between the two World Wars include Ivry Gitlis and Ida Haendel). Possessing an iron technique and a musical intellect of rare insight, Szeryng established himself as one of the pre-eminent concert violinists of the post-World War II decades.
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John Coltrane and Johnny Hartman – John Coltrane & Johnny Hartman
44,00 €Add to cartA match made in heaven! This 1963 Impulse! LP is a career highlight for Johnny Hartman's beautiful baritone voice and John Coltrane's exploratory yet empathetic tenor sax. John Coltrane and Johnny Hartman is one of the three all-ballad albums that John Coltrane recorded in late 1962 and early 1963. Hartman was apparently Coltrane's suggestion, and his deep, dark voice meshes perfectly here with Coltrane's tenor. "The material is well-chosen, including definitive readings of 'My One and Only Love' and 'Lush Life.' McCoy Tyner fills out the chords, augmenting the harmonies and keeping the tone of these ballads respectful but not overly sentimental. All the players get to the deep structure of the songs and are not afraid to play in the most essential and elegant manner. This is beautiful jazz." — Michael Monhart Recorded on March 7, 1963 at the Van Gelder Studio in Englewood Cliffs, New Jersey. The album was inducted into the Grammy Hall of Fame in 2013.
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Alice Coltrane – Journey In Satchidananda
44,00 €Show item"Satchidananda means knowledge, existence, bliss. Listen with your inner ear to Alice along with Pharoah Sanders, Charlie Haden, Rashied Ali, Cecil McBee, and others." — Downbeat Alice Coltrane had become a disciple of Swami Satchidananda, which explains the title of her 1971 masterpiece Journey in Satchidananda, recorded November 8, 1970 (except for one live track) and issued in January of 1971. It was recorded at the Coltrane home studio in Dix Hills, New York. Coltrane and Ed Michel produced the album. Album photography was by Chuck Stewart and Ed Michel. It was issued as impulse! AS 9203. The band for the studio tracks included Alice Coltrane. piano, harp; Pharoah Sanders, soprano saxophone, percussion; Cecil McBee, double bass; Rashied Ali, drums; Tulsi, tanpura; and Majid Shabazz, bells, tambourine. For "Isis and Osiris," recorded live July 4, 1970, at The Village Gate in New York City, the group was: Alice Coltrane. harp; Pharoah Sanders, soprano saxophone, percussion; Charlie Haden, double bass; Rashied Ali, drums; and Vishnu Wood, oud. All songs were by Coltrane. Allmusic says the landmark Journey to Satchidananda reveals just how far the pianist and widow of John Coltrane had come in the three years after his death. "The compositions here are wildly open and droning figures built on whole tones and minor modes. And while it's true that one can definitely hear her late husband's influence on this music, she wouldn't have had it any other way. Pharoah Sanders' playing on the title cut, 'Shiva-Loka,' and 'Isis and Osiris' (which also features the Vishnu Wood on oud and Charlie Haden on bass) is gloriously restrained and melodic." Seeking to offer definitive audiophile grade versions of some of the most historic and best jazz records ever recorded, Verve Label Group and Universal Music Enterprises' audiophile Acoustic Sounds vinyl reissue series utilizes the skills of top mastering engineers and the unsurpassed production craft of Quality Record Pressings. All titles are mastered from the original analog tapes, pressed on 180-gram vinyl and packaged by Stoughton Printing Co. in high-quality gatefold sleeves with tip-on jackets. The releases are supervised by Chad Kassem, CEO of Acoustic Sounds, the world's largest source for audiophile recordings.
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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.
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Julie London – Julie Is Her Name Vol. 2
88,00 €Add to cartShe was the sultry film starlet-turned-torch singer-come-TV actress whose dusky alto captivated a generation. Julie London was "discovered" while running a department store elevator in Hollywood. Just three years earlier the bountiful 15 year old, born Julie Peck to her parents, a song-and-dance duo of the vaudeville era, was singing on her parents' radio show. When she started working in the movies in the 1940s, she changed her name to London. During the course of a celebrated career in acting and music, she made more than 30 albums. The sultry-voiced actress, who was once married to "Dragnet" producer-star Jack Webb, had a hit record with the 1950s single "Cry Me a River." The single debuted in 1955, sold three million copies and remained in demand into the 1960s. Analogue Productions has brought back Julie Is Her Name Volume 2, making it an undeniable classic in every sense of the word. Remastered by Kevin Gray at Cohearent Audio, and plated and pressed on 180-gram vinyl at Quality Record Pressings, the result is a memory-stirring masterpiece. And we've cut this version at 45 RPM, meaning the 12 tracks are spread over two LPs for even better cartridge tracking for superior sound quality! Julie Is Her Name — Volume Two, has all the sincerity and warmth of her professional album debut, the best-selling Julie Is Her Name, from Liberty. An untested singer with uncompromising musical faith, an unknown record company, sophisticated, tastefully presented standards presented simply backed by just a bass and guitar — Julie Is Her Name faced long odds of success. Yet it soared to become a best-selling hit. Julie London rose to the Top 10 of every list of female vocalists. And as to the cover, expect only top-notch reproduction for our Analogue Productions reissue. Originally a single LP jacket, we've upgraded to a gatefold incorporating more original photographs provided by Universal. London appeared in nearly two dozen motion pictures during the 1940s and '50s; she was best known to TV audiences as nurse Dixie McCall on the 1970s hospital drama "Emergency!" She was hired on "Emergency!" by Webb," her then-former spouse, to co-star with her second husband, jazz musician Bobby Troup. Troup, who composed the iconic musical hit "Route 66" played a doctor on the show and it was he who helped sign Julie to the Liberty record label. Describing her smoky vocal style, London once said, "It's only a thimbleful of a voice, and I have to use it close to a microphone. But it is a kind of over-smoked voice, and it automatically sounds intimate." A style inimitable, in our estimation.
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John Coltrane – A Love Supreme
44,00 €Add to cart"I picked up the new Acoustic Sounds (Series) reissue of A Love Supreme, John Coltrane's classic album originally released in 1965 on Impulse! Records. I've owned it on CD (Impulse! Records GRD-155) for years, but I bought a vinyl copy (Impulse! Records GR-155) a few years ago. ... Ryan Smith at Sterling Sound mastered A Love Supreme from original analog tapes for the new pressing, and he gives the recording more space and realism than I hear in the other versions I own. Instruments are lifelike and more clearly presented. Even Garrison's double bass, which could have been more forward in the original recording, has more impact and body. Jones's cymbals have more shimmer, each drum sounds out forcefully, and it's easier to hear the unique tones of each drum. McCoy Tyner's piano chords are harmonically richer and more dynamic. The new LP has a much deeper and wider soundstage and gives me a better sense that the music was performed in a three-dimensional space. ... On the CD and my other vinyl pressings, the music seems to stop at the speakers, while on this reissue it has more room to spread out and show itself. During Elvin Jones's solo drum feature on the opening of "Part III — Pursuance," the drums sound larger and echo more clearly into the left channel than on the CD and the other LPs I own. Cymbals splash with more excitement, and when Coltrane enters with the rest of the quartet, his sax has more fire and edge. ... For a reasonable price, you can pick up this great-sounding version of A Love Supreme by Acoustic Sounds and be assured that you are closer to hearing what occurred in the studio during the recording of this seminal jazz album." — Music = 5/5; Sound = 4/5; Overall Enjoyment = 4.5/5 — Recording of the Month December 2020, Joseph Taylor, soundstagenetwork.com. Read Taylor's entire review here. "Anyone who tells you the original pressing bests this new one simply has not heard either! ... The original is just not very good at all. Quite the opposite for Ryan Smith's cut. Tyner's piano in particular is spectacularly well-served sitting clearly and convincingly in three-dimensions between the speakers. You could say Coltrane's sax is slightly thinner than you might want but that would be system-dependent and as far as I'm concerned the cut is another out of the park home run set against black backgrounds." Music = 11/11; Sound = 10/11 - Michael Fremer, AnalogPlanet.com. Read Fremer's entire review here. The original master tape is available but it's not in the best shape. This LP was cut from a flat tape copy made by Rudy Van Gelder and used for cutting in the UK in April of 1965. Of course, the original recording was in December '64, so only a handful of months later. This tape was discovered at Abbey Road and had been untouched between 1965 and 2002. So while the original tape is available and while we would always opt for the original whenever we can, in this case this copy was the better choice as the tape has incurred less overall wear and sounds much better than the original. Seeking to offer definitive audiophile grade versions of some of the most historic and best jazz records ever recorded, Verve Label Group and Universal Music Enterprises' new audiophile Acoustic Sounds vinyl reissue series utilizes the skills of top mastering engineers and the unsurpassed production craft of Quality Record Pressings. All titles are mastered from the original analog tapes, pressed on 180-gram vinyl and packaged by Stoughton Printing Co. in high-quality gatefold sleeves with tip-on jackets. The releases are supervised by Chad Kassem, CEO of Acoustic Sounds, the world's largest source for audiophile recordings. John Coltrane's immortal Impulse! records, A Love Supreme (1964) and Ballads (1963) both have drawn rave reviews since their original release. In fact, jazz critics have lauded A Love Supreme as Coltrane's most important recording. The rave reviews which appeared in the magazines Downbeat, Jazz Hot, Jazz Podium and Swingjournal reflected this: critics all over the world, in America, Europe and Japan recognized that Coltrane's deep religious belief had influenced both his approach to life and his music-making. A Love Supreme was his pinnacle studio outing that at once compiled all of his innovations from his past, spoke of his current deep spirituality, and also gave a glimpse into the next two and a half years (sadly, those would be his last). Recorded at the end of 1964, Trane's classic quartet of Elvin Jones, McCoy Tyner, and Jimmy Garrison stepped in and created one of the most thought-provoking albums of their relationship. The album not only enabled Coltrane to express himself with great intensity but also lent him the necessary inner peace to conceive a work of almost 40 minutes in length and to lead his quartet along the same path as himself.
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Bill Evans – Trio ’64
44,00 €Add to cartThere's scarcely a more towering figure in modern jazz — save Miles and Coltrane — than the great Bill Evans. His relaxed and emotional style at the piano would prove influential to not only his peers but to generations of pianists who would follow him. It also doesn't hurt, points out thejazzrecord.com, that he appeared on (and had great influence over the direction of) Kind Of Blue and that the two LPs from his trio's landmark stint at the Village Vanguard in 1961 (Waltz For Debby and Sunday At The Village Vanguard) are both stone-cold classics. The excellent Trio 64 marked Evans' first trio album after a move to Verve from his previous home at Riverside Records. While the work Evans' did with his first trio featuring Scott LaFaro and Paul Motian (particularly the Village Vanguard recordings) remains by far his most popular and lauded work, even after LaFaro's tragic death in 1961 he continued to improve upon and refine his particular brand of soulful and introspective playing. Trio 64 marked a reunion with Motian and Evans' only recorded work with the talented bassist Gary Peacock. The album matches up with Evans' finest trio sessions, with his shimmering piano lines dancing between Peacock's sharp bass lines and Motian's usual sublime work on the drums. Peacock was a perfect match for Evans, he was a kindred spirit when it came to not simply following the musical trends of the day, as evidenced by his time spent with the likes of Albert Ayler and Paul Bley a few years after the recording of Trio 64. The song selection shows how Evans was able to take even the most rote pop songs of the day and transform them into unabashed works of modern jazz. Is there another pianist of the era who would attempt a take on "Santa Claus Is Coming To Town" (the album was recorded December 18th, so why not throw in a Christmas tune) or "Little Lulu" (the theme from a 1940s cartoon of the same name) and so successfully have them come off as if they were jazz standards all along? Even more impressive is that this was the first time that Evans had played with Peacock, and yet there is no sense of hesitation in either musician's interaction with each other, it sounds like they've been playing together for years.
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Art Pepper – +11
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. Kicking off the series is Art Pepper's +Eleven: Modern Jazz Classics. Throughout the 1950s, '60s and '70s, Lester Koenig's artist-friendly Los Angeles-based audiophile jazz label documented career-defining performances by some of modern jazz's most influential and accomplished improvisers, including Ornette Coleman, Sonny Rollins, Harold Land and Benny Golson. No musician is more closely identified with Contemporary than Pepper, whose cool tone and simmering lyricism made him one of the very few mid-century alto saxophonists to forge a path independent of bebop patriarch Charlie Parker's pervasive influence. Produced by Koenig and recorded in 1959, Art Pepper +Eleven: Modern Jazz Classics is one of the saxophonist's masterpieces. Featuring brilliant arrangements by Marty Paich, the album elaborates on the lush but lithe sound introduced by the epochal Birth of the Cool sessions, which Miles Davis started to record almost exactly a decade earlier (like Birth, +Eleven kick offs with Denzil Best's "Move"). Surrounded by the cream of the LA scene, including fellow saxophone masters Herb Geller, Bill Perkins and Med Flory, Pepper brings all his scorching lyricism to a program of modern jazz standards by Horace Silver, Thelonious Monk, Gerry Mulligan and Sonny Rollins.
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Bill Evans – Trio ’65
44,00 €Add to cartThere's scarcely a more towering figure in modern jazz — save Miles and Coltrane — than the great Bill Evans. His relaxed and emotional style at the piano would prove influential to not only his peers but to generations of pianists who would follow him. It also doesn't hurt, points out thejazzrecord.com, that he appeared on (and had great influence over the direction of) Kind Of Blue and that the two LPs from his trio's landmark stint at the Village Vanguard in 1961 (Waltz For Debby and Sunday At The Village Vanguard) are both stone-cold classics. Evans is joined here by none other than bassist Chuck Israels and drummer Larry Bunker for this 1965 recording. The album includes the heart-wrenching "Who Can I Turn To?" alongside "If You Could See Me Now" and Johnny Carisi's "Israel." "Although all eight of the selections heard on this Verve release have been recorded on other occasions by pianist Bill Evans, these renditions hold their own," writes AllMusic. Musicians: Bill Evans, piano Chuck Israels, bass Larry Bunker, drums
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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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Ernest Ansermet – The Royal Ballet Gala Performances (2 LP + Book)
108,00 €Show item"Analogue Productions' Classic Records buyout brought with it metal parts for many albums, cut by Bernie Grundman, including for this record. ... AP chose to produce a new stamper using the "mother" cut from the original master tape by Bernie Grundman. ... I compared this 33 1/3 reissue to the Classic 33 1/3 reissue and to an original pressing that I'm lucky to own. ... The QRP pressing was definitely more open, extended and focused on top and transients were sharper though in a completely natural way. The Classic sounded somewhat softer and veiled. If you've got both, you'll hear it in the percussive transients first and then consistently throughout. ... If this is one of your "go to" sonic spectaculars and you have other versions, you ought to consider adding this one, though you'll have to wait for the re-re-press. Both the sound, including dead quiet vinyl, as well as the packaging are first-rate." — Music = 11/11; Sound = 11/11 - Michael Fremer, AnalogPlanet.com. To read Fremer's full review, click here. In the hearts of thousands, No. 1 on the Top RCA list. While the bulk of Ansermet's recordings were made with L'Orchestre de la Susise Romande, there were a few with the Paris Conservatoire Orchestra and the very occasional foray into recordings with London orchestras, one of these being with the Orchestra of the Royal Opera House, Covent Garden, in 1959. Analogue Productions is proud and excited to be bringing back such a classic. Not just for the music, which is superb, but also for the detailed packaging, which in this case takes the form of a 22-page lavishly illustrated book that's integrated into the tip-on gatefold jacket. If you're new to ballet, this pictorial history will introduce you to some of its most famous productions — old favorites such as The Nutcracker, Swan Lake and The Sleeping Beauty, for example — but also less familiar tales such as Carnaval, Les Sylphides and Coppélia. You'll also make the aquaintance of famous ballerinas of the Royal company, such as Margot Fonteyn, Nadia Nerina and Beryl Grey. as well as choreographers such as Jules Perrot and male dancers Alexis Rassine and Michael Somes. Musically you can't get better than the 180-gram dead-silent platters pressed by Quality Record Pressings, makers of the world's finest-sounding LPs. Of course the best vinyl reflects the best mastering, and that's accomplished here by Bernie Grundman working from the original analog tape. Stoughton Printing expertly handled the intricate gatefold tip-on package. Audiophilia Online Magazine wrote: "This is the stuff of which dreams are made. The Royal Ballet Gala is one of the finest RCAs recorded in London's Kingsway Hall. The chunks of great ballet music are well served by orchestra, conductor and engineer. Performances are executed to a very high standard - the Royal Opera House Orchestra, both then and now, rank as one of the finest of opera orchestras. "Conductor Ansermet keeps the pace moving, giving the listener the impression of a dance event rather than a dramatic concert hall reading. With the exception of some of the Tchaikovsky scenes, the music is light and remains so under Ansermet's gentle touch. Each ballet is given full attention by the players, something not always attained at Covent Garden during long ballet nights! The threat of eternity does have it's merits. The recorded sound is simply amazing! Lustrous is one word that comes to mind, accurate is another. "Tonally, Messrs. Williamson and Wilkinson have used their considerable talents to capture the orchestra superbly. Woodwind and strings glow and resonate, transporting this listener to a time when simpler recording was better. Brass ring out thrillingly and percussion effects are very musical. Be it a bang, swish, rattle, crack or snap, each percussionist is situated perfectly within the beautiful Kingsway soundstage. Even the difficult-to-record sound of the celeste is captured in it's purely mechanical form. It's delicate sound is heard to great effect during the Nutcracker - originating stage left, the sound decays across the stage of Kingsway with sparkling beauty. Wonderful."
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Pharoah Sanders – Karma
44,00 €Show itemVerve and Universal Music Enterprises are continuing their analogue-only reissue series this year. The 2022 calendar for Acoustic Sounds includes refreshed releases from a lineup of jazz greats. This year's forthcoming releases include: Ella Fitzgerald & Louis Armstrong's Ella & Louis, Duke Ellington & Coleman Hawkins' Duke Ellington Meets Coleman Hawkins, and Pharoah Sanders' Karma. The Acoustic Sounds series was introduced in 2020 and releases LPs stereo remastered from original analog tape recordings and pressed on 180-gram vinyl at Quality Record Pressings. Released in May of 1969, Karma was the famed tenor saxophonist's third Impulse! Records album and is now seen as a milestone of the Spiritual Jazz movement. A natural progression in the sonic exploration that Sanders, along with John Coltrane and Alice Coltrane, had spearheaded throughout the previous five years, the album features two tracks, the 32-minute-long "The Creator Has A Master Plan," and "Colors." Filling the entire A-Side of the LP, "Creator," co-composed by Sanders with vocalist Leon Thomas, is as close as Spiritual Jazz comes to having its own anthem. Meanwhile, the lone B-side track, "Colors," is no less transfixing. This reissue honors the late jazz legend who passed away in September at the age of 81 and concludes the series for 2022. The nearly two dozen releases from the series to date feature many of the timeless, classic albums from the Verve Label Group's stable of labels including Decca, EmArcy, Impulse! Records, Philips Records and Verve.
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Ella Fitzgerald and Louis Armstrong – Ella & Louis
44,00 €Show item"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.