Jazz | Fusion Vinyl 328 Items

Originally issued in Stereo as MetroJazz LP (SE 1013)

Wayne Shorter stepped out as a Blue Note artist on his masterful 1964 label debut Night Dreamer, a sublime set that signalled the arrival of one of the most important saxophonists and composers in jazz history. Timeless Shorter compositions are given transcendent performances by a quintet with Lee Morgan, McCoy Tyner, Reggie Workman, and Elvin Jones.



Blue Note Classic Vinyl Edition: Stereo, mastered from a digital source by Kevin Gray, manufactured at Optimal (180 g), padded inner sleeves.

In the late 1960s, vibraphonist Roy Ayers was among the top young talents in jazz, thriving during a remarkable era for the genre. While Ayers would later become a jazz-funk pioneer and delve heavily into R&B fusions, his third album Stoned Soul Picnic is a masterful showcase of soul-jazz grooves. Produced by Herbie Mann, Stoned Soul Picnic features a memorable Laura Nyro-penned title track, along with an exceptional lineup of musicians, including Gary Bartz, Hubert Laws, Ron Carter, Herbie Hancock, and Grady Tate. Originally released in 1968, this early Roy Ayers classic is now receiving an official reissue via Nature Sounds.

Vinyl reissue of the live album by American jazz pianist Thelonious Monk. Featuring tracks recorded in Italy in 1961, during an extensive European tour that also resulted in recordings from Paris. The album was originally released on the Riverside label in 1963 and would be Monk's final recording for the label before signing with Columbia. Includes the tracks 'Straight No Chaser', 'Bemsha Swing' and 'Rhythm-A-Ning.

Another legendary Lateef session cut in 1960 for the New Jazz imprint. The co-leader - bassist Doug Watkins - died tragically in a car accident in 1962 at the age of 27. However, prior to his early demise, he recorded dozens of wonderful sessions with some of the greatest jazzmen of his time, among them Sonny Rollins, Art Blakey’s Jazz Messengers and the Horace Silver Quintet. Imagination ! marked his second and final album as a leader, and features Watkins on cello instead of bass. The use of cello - and oboe on some numbers - makes the date stand out a bit from the usual hard bop sessions of the period and straight-ahead jazz fans will want to get this.

Drummer Roy Haynes was just about everywhere in the golden age of jazz, recording classic albums with some of the most legendary names of the genre. The hard-bop-verging-on-post-bop Out Of The Afternoon is an excellent example of the adventurous spirit that was taking flight in the jazz world in the early 1960s. Haynes swings as the leader of this 1962 Impulse! session, featuring A-list jazzmen Roland Kirk (multiple instruments including stritch and nose flute!), Tommy Flanagan (piano) and Henry Grimes (bass).

VERVE ACOUSTIC SOUNDS SERIES: mastered fully analogue from the original tapes by Ryan K. Smith at Sterling Sound, QPR pressing (180 g), firm tip-on gatefold (Stoughton Printing), padded inner sleeve.

Re-mastered from a copy of the Mono Master Tapes. Limited edition 2000 copies. 180 gr vinyl pressed by Pallas in Germany. Deluxe high-gloss flipback album jacket. Facsimile reissue using the original photo by JP Leloir. Double insert using an original photo by JP Leloir from 1959. Each record has been visually checked to prevent defects.

Recorded October 1959, Paris.

Original LP issue: Decca 153.924

Critics often complain that small-group sessions comprised of members of the Duke Ellington Orchestra are somewhat disappointing; this is definitely not the case with this session led by Clark Terry, recorded during a 1959 tour of Europe in the final month of the trumpeter’s almost eight-year tenure with the band. Fellow Ellington sidemen Paul Gonsalves, Jimmy Woode, and Sam Woodyard are present, along with Raymond Fol at the piano. Terry was one of the most gifted trumpeters to grace the Ellington band and he blossoms when he has more opportunities to solo in a small group setting like this one. Gonsalves proves to be the perfect foil for Terry as they trade lines on several of the numbers. Unlike many dates led by Ellington veterans, this one doesn’t rely heavily on songs from the vast Ellington songbook; instead, Terry includes only ‘Satin Doll’, a Monk’s tune, one by Babs Gonzales and three of his own compositions, with ‘Serenade to a Bus Seat’ (a remake of his upbeat instrumental interpretation of the hectic life of a touring musician) proving to be the most memorable.

This studio date was recorded for French Decca label and was almost impossible to find until now.

Clark Terry (Trumpet) Paul Gonsalves (Tenor saxophone) Raymond Fol (Piano) Jimmy Woode (Bass) G. T. Hogan (Drums)

All of You is a live album by American jazz pianist Ahmad Jamal featuring performances recorded at Jamal's own club in Chicago in 1961 and released originally on the Argo label. Jamal's group had a personal sound of its own, often playing quietly and leaving space but never losing the passion. These versions of "Time on My Hands," "Star Eyes" and "All of You" in particular are well worth hearing. On the cover, photographed by Don Bronstein, one of the first staff photographers for Playboy magazine, Jamal sits in an MAA chair, designed by George Nelson.

Vibes player Johnny Lytle was one of the heroes of the early acid jazz club circuit, with his cuts 'Selim' and 'The Man' being anthems of the scene.

The Ohio-born player’s first album as a leader was on the Jazzland label in 1962 with “Nice And Easy”. His second, three years later, on Riverside, "The Village Caller", made him a star in the jazz world. When Riverside encountered difficulties, co-owner Orrin Keepnews collaborated with Lytle on two albums which came out on the Detroit label, Tuba.

The first of these, "The Loop", featured his regular trio partners, organist Milt Harris and drummer “Peppy” Hinnant. This line-up was augmented on some tracks by former Miles Davis pianist Wynton Kelly and bassist George Duvivier. A 7” version of the title track actually spent five weeks in the Billboard Hot 100 in January 1966. As for the album, as well as the acid jazz cut 'The Man', it features a stunning version of Duke Pearson's 'Cristo Redentor' and the dancefloor-friendly 'Possum Grease' and 'Hot Sauce'. The band also stretch out on extended track ‘The Shyster’.

"The Loop” is a classic album and Ace’s pressing is the first time it has been legally reissued on vinyl.

"Legendary Sun Records producer Sam Phillips knew talent when he saw it, and when he started up his new Phillips label in the early 1960s, one of the first acts he signed was Frank Frost and his electric Delta blues trio. Now known as one of the greatest harp players of his generation, Frost learned his trade playing with none other than Sonny Boy Williamson and his influence can be heard whenever he blows. Originally released in 1962, Hey, Boss Man! is one of the last great electric blues albums."

Recorded in New York in 1957 (though not released until 1962), 'Tijuana Moods' was, according to Mingus himself, "the best album i ever made." The music is a vigorous stew of Mexican rhythms and sophisticated post-Ellington arrangements, further invigorated by the soloing of trumpeter Clarence Shaw, trombonist Jimmy Knepper, and, particularly, saxophonist Shafi Hadi. Mingus's vision of Tijuana was clearly sensual, the music evoking strippers, frenetic street scenes, and heart-broken lovers. Making use of suite like thematic material and various forms of counterpoint, the group sounds much larger than it is, and points toward Mingus's later experiments with form. the bristling sound and spirit of the music, however, are its primary attractions - a remarkable place where Mexican fantasy and hard bop meet.

Unorthodox saxophonist Albert Ayler straddled different jazz streams during his brief career. After playing with Stanley Turrentine and Harold Budd in the late 1950s, a move to Sweden brought him into the limelight, fronting his own trio. Debut album Something Different!!!!!! comprised four dissonant songs delivered live with bassist Torbjörn Hultcrantz and drummer Sune Spångberg, with a barely recognisable rendition of showtune “I’ll Remember April,” an off-kilter take of Sonny Rollins’ “The Stopper” (retitled “Rollins’ Tune”) and a wobbly cut of Miles Davis’ “Tune Up,” along with the original “Free.” An exceptional musical experience!

In the mid-'60s, Albert Ayler found himself at the center of major transformations within jazz. On his albums for ESP-Disk', his delivery was radically aggressive and his tone blistering – aiming for something beyond the New Thing. His music would be further energized when (at the behest of John Coltrane) Bob Thiele signed him to Impulse! As Ayler told The Plain Dealer at the time, "It's not about notes anymore. It's a sound – a feeling. The approach we're taking will discontinue the use of the word 'jazz.'" In Greenwich Village, Ayler's first LP on Impulse!, perfectly captures the Cleveland-born saxophonist's radiant intensity. Sourced from a pair of live engagements – February '67 at the Village Theatre on New York's Lower East Side and December '66 at the Village Vanguard – these recordings show an improved clarity in production and performance. Both sets feature two basses (including Alan Silva and Henry Grimes) which allowed the ensemble to go in different harmonic directions while maintaining an organic unity. Of particular interest are "For John Coltrane," a tribute to Ayler's mentor who would pass later that year, and "Truth Is Marching In" where trumpeter Donald Ayler joins his brother to celebrate and ultimately deconstruct several jazz traditions to stunning effect. Vibrant in sound and vision, Albert Ayler's In Greenwich Village is a landmark statement in free jazz and a career high-point for this truly original artist. Superior Viaduct is honored to present this classic album on vinyl for the first time domestically in 30 years.

Donald Byrd’s 1967 album Slow Drag was one of the last pure hard bop records the trumpeter would make before his music began evolving towards fusion. Byrd flies high on this gratifying set featuring alto saxophonist Sonny Red, pianist Cedar Walton, bassist Walter Booker & drummer Billy Higgins.



BLUE NOTE TONE POET EDITION: Stereo, produced by Joe Harley, mastered by Kevin Gray from the original analogue master tapes, pressed on 180g vinyl at RTI, packaged in a deluxe gatefold tip-on jacket.

Originally released in 1963, this is a majestic piece of work. Considered as one of Ellington's best studio recordings of the Sixties this is also an essential mosaic piece within Duke's open wide afro-centric vision. Performed by a top version of his famous big band, Afro Bossa sounds as a sophisticated, sensual blend of orchestral Jazz arrangements and black bossa flavoured grooves. Among the players, many of Duke's historical sidemen such as trumpeter Ray Nance, sax giants Paul Gonsalves and Johnny Hodges, drummer extraordinaire Sam Woodyard and last but not least, Ellington's alter ego Billy Strayhorn, what else?

When Charlie Byrd toured South America in 1961, Bossa Nova—a melding of Brazilian samba rhythms with the harmonic structures and cool sound of West Coast jazz—was booming. He brought back records for Stan Getz to hear and they planned a session. The result was Jazz Samba—the first album of Bossa Nova music by jazz artists and the one that created the Bossa Nova wave.



VERVE ACOUSTIC SOUNDS SERIES: Stereo, mastered fully analogue from the original tapes by Ryan K. Smith at Sterling Sound, QPR pressing (180 g), firm tip-on gatefold (Stoughton Printing), padded inner sleeve.

Limited Clear Vinyl edition, 300 copies! In 1959, at the time of this recording session, Yusef Lateef was already approaching a new and more open form of Jazz. A sophisticated, spiritual yet urban music form informed by non western languages and cultures. Cry Tender! is a deeply inventive, mostly contemplative album inspired by an original cosmopolitan vision of Jazz and based on masterful playing from a bunch of solid Jazz musicians including among others: Wilbur Harden – flugelhorn, Hugh Lawson – piano, Herman Wright – bass and Oliver Jackson – drums, percussion, all under the direction of master of ceremonies Yusef Lateef on tenor sax, flute and oboe.

Charles Mingus brought together an amazing lineup spanning the totality of the nation's jazz scene with such luminaries as Eric Dolphy, Buddy Collette, Clark Terry, Zoot Sims, Pepper Adams, Jaki Byard, Grady Tate, and more. Brought together to perform new Mingus compositions for the first time in public, the recording was initially considered weak due to limited rehearsal time but the years have been kind to this recording and it's a fantastic set of Mingus compositions, including the powerful "Freedom" which rivals the works on Mingus Ah-Um (1959) for its strength of purpose and message, in a similar vein to Max Roach's legendary We Insist! album (1960). Mingus is one of the most important figures in 20th century music and this live recording documents his compositional and arranging process as well as sheer swinging joy.

Der Saxophonist Sam Rivers hatte sich schon sehr früh in seiner Karriere durch bemerkenswerte Originalität ausgezeichnet. Nach einem kurzen Intermezzo im zweiten großen Quintett von Miles Davis, spielte Rivers im Dezember 1964 für Blue Note sein Debütalbum “Fuchsia Swing Song” ein. Das Repertoire bestand aus sechs Kompositionen von Rivers, die zwar fest im Post-Bop und Blues wurzelten, aber die avantgardistischen Tendenzen des Saxophonisten auch nicht leugnen konnten. Das Highlight des Albums ist die atemberaubende Ballade “Beatrice”, die später sogar von den Tenor-Giganten Joe Henderson und Stan Getz aufgegriffen und interpretiert wurde.

BLUE NOTE CLASSIC VINYL EDITION: Stereo, komplett analog von Kevin Gray von den Originalbändern gemastert, Optimal-Pressung (180 g), wattierte Innenhülle.

Elis Regina one of the greatest Brazilian interpreters of all time! Originally released in 1963 when she was not even 20 years old, this was her fourth album and second for Columbia records. Still a few steps before she became a star, here Elis Regina's fresh and extremely ductile voice shines on top of sophisticated Jazz arrangements by Astor Silva and a mixed repertoire based on charming romantic songs and vibrant sambas, all composed by Brazilian authors, among them a couple of highlights such as Baden Powell's "Se Você. Quiser" and "O Ben do Amor" the title track composed by guitarist Rildo Hora. This is an an early and fine statement in Regina's fast way to the peak of Brazilian music history.

In his 1967 DownBeat review of the initial release, Amiri Baraka wrote: "The music is beautiful on this album... These two players... are making some of the deepest music anywhere. It wants nothing."

Peter Margasak included the album in his list of "Favorite Albums of 2020," and wrote: "Essential coupling of two insanely rare duo albums from a 1966 concert at Yale University: Pullen at his most ferocious and probing, Graves making a huge step in establishing his radical approach to polymetric movement."

In a review for Point of Departure, John Sharpe commented: "The five pieces represent a true dialogue... Although intensity levels vary, the exchanges remain resolutely non-melodic and non-metric throughout... Even after all this time the music still challenges preconceptions. It remains a classic of the genre and deserves to be widely heard."

Thurston Moore included Nommo in his "Top Ten From The Free Jazz Underground" list, first published in 1995 in the second issue of the defunct Grand Royal magazine, calling the interplay between the musicians "remarkable."

Canadian composer Bruce Haack one of the true pioneers in the field of electronic and children's music. Originally released in 1962 "Dance, Sing & Listen" was Haack's debut album. Following instructions from children dance teacher Esther Nelson the album comes as a hyper-eclectic work based on a great variety of sound material. A hybrid soup of medieval, country, classical, and pop styles including tons of electronic effects, guitars, banjos and other acoustic string instruments and bongos!!! This is open minded music for children at its best.

180g Vinyl LP pressing. High Priestess of Soul is the last album Simone released under Philips Records. The songs are accompanied by a large band directed by Hal Mooney. The album contains popular songs, such as "Don't You Pay Them No Mind" and African American gospel and folk related songs written by Simone herself, such as "Take Me to the Water" and "Come Ye." After this album title, Nina Simone was sometimes referred to as "the high priestess of soul." Nina Simone was an American singer, songwriter, pianist, arranger, and civil rights activist who worked in a broad range of musical styles including classical, jazz, blues, folk, R&B, gospel, and pop. Simone's musical style fused gospel and pop with classical music, in particular Johann Sebastian Bach, and accompanied expressive, jazz-like singing in her contralto voice.

First time officially reissue, sourced from the original master tapes in a new edition, the Milan based imprint Dialogo, returns with this compilation published in Italy by RCA Victor in 1962 - a precious historical document of some important international jazz and pop artists who came to Italy and left their marks, influencing the generations of those golden years. The RCA artists on this LP record have only two things in common: “Inter-continental Airport Rome-Fiumicino” stamped on their passports and a great love for Italy. As a tribute to the country which gave them a friendly welcome and where they spent unforgettable vacations and reaped enthusiastic applause, all of them chose to sing songs in Italian or perform - in the case of Perez Prado - a number of outstanding Italian hits. The dazzling trumpets and electrifying rhythms of Perez Prado, the captivating voice of Helen Merrill, rightly considered the top-notch white jazz singer by critics over the world, the young, all-time best-sellers, Paul Anka and Neil Sedaka, the fantastic trumpet of Chet Baker and his mysterious swinging style of singing, and lastly Antonio Prieto, the Latin-American singer-songwriter who wrote “LA Novia”, are the guest stars of this “passport TO Italy”, which, more than a record, is a full-fledged musical show, with a vast assortment of voices, of musical styles and songs. The Italian pronunciation of these North and South American recording artists is virtually perfect and particularly praiseworthy, if for no other reason than for the effort they have made in getting around, in just a few days, the difficult twists and turns of the Italian language. Their accent is naturally somewhat exotic but it only adds to the charm and the originality of the interpretations. The “show” opens with the already classic “arrivederci Roma”, which, though turned into an overpowering “chunga” by Perez Prado, has kept all its original melody intact. Prado, the wizard of Latin-American dance music, is an extremely refined blender of sounds and rhythms, and without any difficulty can take even a Neapolitan song, change it into a mambo and adapt it to his orchestra. In “guaglione”, for example, the “corruption” comes off perfectly and testifies to the everfresh inventiveness and the unmistakable personality of the Cuban-born pianist arranger. Helen Merrill prefers quality over quantity and so has made very few records but they already occupy a place of their own in the annals of jazz. She consented to record two popular ballads only because Armando Trovajoli, the most qualified exponent of Italian jazz as well as a far-out modernist, was to conduct the orchestra. Furthermore, the two songs, “nessuno AL Mondo” and “estate” are particularly congenial to her musical temperament, for she is most of all concerned with creating subtle and seductive moods, making an intelligent use of her vocal resources in that she tries to “add” her voice to the orchestra as though it were another instrument. Canadian-born Paul Anka, by now a regular member of the exclusive club of top-selling vocal artists of America, presents one of his own songs, “ogni Giorno” originally entitled “love ME Warm AND Tender”, the most requested hit in his present-day repertoire. And the young singing star’s interpretation of “voglio Sapere” (“i’d Like TO Know”) once again makes clear why his name became a permanent fixture as all-time best-seller. Neil Sedaka is another representative of the younger generation of American singers. When he was still in high school in Brooklyn, Neil became a close friend of one of schoolmates: Howard Greenfield. The two of them wrote numerous songs together for school shows: Neil handled the music and Howard the words. Their collaboration proved extremely fruitful, and they were soon to make their debut as professional songwriters with two hits of the calibre of “stupid Cupid” and “falling”. The Sedaka-Greenfield team, which in only a few year time has become one of the best-known, presents, in Italian, two songs which in their original tongue have already climbed to the top: “esagerata” (“little Devil”), translated by Leo Chiosso, and “UN Giorno Inutile” (“I Must BE Dreaming”), translated by Gentile and De Simoni. After Sedaka comes one of the big names of cool jazz: Chet Baker. Trumpet-player and singer, he proves here for the nth time that the names “Golden Trumpet” and “Angel Voice”, given him not only by his fans but by the crites as well, are in no way exaggerated. With an at once restless, desperate and almost possessed musical style, Chet sings and plays two songs which he himself wrote: “IL MIO Domani” and “SO CHE TI Perdero”. His reserved, curiously, precarious and profoundly dramatic way of singing, virtually the mirror-image of his life, is the same in both songs and makes them seem almost unconsciously autobiographical. The “show” then closes with Antonio Prieto. Precisely because of his Latin origins (he was born in Chile, but is Argentine by adoption), it is perhaps easier for him than for the others to express himself in Italian. As is well-known, the name of Prieto soared to the Olympic heights of popular music with “LA Novia” which he wrote in collaboration with his brother, Joaquin. He is a typically Latin singer with a warm, melodious and romantic voice, tinged with melancholy, and on more than one occasion he has shown that he thoroughly understands the tastes of the public. Listen to his two most recent compositions: “papà”, written in collaboration with singer-songwriter Sergio Endrigo, the author of “aria DI Neve”, and “baciami” and... judge for yourselves.

First Lady of Song Ella Fitzgerald overcame the challenges of a tumultuous youth through music, her performances with the Chick Webb Orchestra at the Savoy Ballroom and distinctive scat singing leading to early recordings and the 1938 breakthrough, ‘A Tisket A Tasket.’ After recording bebop LPs for Decca, manager Norman Granz launched the Verve label to allow her to broaden her musical horizons, exploring the Great American Songbook. Released in 1960, Ella Wishes You A Swinging Christmas sees her tackle Christmas classics as only Ella can, the lavish orchestration overseen by noted conductor Frank de Vol.

Ingfried Hoffmann - Hammond organ, Pierre Cavalli - 12-string guitar, Volker Kriegel - guitar, Peter Trunk - bass, Rafi Lüderitz - drums



The grooviest James Bond sounds ever! Ingfried Hoffmann had the reputation of being Europe’s best Hammond B-3 organist, a talent that has occasionally overshadowed his equal skill as a pianist, arranger and composer. As a member of Klaus Doldinger’s famed quartet, Hoffmann won several polls as Germany’s best jazz organist and pianist. “Soul Bond” was first released in Germany in 1966 under the title “From Twen With Love’, when the James Bond craze was at its height, following the worldwide success of ‘Thunderball’. Inspired by the first four Bond films, Hoffmann not only laid down fantastically swinging interpretations of Bond themes, but also shone with compositions of his own dedicated to the famous super spy. This is the first LP reissue of the rare Polydor album.



1-lp, 180g, Pallas pressing, padded inner sleeve.

A timeless piano jazz classic: Bill Evans’ first-ever performance at a concert hall in New York City. Featuring the sensitive accompaniment of Chuck Israels on bass and Arnold Wise on drums. Includes a thirteen-minute solo suite dedicated to the memory of Bill’s father who had only recently passed at the time of the recording.

Verve Acoustic Sounds Series: Stereo, mastered fully analogue from the original tapes by Ryan K. Smith at Sterling Sound, QPR pressing (180 g), firm tip-on gatefold (Stoughton Printing), padded inner sleeve.

Vibraphonist Bobby Hutcherson’s 1966 album Stick-Up! found him in the company of a new band line-up with Joe Henderson, McCoy Tyner, Herbie Lewis, and Billy Higgins. The quintet covers a vast expanse of post-bop territory on five Hutcherson originals plus Ornette Coleman’s “Una Muy Bonita.”

This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.



Bobby Hutcherson (vibraphone); Joe Henderson (tenor saxophone); McCoy Tyner (piano); Herbie Lewis (bass); Billy Higgins (drums)

In 1963, tenor saxophonist Harold Vick made his sole album as a leader for Blue Note, the underrated soul jazz gem „Steppin’ Out“. The record finds its groove from the first downbeat and stays firmly in the pocket throughout this set featuring Blue Mitchell, Grant Green, John Patton, and Ben Dixon.



Blue Note Tone Poet Edition: Stereo, produced by Joe Harley, mastered by Kevin Gray from the original analogue master tapes, pressed on 180g vinyl at RTI, packaged in a deluxe gatefold tip-on jacket



Harold Vick (tenor saxophone); Big John Patton (organ);

Grant Green (guitar); Ben Dixon (drums); Blue Mitchell (trumpet)

Blue Note’s 1960s roster boasted numerous Hammond B3 organ whizzes including the soulful Kansas City born master Big John Patton. The dynamic quintet that Patton assembled for his 1965 album Oh Baby! packed a punch with the B3 master joined by trumpeter Blue Mitchell, tenor saxophonist Harold Vick, guitarist Grant Green, and drummer Ben Dixon.

Big John Patton (organ); Blue Mitchell (trumpet); Harold Vick (tenor sax); Grant Green (guitar); Ben Dixon (drums)

This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Limited Clear Vinyl edition, 500 copies! Twistin' the Night Away is Sam Cooke's eighth studio album. Released in April 1962 by RCA Victor, the album shows how the one and only Sam Cooke approached the twist dance phenomenon and as a result became one of Cooke's most successful releases. In fact Twistin' the Night Away peaked while the single of the same name charted high at number nine on the Billboard Hot 100. Twistin' the Night Away stands as one of the great dance albums of its period,"and "a brilliant soul album as well.

When giants of Jazz join together in conjugal jamming the resultant jousting can be less than jubilant. That was often the case in the era when promoters and record producers thought it a bright idea to create battle conditions at concerts and on albums. Undercurrent features the protagonists unsupported by a rhythm section, and relies on their intuition and telepathic understanding to create the interplay revealed in this album. Much admired as an influence on other Pianists, Bill Evans won seven Grammy Awards and a led a Trio that released many acclaimed albums. While Jim Hall continued playing, composing and arranging touring the world, receiving myriad awards in recognition of his achievements.

Limited Clear Vinyl edition, 500 copies! Originally released on Impulse in 1962 "Soul Trombone and the Jazz Clan" was a major statement from one of the great trombone players in American jazz. Here Fuller displays an outstanding hard-bop ensemble based on a bunch of great individuals all at the top of their game. Fuller himself is part of a super strong horn section with trumpeter Freddie Hubbard and tenor saxophonist Jimmy Heath, while the groove is assured by a hard swinging rhythm section with pianist Cedar Walton, bassist Jimmie Merritt and drummer Jimmy Cobb. Fuller gives lots of space to his musicians who naturally respond and empathize with great solos.In one word: an outstanding record!