180 Gram Vinyl Record
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Bill Evans Trio – At Shelly’s Manne-Hole
77,00 €Show itemBill Evans — At Shelly's Mann-Hole Individual title from The Bill Evans Riverside Recordings Box Set 180-gram 45 RPM double LP Mastered by Kevin Gray & Steve Hoffman at AcousTech Mastering AAA analog from original master tapes Praise for our Riverside Recordings LP Box Set from Analogue Productions "These are, for the most part, extraordinary-sounding recordings, better than any you're likely to find. If you love the music, you should consider the purchase." — Fred Kaplan, Stereophile, Nov. 1, 2017 "Bill Evans' recordings almost always received good to excellent sound, and the Analogue Productions reissues are no exception. ... The 45 rpm reissues are more musical and transparent; instruments have greater three-dimensionality and frequency extremes, especially lower octaves, exhibit greater resolution and impact. Get them before they're sold out!" Myles Astor, Positive-Feedback Online, Issue 34 Of everything Analogue Productions has reissued, few titles have sparked the accolades accorded our 45 RPM versions of Bill Evans titles from his Riverside catalog. Now, we're breaking the titles out from that terrific set for individual sale. These are the audiophile jazz fan's definitive releases for your collection!For jazz collectors, At Shelly's Manne-Hole isn't just another Bill Evans record — it's a landmark. This was Evans' final album for Riverside, the label that first brought his genius to light, and his last chapter in one of the most creative partnerships in modern jazz recording.Captured live at drummer Shelly Manne's famous Hollywood club in 1963, the album finds Evans in rare form — intimate, reflective, yet full of quiet fire. It's only the second time Riverside ever caught him in a live setting (the first being the legendary Village Vanguard sessions), and it documents a fleeting but brilliant trio: Evans with bassist Chuck Israels and drummer Larry Bunker.The sound is wonderfully alive — you can feel the room, the energy, the warmth of an audience hanging on every note. For collectors, this is the bridge between Evans' early introspection and the confident, searching tone of his later work.Musicians:Bill Evans, pianoChuck Israels, bassLarry Bunker, drums -
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Bill Evans Trio – Everybody Digs Bill Evans
77,00 €Add to cartBill Evans — Everybody Digs Bill Evans Individual title from The Bill Evans Riverside Recordings Box Set 180-gram 45 RPM double LP Mastered by Kevin Gray & Steve Hoffman at AcousTech Mastering AAA analog from original master tapes Praise for our Riverside Recordings LP Box Set from Analogue Productions "These are, for the most part, extraordinary-sounding recordings, better than any you're likely to find. If you love the music, you should consider the purchase." — Fred Kaplan, Stereophile, Nov. 1, 2017 "Bill Evans' recordings almost always received good to excellent sound, and the Analogue Productions reissues are no exception. ... The 45 rpm reissues are more musical and transparent; instruments have greater three-dimensionality and frequency extremes, especially lower octaves, exhibit greater resolution and impact. Get them before they're sold out!" Myles Astor, Positive-Feedback Online, Issue 34 Of everything Analogue Productions has reissued, few titles have sparked the accolades accorded our 45 RPM versions of Bill Evans titles from his Riverside catalog. Now, we're breaking the titles out from that terrific set for individual sale. These are the audiophile jazz fan's definitive releases for your collection!The legend of Bill Evans really begins with this album, his second. The pianist had just spent most of 1958 as part of one of the major units in jazz history: The Miles Davis Sextet that also featured John Coltrane and Cannonball Adderley. His fellow musicians already knew his worth (the album title was almost literally accurate, and the four endorsements on the cover, which embarrassed Bill, could easily have been greatly multiplied). With this record, the jazz public began to follow their lead.Here, joined by bassist Sam Jones and drummer Philly Joe Jones, Evans delivers some of his most fluid, swinging trio performances — elegant, lyrical, and rhythmically alive. Yet it's the solo improvisation "Peace Piece" that forever marked his arrival. Built on two hypnotic chords, it unfolds with a quiet intensity that feels both spontaneous and transcendent — a glimpse into the meditative, deeply personal world Evans would explore for the rest of his career.For collectors, Everybody Digs Bill Evans captures that pivotal moment when a brilliant accompanist became an icon in his own right. It's the bridge between promise and legend, a record that doesn't just showcase Evans' genius — it invites you into it.Musicians: Bill Evans, piano Sam Jones, bass Philly Joe Jones, drums -
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Sarah Vaughan – Crazy and Mixed Up
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 The Penguin Guide to Jazz Recordings considers Crazy and Mixed Up to be possibly Sarah Vaughan's best album for the Pablo label. Vaughan was nominated for the Grammy Award for Best Jazz Vocal Performance, Female at the 26th Annual Grammy Awards for her performance. This release is an essential addition to any serious jazz collection, captivating audiophiles and music lovers alike. This album blends her impeccable phrasing with inventive, boundary-pushing jazz arrangements, making it a must-have for those who appreciate vocal jazz that transcends the genre. Vaughan's impeccable sense of timing and emotional depth, paired with the intricate instrumental backing, elevate these tracks into an extraordinary listening experience. 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 6 – Kansas City
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 With Count Basie, Cleanhead Vinson, and Willie Cook all gone, there is cause for gratitude that Norman Granz thought in 1981 to bring them together with a great rhythm section. The result was one of the happiest of Basie's celebrated "Kansas City" sessions for Pablo. Cook and Vinson, marvelous soloists who deserved wider fame, were both great bebop players able to tailor their work to Basie's more elemental requirements without condescending or losing anything essential. Additionally, as he demonstrates to a fare-thee-well on "Wee Baby," Vinson was a terrific blues shouter. In his small groups, Basie the pianist was on more prominent display than in the big band, and there are plenty of reminders here that his keyboard talent encompassed much more than wryness and subtlety. 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 handsome Stoughton Printing tip-on jacket. Musicians: Count Basie, piano Niels-Henning Ørsted Pedersen, double bass Louis Bellson, drums Joe Pass, guitar Eddie Vinson, saxophone Willie Cook, trumpet
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Count Basie & Oscar Peterson – ‘Satch’ and ‘Josh’
54,00 €Add to cart180-gram vinyl Mastered by Matthew Lutthans at The Mastering Lab from the original analog tape Pressed at Quality Record Pressings Housed in Stoughton Printing tip-on jacket A beautiful pairing of two legendary pianists — Count Basie and Oscar Peterson — heard late in Basie's career, in a setting that lets both of them open up nicely! Basie also plays a bit of organ. Freddie Green, Basie's longtime guitarist in his band — he stayed 50 years with Basie — cannot be missed on this recording. 10 track stereo LP. 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 sounds exceptional! Housed in a gatefold Stoughton Printing tip-on jacket. Musicians: Count Basie, piano Oscar Peterson, piano Freddie Green, guitar Ray Brown, double bass Louie Bellson, drums
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Miles Davis – Kind of Blue (Corrected Speed)
82,00 €Add to cart180-gram double LP 33 1/3 edition (Side 4 will be 45 RPM) Side 1 Speed Corrected for recording adjustment Pressed at Quality Record Pressings using Classic Records parts that were mastered by Bernie Grundman from the original master tape Includes 4-panel insert with corrected speed information and liner notes by Robert Palmer Stoughton Printing Old Style tip-on gatefold heavyweight jacket with scuff-resistant matte finish Standard black vinyl pressing Also available as a limited edition blue vinyl pressing A minor audio complication with Kind of Blue has been addressed with our UHQR edition, and now with this 331/3 RPM double LP reissue. The motor on the studio's 3-track master recorder was running slowly the day of the album's first session. This speed issue affected the album's first three tracks, "So What," "Freddie Freeloader" and "Blue in Green," making them a barely perceptible quarter-tone sharp. Before now, it was only addressed in 1995 for the Classic Records edition and by Columbia Records — or their latter-day parent, Sony Music — on a CD reissue in the late '90s. This edition also contains on Side 4 "Flamenco Sketches (alternate take)" cut at 45 RPM. Legends have a way of sticking around. If there was ever an album awaiting a high-fidelity, custom-pressed vinyl treatment of the level you now hold in your hands, it is Miles Davis' Kind of Blue. The top-selling jazz album of all time, it has been lauded, entered into "Best Of" lists and Halls of Fame, and universally acknowledged as a landmark recording - a five-track masterpiece of melancholy mood and melody. It continues to be one of the most listened-to and studied recordings of all time, a required primer for many young musicians, and one of the most transcendent pieces of music ever recorded. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley with Wynton Kelly playing piano on "Freddy the Freeloader." Kind of Blue is more than Miles Davis's most enduring recording, it's a testament to Miles' experimental approach, drastically simplifying modern jazz by returning to melody unlike the chord complexity more often heard at the time. "The music has gotten thick," Davis complained in a 1958 interview for The Jazz Review. "... There will be fewer chords but infinite possibilities as to what to do with them." Kind of Blue is, in a sense, all melody — and atmosphere. None of the musicians had played any of the tunes before heading into the first of two recording sessions in early spring of 1959. In fact Miles had written out the settings for most of them only a few hours before the session. Miles also stuck to his old recording procedure of having virtually no rehearsal and only one take for each tune. Miles remained proud of the album, performing at least two of its tracks — "So What" and "All Blues" — for years after, until his musical path took him in a different direction. History was on the side of Kind of Blue; it was born in 1959, at the peak of the golden age of high-fidelity, featuring innovations in studio equipment (magnetic tape, high-quality condenser microphones), matched by advancements in home audio reproduction (long-player records — LPs; high-end turntables, and other stereo components). Kind of Blue also benefited from Miles' being signed to the leading major record company of the day — Columbia Records, a part of the CBS media conglomerate. Columbia had the means and wisdom to invest in cutting edge recording technology, and their own professional recording studio. This LP bridges the time span since the album's original recording in the best way possible, struck from the master reel of Kind of Blue, free of speed issues and replete with all the instrumental detail, sonic environment and minimal noise. All-in-all this edition of Kind of Blue meets the highest audiophile standards and offers the truest sound for the most enjoyment
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Foreigner – Head Games
77,00 €Add to cartAnalogue Productions (Atlantic 75 Series) Celebrating the 75th Anniversary of Atlantic Records! Platinum-selling third album Featuring the smash title track, plus "Dirty White Boy," and "Women" 180-gram 45 RPM double LP Pressed at Quality Record Pressings Tip-on old style gatefold double pocket jacket by Stoughton Printing Foreigner's platinum-selling winning streak continued on Head Games, the band's third album. Tailor-made for the airwaves, songs such as "Dirty White Boy" and "Head Games" kept Foreigner at the top of the arena rock heap as the decade came to a close; and the supergroup's successes would continue well into the '80s. In August 1979, the release of the album was preceded by its first single, the hard rock "Dirty White Boy, which peaked at No. 12 on the Billboard Hot 100 chart. The album itself continued Foreigner's popularity, climbing to No. 5 on the Billboard 200 chart and receiving a platinum certification four months after it hit the stores. By now, Head Games has gained a 5× Platinum status for selling at least 5 million copies in the United States. The next singles were the title track and "Women," which reached No. 14 and 41, respectively. Head Games continued in the vein of Foreigner's previous successful albums, maintaining a consistent quality of music that fans had come to expect. We expect this definitive deluxe 180-gram 45 RPM 2LP Analogue Productions (Atlantic Series) reissue of Head Games to find a prominent place in your most-listened-to album rotation.
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Ray Charles – The Genius Sings The Blues (Mono)
77,00 €Add to cartRay Charles — The Genius Sings The Blues (Mono) Analogue Productions (Atlantic 75 Series) Celebrating the 75th Anniversary of Atlantic Records! A classic of the soul and R&B canon! Timeless American music includes 12 must-have songs from Charles' peak era 180-gram 45 RPM double LP Mastered by Bernie Grundman from the original analog master tape Pressed at Quality Record Pressings Tip-on old style gatefold double pocket jacket by Stoughton Printing Genius doesn't even begin to describe the greatness of 1961 collection The Genius Sings the Blues. Comprised of a dozen songs Ray Charles made between 1952 and 1960, the collection was released in 1961 by Atlantic Records to counter the singer's migration to rival ABC Paramount. What Atlantic originally underestimated is that the album contained many of Charles' greatest works, all unified by their bluesy emotions and stirring arrangements. A classic of the soul and R&B canon, The Genius Sings the Blues is a snapshot of the evolution of timeless American music captured by the pianist's indelible rhythmic pace, gospel roots, jazz backgrounds, and Southern-styled accents. The cover tunes here — "Early In The Mornin'," "The Midnight Hour," "I'm Movin' On," "Feelin' Sad," "The Right Time" — are wonderful. But it's Charles' own, self-penned blues that steal the spotlight: "Ray's Blues," "I Believe To My Soul," "Nobody Cares," "Mr. Charles' Blues," "Some Day Baby," and "I Wonder Who." The Genius Sings the Blues is a must-have for any Ray Charles fan, offering a raw and electrifying showcase of Charles' ability to convey pain and joy simultaneously. His legendary piano playing is front and center, with bluesy riffs and rolling chords that define Ray's unique style. With a rich backing band, including soulful horns and grooving rhythms, the album delivers an authentic and deeply felt blues experience. It's a testament to the soul of a true musical pioneer. All the hallmarks of a top-notch Analogue Productions (Atlantic 75 Series) reissue are here for you to savor: Mastered directly from the original mono master tape by Bernie Grundman and cut at 45 RPM. Pressed on 180-gram 2LP at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.
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Cannonball Adderley With Bill Evans – Know What I Mean?
77,00 €Add to cartCannonball Adderley w/ Bill Evans — Know What I Mean? Individual title from The Bill Evans Riverside Recordings Box Set 180-gram 45 RPM double LP pressed at RTI Mastered by Kevin Gray & Steve Hoffman at AcousTech Mastering AAA analog from original master tapes Praise for our Riverside Recordings LP Box Set from Analogue Productions "These are, for the most part, extraordinary-sounding recordings, better than any you're likely to find. If you love the music, you should consider the purchase." — Fred Kaplan, Stereophile, Nov. 1, 2017 "Bill Evans' recordings almost always received good to excellent sound, and the Analogue Productions reissues are no exception. ... The 45 rpm reissues are more musical and transparent; instruments have greater three-dimensionality and frequency extremes, especially lower octaves, exhibit greater resolution and impact. Get them before they're sold out!" Myles Astor, Positive-Feedback Online, Issue 34 Of everything Analogue Productions has reissued, few titles have sparked the accolades accorded our 45 RPM versions of Bill Evans titles from his Riverside catalog. Now, we're breaking the titles out from that terrific set for individual sale. These are the audiophile jazz fan's definitive releases for your collection!In a remarkable display of their musical range and sensitivity, the buoyant alto sax of Cannonball Adderley and introspective piano of Bill Evans move effortlessly toward a middle ground here that shows both to great advantage. Recorded in 1961, the sound quality of these master tapes is breathtaking: a real audiophile dream disc! Featuring Percy Heath on bass and Connie Kay on drums. Originally released in 1961.Musicians:Cannonball Adderley, saxophone (alto) Bill Evans, piano Percy Heath, bass Connie Kay, drums -
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Bill Evans – New Jazz Conceptions (Mono)
77,00 €Add to cartBill Evans — New Jazz Conceptions (Mono) Individual title from The Bill Evans Riverside Recordings Box Set 180-gram 45 RPM double LP pressed at RTI Mastered by Kevin Gray & Steve Hoffman at AcousTech Mastering AAA analog from original master tapes Praise for our Riverside Recordings LP Box Set from Analogue Productions "These are, for the most part, extraordinary-sounding recordings, better than any you're likely to find. If you love the music, you should consider the purchase." — Fred Kaplan, Stereophile, Nov. 1, 2017 Of everything Analogue Productions has reissued, few titles have sparked the accolades accorded our 45 RPM versions of Bill Evans titles from his Riverside catalog. Now, we're breaking the titles out from that terrific set for individual sale. These are the audiophile jazz fan's definitive releases for your collection! In September 1956, a 27-year-old pianist named Bill Evans quietly recorded New Jazz Conceptions — his debut album, and a bold opening statement from a musician still flying under the radar. At the time, Evans wasn't yet the name whispered with reverence in every jazz circle; Miles Davis hadn't called him up yet, and most listeners had no idea what was coming. But listening now, you can hear the spark of genius that would soon reshape modern jazz piano. Here, Evans' introspective touch, harmonic daring, and rhythmic sensitivity were already fully formed. Whether in his intricate trio interplay or the luminous solo passages, there's an unmistakable sense of discovery — of an artist thinking and feeling at the keyboard in real time. It's the kind of music, both cerebral and deeply human, that never loses its emotional pull. For collectors, New Jazz Conceptions isn't just Evans' first step — it's the blueprint for everything that followed. You can trace the DNA of later masterpieces, the sound that inspired Herbie Hancock, Chick Corea, Keith Jarrett, and generations beyond. This is Bill Evans before the legend-still refining, still exploring — but already unmistakably himself. Musicians: Bill Evans, piano Teddy Kotick, bass Paul Motian, drums
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Illinois Jacquet – Swing’s The Thing (Mono Version)
44,00 €Add to cartIllnois Jacquet — Swing's The Thing (Mono Version) Acoustic Sounds Series reissues from Verve/Universal Music Enterprises! Monthly releases highlighting the world's most historic and best jazz records! Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape 180-gram LPs pressed at Quality Record Pressings! Stoughton Printing gatefold old-style tip-on jackets Series supervised by Chad Kassem CEO of Acoustic Sounds Originally recorded for the Clef label in 1956, Swing's The Thing features the tenor great in a stellar sextet with Roy Eldridge (trumpet), Jimmy Jones (piano), Herb Ellis (guitar), Ray Brown (bass) and Jo Jones (drums). While Jacquet's sessions as a leader may have been infrequent during this time, this session hits a magical mark with the 6-song set being highlighted by the tracks "Las Vegas Blues," "Harlem Nocturne," and "Achtung." Verve's Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.
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Coleman Hawkins – Coleman Hawkins and Confreres
44,00 €Add to cartColeman Hawkins — Coleman Hawkins and Confreres Acoustic Sounds Series reissues from Verve/Universal Music Enterprises! Monthly releases highlighting the world's most historic and best jazz records! Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape 180-gram LPs pressed at Quality Record Pressings! Stoughton Printing gatefold old-style tip-on jackets Series supervised by Chad Kassem CEO of Acoustic Sounds 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. Ben Webster had long before passed through the ranks of imitator, then pupil and finally master. His "college attendance," as one might put it, in the Duke Ellington Orchestra gave him a sureness of expression in his great showpieces and he also learned to hold his own against such musical giants as Paul Gonsalves and Jimmy Hamilton. "Hawk" was able to thoroughly enjoy his fame in numerous Jazz At The Philharmonic concerts given all over the world, where, of course, he had to assert himself against many other saxophone players. Two such JATP ensembles are to be found on the Confrères LP. The relaxed atmosphere is particularly noticeable in the title "Sunday" in which Roy Eldridge comes into the limelight with a brilliant solo. And just listen to George Buvivier's marvelous bass playing (in "Nabab!") where he certainly has no reason to hide in the shadow thrown by Ray Brown. Coleman Hawkins' voluminous, supple sound which had a great influence on the styles of musicians ranging from Dexter Gordon and Sonny Rollins up to Joe Lovano, is best heard after Roy's solo in "Honey Flower."
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Muddy Waters – The Best Of Muddy Waters
42,00 €Add to cartMuddy Waters — The Best Of Muddy Waters (Mono) Chess Records 75 Series from Chess Records and Acoustic Sounds! Inspired by the record label that pioneered electrifying Chicago blues, rock 'n' roll, stirring soul, and R&B! All-analog mastering by Matthew Lutthans at The Mastering Lab at Blue Heaven Studios! 180-gram vinyl pressed at Quality Record Pressings Audiophile vinyl reissue series launches with two blues classics by Muddy Waters and Howlin' Wolf Muddy Waters' The Best of Muddy Waters is a powerful collection of blues songs that include essential tracks such as "Hoochie Coochie Man," and "Rollin' Stone." If the blues had a Mount Rushmore, Muddy Waters' face would be carved front and center, cigar in hand, guitar slung low, smirk that says "You're about to feel this in your bones." If there's one record that cemented Waters' legend (and made Chess Records the powerhouse that rewrote American music), it's The Best of Muddy Waters. Originally released in 1958, this was Chess Records' very first LP — a bold move in an era when blues records were singles-driven. Leonard and Phil Chess weren't just pressing vinyl; they were pressing the future. The album gathered 12 scorching sides recorded between 1948 and 1954, each one a blueprint for modern electric blues and a direct ancestor of rock 'n' roll. Why It Matters • For Muddy Waters: This album wasn't just a compilation — it was his coronation. Tracks such as "I Just Want to Make Love to You" and "I'm Ready" showcase Muddy's swagger: raw, electric, and dangerous enough to make polite society clutch their pearls. • For Chess Records: This LP marked the label's leap into the long-playing format, proving blues could stand shoulder-to-shoulder with jazz and pop on the hi-fi shelf. Spoiler: It sounded better there, too. • For Music History: Every guitar riff that ever strutted out of a Marshall stack owes a drink to this record. Rolling Stones? Led Zeppelin? Eric Clapton? They didn't just love Muddy — they worshipped him. Tracks That Slap (and Groove) • "Hoochie Coochie Man" — Willie Dixon's swaggering masterpiece that gave Muddy the myth-making juice. • "Rollin' Stone" — The slow burn that not only inspired a British band's name but practically birthed a movement. The Best of Muddy Waters isn't just a greatest-hits record, it's a cultural document. A snapshot of when the Delta plugged in, Chicago turned the volume up, and American music changed forever. Own this and you're holding history that still swings like a wrecking ball. Each release in the Chess Records 75 Series is remastered from the original analog tapes by Matt Lutthans at The Mastering Lab, pressed on 180-gram vinyl at Quality Record Pressings (QRP) and housed in archival quality tip-on gatefold jackets, offering both audiophiles and collectors a premium listening experience.
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Pink Anderson – Carolina Blues Man
42,00 €Add to cartPink Anderson — Carolina Blues Man The Bluesville Series from Craft Recordings and Acoustic Sounds! Inspired by the original Prestige label imprint established in 1959 All-analog mastering by Matthew Lutthans at The Mastering Lab at Blue Heaven Studios! 180-gram vinyl pressed at Quality Record Pressings Highlighting trailblazing blues musicians from legendary labels Pink Anderson was never a big name on the blues circuit, yet he was perhaps the most polished and personal of all the rural bluesmen who recorded for Prestige's Bluesville subsidiary. He was seldom recorded during his long career which began around 1915 with his first of many associations with traveling medicine shows and ended with his death in 1973. He cut three fine albums for Bluesville during the early Sixties, this solo acoustic 1960 date being the first. Anderson, who had a strong influence on folk guitarists Roy Bookbinder and Paul Geremina, specialized in interpretations of blues standards, bringing to each a gentle, uniquely plaintive quality. Originally released in 1961 on Prestige's Bluesville imprint, this album features his blend of fingerpicking and strumming styles to create a unique take on blues standards such as "My Baby Left Me This Morning" and "Baby, Please Don't Go". This release has been pressed on 180-gram vinyl at QRP and newly (AAA) remastered from the original, while a replica tip-on jacket completes the package.
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Terry Callier – The New Folk Sound Of Terry Callier
42,00 €Add to cartTerry Callier — The New Folk Sound Of Terry Callier The Bluesville Series from Craft Recordings and Acoustic Sounds! Inspired by the original Prestige label imprint established in 1959 All-analog mastering by Matthew Lutthans at The Mastering Lab at Blue Heaven Studios! 180-gram vinyl pressed at Quality Record Pressings Highlighting trailblazing blues musicians from legendary labels The New Folk Sound Of Terry Callier released in 1968 on Prestige is exactly what its title suggests — a fresh take on American folk from the then-newcomer Callier. Drawing inspiration from jazz, blues, and soul, Callier re-interprets traditional folk standards bringing a uniquely African American perspective to classics like "Cotton Eyed Joe" and "900 Miles." Pressed on 180-gram vinyl at QRP and newly (AAA) remastered from the original tapes, while a replica tip-on jacket completes the package. The music is hauntingly beautiful, with Callier's warm crooning supported sparsely with bass from Attenborough and Tweedle. The original 1968 release is a mono record collector holy grail, but for everyone else, we recommend this new Bluesville Records reissue that sounds terrific! AllMusic calls it Callier's "most timeless and inviting" release."
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John Coltrane Quartet – The John Coltrane Quartet Plays
44,00 €Add to cartJohn Coltrane Quartet — The John Coltrane Quartet Plays Acoustic Sounds Series reissues from Verve/Universal Music Enterprises! Monthly releases highlighting the world's most historic and best jazz records! All-analog mastering by Matthew Lutthans at The Mastering Lab 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 The John Coltrane Quartet Plays is great music from a great musician. On that basis alone, adding this sublime 1965 classic from Impulse! to a well-rounded jazz music collection is an easy choice. This isn't just another album; it's a testament to Coltrane's innovative spirit and a showcase of the classic quartet's electrifying chemistry. Featuring the incomparable McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums, this is a group renowned for its dynamic interaction and sensitive playing. Released shortly after the landmark A Love Supreme, what changed here was Coltrane's intentions. "Chim Chim Cheree" is full of foreboding. The fury with which he improvises (on soprano sax) on this track is an example of how all through this recording the intensity has been turned up a notch. Prepare to be surprised and delighted by Coltrane's unique interpretation of the standard "Nature Boy" (featuring Art Davis on a second bass for an extra layer of sonic depth!) alongside his powerful originals such as "Brazilia" and "Song of Praise". You'll hear these familiar tunes in a way you've never imagined, filtered through Coltrane's genius and the quartet's boundless creativity. The quartet is locked in, pushing and pulling, creating a sonic landscape that's both powerful and intricate. Why you need this in your jazz collection: It's more than just notes. Coltrane's music goes beyond technical brilliance; it's infused with a deeply personal and searching spirit. This album offers a glimpse into the soul of an artist constantly striving for greater clarity of vision, making it not just great music, but a deeply moving experience. Our Acoustic Sounds Series reissue of The John Coltrane Quartet Plays takes this exceptional Coltrane hallmark and endows it with sparkle, sonic clarity and richness of sound that Acoustic Sounds is known for capturing. Featuring all-analog mastering by Matthew Lutthans at The Mastering Lab, together with premier pressing by Quality Record Pressings on a 180-gram virtually-silent playing surface, housed in a Stoughton Printing tip-on jacket, this is an essential listen for any jazz enthusiast. It's a journey of sound and emotion, delivered by one of the most influential groups in jazz history. Get ready to be swept away!