Analogue Productions (Prestige)
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Booker Ervin – The Song Book (Stereo)
58,00 €Add to cartOf Booker Ervin's nine Prestige albums, this one is special because it presents him exclusively in the contexts of standard songs. Ervin's aggressiveness, his ferocity, his incomparable Texas spaciousness of sound and style, are undiminished. But the compositions provide familiar guideposts by which to track his explorations, which were unfailingly full of adventure and daring. In his only recorded appearance with Ervin, pianist Tommy Flanagan balances the music with his customary elegance. On bass and drums are Ervin's frequent recording companions Richard Davis and Alan Dawson.
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Kenny Burrell – Bluesey Burrell (Stereo)
58,00 €Show itemThis session is a model of the emotionally intense ballad programs featured on Prestige's Moodsville subsidiary. The great Kenny Burrell receives a major assist from saxophone patriarch Coleman Hawkins (who is in exemplary early-Sixties form), Hawkins's rhythm section of the time (made up exclusively of natives of Burrell's hometown Detroit) and conga drummer Ray Barretto. The choice of material and variety of settings are inspired, with Burrell heard solo on "No More," over just bass and drums on "Guilty," in two different quintet settings and on three titles by the full sextet. Each soloist is fully engaged throughout, with things shifting into even higher gear when Burrell and Hawkins converse on "Montono Blues" and "I Thought About You." With Coleman Hawkins, Tommy Flanagan, Major Holley, Eddie Locke and Ray Barretto.
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Sonny Rollins – Saxophone Colossus (Mono)
58,00 €Show item"Since 2002, mastering facilities like those helmed by Kevin Gray have improved. Analogue Productions' 33RPM mastering produces an even larger soundstage with better depth. Add to that the fact that the new packaging is far superior to the 45RPM issue, and this one-disc package is Sonny Rollins nirvana. — 5/5 stars, Dennis Davis, vinylreviews.com. Read the whole review here. "Analogue Productions has continued to push its own already high bar higher still. Its Quality Record Pressings plant is delivering the best vinyl discs to be found, its jackets and cover reproduction quality have hit new levels, and it continues to have the best in the biz — such as Kevin Gray for this series (25 mono LPs from the Prestige label's exceptional late-50s run) cut lacquers from original analog master tapes. ... The sound on Saxophone Colossus is upfront and immediate. Rollin's tenor is appealingly fat and sweet-sounding, the piano and bass are as nimble as kittens' paws, and the drums have a great crispness and snap." — Wayne Garcia, The Absolute Sound, December 2015 One of the pivotal recordings in bringing about the widespread acceptance of Sonny Rollins as a major figure, Saxophone Colossus inspired critics to write scholarly analyses and fans to revel in the hard-swinging invention, humor, and tender-strength balladry. Up to this album, while most musicians recognized Rollins as one of the new influential forces in the jazz of the ’50s, most critics were carping at Rollins or damning him with faint praise. "St. Thomas," a traditional West Indian melody which Mal Waldron remembered as "The Carnival," was recorded by many artists after Sonny introduced it here, and it remains a jazz standard today. The contributions of Tommy Flanagan’s elegant swing, Doug Watkins’s steady lift, and Max Roach’s most musical accompaniment and soloing (hear "Blue 7") make this a landmark album.
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The Prestige All Stars – Tenor Conclave (Mono)
58,00 €Add to cartThis unusual meeting of four tenor saxophone players from different "schools" was part of the Prestige Friday afternoon jam session series but far from a typical outing. The giant forebears of Coleman Hawkins, Lester Young, and Charlie Parker inform the backgrounds of the performers on this LP — Hank Mobley, Al Cohn, Zoot Sims, and John Coltrane — and other influences such as Ben Webster, Dexter Gordon, and the Sonnys (Stitt and Rollins) show up, too, depending on which of the four protagonists you’re talking about. With the Red Garland Trio supplying the underpinning, the four tenors meet on the common ground of the blues ("Bob’s Boys"), "I Got Rhythm" ("Tenor Conclave"), and two old standards. (The originals are by Mobley.) Rather than the stylistic differences, what stands out here is the compatibility and spirit of the four meeting on this common ground in an uncommon session.
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Art Taylor – Taylor’s Wailers (Mono)
58,00 €Add to cartIn 1956 drummer Art Taylor formed a group called Taylor’s Wailers. Donald Byrd and Charlie Rouse were members of the working group that debuted at The Pad, a Greenwich Village nightclub on Sheridan Square booked by Bob Reisner, the man who had run the legendary Open Door Sessions. In 1957 Taylor recorded the Wailers for Prestige, adding the alto saxophone of Jackie McLean to the front line. Two of the highlights are the Thelonious Monk compositions, “Well, You Needn’t” and “Off Minor,” with arrangements by Thelonious himself. One track, “C.T.A.,” by Jimmy Heath, is from another session featuring John Coltrane backed by Red Garland, Paul Chambers, and Taylor, a potent Prestige studio combination in those days. There have been many distinguished drummer-leaders in jazz. One expects their groups to be rhythmically exciting. Taylor’s Wailers are no exception to this swinging heritage.
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Jackie McLean – 4, 5, and 6
58,00 €Add to cart"Analogue Productions' 200-gram mono LP reissues of Jackie McLean's first two Prestige albums prompts us to reevaluate this hard-swinging jazzman. ... The only way McLean's bright, biting sound was ever heard to better advantage was live." Sonics = 5/5; Music = 3.5/5 — Duck Baker, The Absolute Sound, April 2013 This LP for Prestige helped establish alto sax giant McLean on the jazz scene. He was joined by trumpeter Donald Byrd (who shines with the altoist on Charlie Parker’s “Confirmation”) and tenor saxophonist Hank Mobley (also bopping hard on the tune), in a date solidified by McLean’s rhythm section: Mal Waldron on piano, Doug Watkins on bass and Arthur Taylor on drums. McLean also plays ballads, including Waldron’s sublime tune “Abstraction.” Writing in the original notes, Ira Gitler said, ”Jackie McLean is musically coming of age. His playing, out of Charlie Parker and Sonny Rollins, has become a personalized, more individual voice in 1956 and he has not lost any of the basic emotion, swinging qualities that help his style live up to the second syllable of his last name so well.”
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Phil Woods and Donald Byrd – The Young Bloods (Mono)
58,00 €Add to cartFor this early hard bop date, altoist Phil Woods and trumpeter Donald Byrd were co-leaders. In fact, the music had at one point earlier on been released with Byrd getting first billing. Yet Woods, the spirited altoist, contributed four of the six tunes (including “House of Chan” and “In Walked George”) and consistently takes solo honors on the record. With pianist Al Haig (who did not record that extensively during this period), bassist Teddy Kotick and drummer Charlie Persip offering stimulating accompaniment, All Music Guide says “This is an easily recommended release (despite its brief LP length) for straight-ahead jazz collectors.”
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John Coltrane – Lush Life (Mono Version)
58,00 €Add to cart"Analogue Productions has continued to push its own already high bar higher still. Its Quality Record Pressings plant is delivering the best vinyl discs to be found, its jackets and cover reproduction quality have hit new levels, and it continues to have the best in the biz - such as Kevin Gray for this series (25 mono LPs from the Prestige label's exceptional late-'50s run) cut lacquers from original analog master tapes. ... Lush Life mixes ballads (like the beautifully read title track) with up-tempo tunes, and the sound here is sweet, airy and open, with an especially lovely capturing of Coltrane's tenor and the lively percussion." — Wayne Garcia, The Absolute Sound, December 2015 Here is one of the musical giants of the 20th century, poised on the precipice of greatness. Between the spring of 1957 and the winter of 1958, during which time Lush Life was recorded, the music of tenor saxophonist John Coltrane (1926-1967) was developing in giant steps, thanks in great part to a six-month 1957 stint with Thelonious Monk that had much to do with sharpening Coltrane’s harmonic conception and torrential attack. Lush Life contains Coltrane’s first recordings as sole leader, his initial date fronting a pianoless trio, and one of his first extended readings of a ballad, Billy Strayhorn’s resplendent title track. We also hear him at the helm of a quartet and quintet, featuring pianist Red Garland, with trumpeter Donald Byrd, bassist Paul Chambers and drummer Louis Hayes added to “Lush Life.” Coltrane handles the tune’s delicate complexities with infinite style and finesse. Coltrane and jazz would never be the same.
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Jackie McLean – Jackie’s Pal (Mono)
58,00 €Add to cartThe perennially underrated Bill Hardman (1932-90) was one of the unsung trumpet heroes of the modern era. His raw sound and tense, “running” attack were featured in three separate editions of Art Blakey’s Jazz Messengers, the first and most memorable of which found him sharing the front line with Jackie McLean and Johnny Griffin. McLean, who was already an established Prestige artist, gave Hardman the spotlight on this 1956 blowing date, recorded with a blue-ribbon rhythm section after the pair left Charles Mingus’s workshop and before they joined Blakey.
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George Wallington Quintet – Jazz For The Carriage Trade (Mono)
58,00 €Add to cartBesides his importance as one of the first bop pianists, a major jazz composer, and a prototypical trio player (as heard on The George Wallington Trios), for a time pianist George Wallington was also a New York combo leader and talent scout on the order of Art Blakey and Miles Davis. This 1956 session comes from the period when Wallington was musical director at the Cafe Bohemia in Greenwich Village, where the present quintet introduced then-young lions trumpeter Donald Byrd and alto saxophonist Phil Woods to jazz’s major leagues.
For this reissue, bassist Teddy Kotick and drummer Art Taylor complete the group on a program that includes three standards (“Our Delight,” “Our Love Is Here to Stay” and “What’s New”), a pair of Woods originals (“Together We Wail” and “But George”) and Frank Foster’s “Foster Dulles.” All Music Guide says “The music falls between bebop and hard bop with Woods sounding quite strong while Byrd comes across as a promising (but not yet mature) youngster. A fine example of this somewhat forgotten but talented group, easily recommended to bop collectors.”
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Phil Woods Quartet – Woodlore (Mono)
58,00 €Add to cartAlto saxophonist Phil Woods had recorded with Jimmy Raney and with his own quintet featuring trumpeter Jon Eardley but this was the first date where he was carrying the load as the lone horn, and also his first strictly-for-12-inch LP. Considering this date was done in November 1955, more than 45 years ago, it holds up exceedingly well. Phil always had all the musical tools. He has continued to develop as an artist but was already very accomplished. The swift, minor-key version of “Get Happy” and the intense blues-saying of “Strollin’ with Pam” are two particularly outstanding examples. Woods also swings hard on three standards, "Slow Boat to China," "Be My Love," and "Woodlore." Pianist Johnny Williams was a Bud Powell disciple who, like a lot of other young pianists, had latched on to Horace Silver. His way of accompanying reflected this in its funky, rolling quality.
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Jackie McLean – Lights Out! (Mono)
58,00 €Add to cart"Analogue Productions' 180-gram mono LP reissues of Jackie McLean's first two Prestige albums prompts us to reevaluate this hard-swinging jazzman. ... The only way McLean's bright, biting sound was ever heard to better advantage was live." Sonics = 5/5; Music = 3.5/5 — Duck Baker, The Absolute Sound, April 2013 A perpetual favorite among Jackie McLean’s earlier recordings, Lights Out finds the hard-swinging young alto saxophonist in 1956 still very much under the wing of Charlie Parker, who had died less than a year earlier. Yet McLean was beginning to find ways out of the seductive artistic security of Bird imitations. For one thing, he was experimenting with tonal variations. For another, he was working with Charles Mingus, and Mingus’s genius as a leader included forcing musicians to look deeply into their most cherished stylistic practices. The McLean of Lights Out is the hot young bebopper with a slightly acid edge to his sound and a solid blues foundation under everything he played. McLean and trumpeter Donald Byrd occasionally engage in the "pecking" technique of mutual improvisation they developed as members of the George Wallington Quintet.
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The Prestige All Stars – All Night Long (Mono)
58,00 €Add to cart"...they attempt to be as faithful to the original LPs as possible. They are remastered from the original mono or stereo tapes, come in authentic glossy 'tip-on' jackets, retain the flat edge of original pressings... What they don't have is the cost of original pressings. So many of the titles in the series fall into the several-hundred-dollar range in near-mint condition, a few topping out in the thousands, making the $30 price of each Analogue Productions LP seem like a bargain if they deliver sonically, which they do in abundance. ... both (this title and Coltrane were pressed at Quality Record Pressings (QRP) and continue the excellence for which this newest pressing plant has become known: nonexistent surface and groove noise and the sharp delineation of musical detail. — Music = 3.5/5; Sound = 3.5/5 — Marc Mickelson, The Audio Beat, Feb. 12, 2013. "The mono sound is pure of tone and wonderfully balanced, which adds to the sense of camaraderie that permeates this session." Sonics = 4/5; Music = 4/5 — Wayne Garcia, The Absolute Sound, January 2013 "Recorded by Rudy Van Gelder in glorious mono in his parents' Hackensack New Jersey living room, the sound is excellent ... Analogue Productions and Kevin Gray have done a fine job in remastering the tapes, and the packaging is gorgeous." Recording = 8/10; Music = 9/10 — Dennis D. Davis, Hi-Fi +, Issue 92 One of the great jam session recordings of the 1950s, All Night Long was under the relaxed direction of Kenny Burrell. The guitarist gathered together some of the finest young players on the New York scene, including Donald Byrd on trumpet and tenor saxophonists Hank Mobley and Jerome Richardson, one of the unsung heroes of the flute in jazz. Mal Waldron, Doug Watkins and Arthur Taylor were the rhythm section. The musical formats were uncomplicated; "All Night Long" a blues with a bridge, Waldron’s "Flickers" a 16-bar pattern, Mobley’s two originals based on familiar 32-bar chord sequences. From these simple, classic bases were launched performances with the hallmarks that have long identified any Burrell project: Relaxation, swing and high standards of musicianship.
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Hank Mobley – Mobley’s 2nd Message (Mono)
58,00 €Add to cartThe session for Mobley’s 2nd Message was recorded in July 1956, just one week after Mobley’s Message was recorded. The album features performances by Mobley, Kenny Dorham, Walter Bishop, Doug Watkins, and Art Taylor. Hank Mobley, tenor saxophone Kenny Dorham, trumpet Walter Bishop, piano Doug Watkins, bass Art Taylor, drums
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Willie Dixon & Memphis Slim – Willie’s Blues (Stereo)
58,00 €Show itemSince the early 1950s, Willie Dixon has been the studio kingpin of Chicago blues, having written, produced, and played bass on countless classics by Muddy Waters, Howlin’ Wolf, Otis Rush, Koko Taylor, and many others. Dixon has always managed to find time away from the studio to work as a performer, slapping his upright bass and singing his own tunes in a highly compelling, conversational baritone. He was working the coffeehouse circuit with pianist Memphis Slim when he cut this, his first album as a leader, in 1959. Besides his unique interpretations of “Nervous” and “Built for Comfort,” it includes eight lesser known compositions from Dixon’s prolific pen. It is unlike all other albums by Dixon, as he and Slim are accompanied, not by the usual crew of Chicago blues players, but by a group of New York mainstream jazzmen, including tenor saxophonist Hal Ashby, guitarist Wally Richardson and drummer Gus Johnson.
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Booker Ervin – Exultation! (Stereo)
58,00 €Add to cartBoth are gorgeous impressions of soul, jazz and blues, brought together through the legacy of standards and new compositions. The tonality of Gene Ammons in particular is transfixing and it is with the stereo reissues from Prestige that Gene will get a lot of love with multiple titles scheduled for release. Booker Ervin was another great tenor sax player and his contributions to the Prestige vaults are timeless with Exultation!." — Erik Otis, Sound Colour Vibration, May 9, 2015. Intensity marked everything that Booker Ervin played. In his harmonic concept, slashing attack, and broad Texas sound, Ervin demanded attention and constantly built improvisations of searing drama and epic sweep. His primary legacy is a series of albums recorded for Prestige in the 1960s, of which this was his first, a riveting quintet recital where the alto saxophone of Frank Strozier supplies an urgent complement and the rhythm section is piloted by Horace Parlan, Ervin’s longtime compatriot from their days together in the Charles Mingus Jazz Workshop and in a cooperative quartet that worked at Minton’s Playhouse. In addition to four inspiring originals by Ervin and drummer Walter Perkins, the session features an eloquent reading of Fats Waller’s immortal "Black and Blue" and an exploration of the show tune "Just in Time." Both the latter and "No Land’s Man" are included in two versions, the shorter of which were cut for release as a 45 single.