Jazz | Fusion Vinyl 155 Items

Why you'll love it...
Nina was singular in both her ability and the music she made. She will always be one of the best to ever do it. "Nina Simone Sings the Blues' comes on 180 gram blue vinyl.

Guitarist Kenny Burrell debuted on Blue Note Records in 1956 and over the following seven years made a series of excellent albums for the label that culminated with his masterwork Midnight Blue. Recorded in 1963, the album waded deep into the blues, conjuring an alluring late-night vibe with a profoundly soulful cast including tenor saxophonist Stanley Turrentine, bassist Major Holley, Jr., drummer Bill English, and Ray Barretto on congas.
Burrell originals including “Chitlins con Carne,” “Midnight Blue,” “Saturday Night Blues,” and the stunning solo guitar piece “Soul Lament” set the tone for this timeless classic adorned by one of the all-time great Reid Miles cover designs.

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.

Reissue of the 5th studio album by Brazilian jazz legend Antônio Carlos Jobim. Considered one of Jobim’s best albums, this masterpiece peaked at #5 on the Billboard Jazz Albums chart. It features a plethora of star sidemen, such as Dom Um Romão, Claudio Slon, Jerome Richardson, Ron Carter & Urbie Green, among others, as well as superb arrangements by Claus Ogerman.

On his second and last album for Impulse! Records, trumpeter Freddie Hubbard went all out: with a first-class orchestra conducted and arranged by Wayne Shorter, occasionally reinforced by strings, and a varied repertoire that seamlessly combined standards with originals by Hubbard.
VERVE BY REQUEST SERIES: remastered, audiophile-quality 180-gram vinyl from Third Man Pressing/Detroit, Gatefold Sleeve

"Silver’s Serenade" was the last album Horace Silver made with his celebrated Quintet with Blue Mitchell, Junior Cook, Gene Taylor and Roy Brooks. These five Silver tunes epitomize his compositional style: captivating melodies, sophisticated harmonies and intricate rhythms with an unerring sense of swing.



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, and packaged in a deluxe tip-on jacket.

Time and troubles seem to melt away during the fifteen enrapturing minutes of “Idle Moments,” the opening track of Grant Green’s sublime 1963 album of the same name. As the piece unhurriedly unfurls all the unique colours of the ensemble present themselves with Green’s soulful guitar joined by Duke Pearson’s elegant piano, Bobby Hutcherson’s crystalline vibraphone, Bob Cranshaw’s reassuring upright bass, Al Harewood’s subtle drums, and Joe Henderson’s magnificent tenor saxophone. The pace quickens for the rest of this tremendous set including the nimble Green original “Jean de Fleur,” a bluesy take on John Lewis’ MJQ standard “Django,” and a driving performance of Pearson’s original “Nomad.”

She 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 London sings Latin In A Satin Mood in damatic, deserving fashion. Remastered by Kevin Gray at Cohearent Audio, and plated and pressed on 200-gram vinyl at Quality Record Pressings, the crispness and vibrancy of this recording is spectacular.
Exotic and Latin albums were big deals in the 1950s and early '60s, and singers as diverse as Dean Martin, Lena Horne, and Peggy Lee were recording with castanets and bongo drums. Like Peggy Lee, London combines a restrained vocal approach with jazz phrasing and a cool attitude with icy sex appeal on this album of relaxing Latin standards. Julie does look beautiful on the cover, and the backup male 'mariachi-esque' serenade adds to the romantic ambiance.
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 Music.
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.

Jamaican-born jazz trumpeter Dizzy Reece recorded one of his best opus in 1962. Released on the New Jazz label the album featured greats such as bassist Ron Carter, renowned saxophonist Cecil Payne and pianist Hank Jones. It’s a beautifully recorded and sequenced album, the compositions reflecting Reece’s interest in the music of the Asian continent and regions of North Africa, with each piece transitioning nicely into the next. Asia Minor would be the last session Reece would lead until 1967/68. A fixture of the European jazz scene of the Fifties, Reece came to New York in 1959. This intriguing, Eastern-flavored date, is still regarded has one of the best example of cross-pollination in the jazz genre.

This 1967 set, recorded live at Boston’s Jazz Workshop, showcases virtuoso guitarist Szabó—a veteran of Chico Hamilton’s and Charles Lloyd’s bands—at the top of his game on a diverse program featuring standards (“What Is This Thing Called Love”) and pop hits (“The Beat Goes On”) as well as the original and psychedelic-tinged jam, “Space.”



Verve BY Request Series: remastered, audiophile-quality 180-gram vinyl from Third Man Pressing/Detroit, gatefold sleeve.

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."

"Recorded for Berry Gordy's short-lived Workshop Jazz imprint, Roy Brooks' simply but authoritatively titled Beat fuses the intellectual rigors of the modern idiom with the physical prowess of soul-jazz to create a record of uncommon scope and reach. Working with Horace Silver Quintet colleagues Blue Mitchell, Junior Cook, and Gene Taylor alongside Detroit contemporaries George Bohanon and Hugh Lawson, Brooks channels influences spanning the breadth of the Motor City scene, resulting in a clutch of challenging but engaging performances with the unmistakable patina of the embryonic Motown sound. While their technical proficiency is stunning, Brooks' rhythms never lose sight of the almighty groove, and for its hard bop stridency, the record has the proverbial good beat and you can dance to it."

John Coltrane brought a new sound and style to jazz, and he applied it in his own unique way to the standard material of the storehouse of American music gathered from Broadway, Hollywood and Tin Pan Alley. With the excellent rhythm team of Red Garland, Paul Chambers (both of whom had done so many concert, club and recording dates with him) and Jimmy Cobb and the Miles-directed flugelhorn of Wilbur Harden, Trane puts his personal stamp on numbers not done that often like Henry Nemo's "Don't Take Your Love from Me", Fred Ahlert's "I'll Get By" and two more familiar yet still not overdone songs, Richard Rodgers' "Spring Is Here" and Bronislau Kaper's "Invitation."

The wonderful Post-Bop album Miles Smiles (1967) was recorded by Davis's second great quintet, which featured saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams. The album showcases Davis' deeper exploration of modal performance with looser forms, tempos, and meters. Although it did not follow the conventions of Bop, the album did not follow the formlessness of Free Jazz.

180g vinyl.

Sylvie Vartans seminal 1962 debut LP transformed the 18-year-old collegiénne du twist into the French pop diva, whose songs (and high-profile marriage to Johnny Hallyday) would dominate the European pop charts throughout the 1960s. Songs like Est-ce que tu le sais and Le Loco-motion remakes of Ray Charles What Id Say and Little Evas Locomotionbecame two of her first smash hits.

180g audiophile pressing.

Yes, *that* Al Hirt record. Featuring the godlike "Harlem Hendoo", looped unforgettably by De La Soul for the legendary Buhloone Mind State cut, "Ego Trippin' (Part Two)"!

Al Hirt's infamous Soul In The Horn is inextricably tangled up in crate-digger lore. Originally released in 1967, the album has been in heavy, heavy demand for over 30 years, entirely down to the majestic soul-jazz fire of "Harlem Hendoo". And it's a song so good, so vital, so timeless, that it will always tower above everything else in its proximity. This one track alone is worth the price of admission - even if the cost of entry were $100 or even $1000.

However, it would be an error to dismiss this record as merely a one tracker, loaded as it is with dope samples for adventurous beat makers. Certainly the funkiest Al Hirt record, it definitely lives up to the "soul" in the title. Thanks to composer Paul Griffin and arranger Teacho Wiltshire, Hirt got uncharacteristically free and groovy throughout. It comes on more like an obscure KPM library funk record than the easy listening Al was notorious for.

A Louisiana trumpeter and band leader who made Allen Toussaint’s “Java” famous, Al Hirt was also known for TV themes, Dixieland, Swing and being a minority owner of the New Orleans Saints. Unlike every other Al Hirt record - and despite most "diggers" claiming otherwise - this here gem is genuinely hard to come across "in the wild". Normally, you can't give Al Hirt records away, except this particular one, which raises pulses in the crate digging community to life-threatening levels. For every owner claiming to have found their copy for a dollar, there's scores more claiming to have *never* unearthed one in the field. So, paradoxically, you can consider this the most tricky-to-pull "thrift store record", ever. This is why we're finally making it available for everyone, not just those with endless hours to spend scouring the global goodwills!

Soul In The Horn represented an expressive detour into authentic soul-jazz for Al Hirt. Throughout, we're struck by a fierce, fiery energy that's otherwise absent from his typically easy listening work. Without question, the slinky, magical "Harlem Hendoo" is the standout, here. It's also the reason why the record is so scarce and commands awe among crate diggers, sounding like something from an obscure and deeply revered spiritual jazz record. As is often the case, the true genius of the song is tricky to do justice to; it's like a minor miracle of songwriting and performance that simply swooned down from the heavens on the back of horns, bells and harpsichord. It's one of the sweetest musical compositions ever recorded inside a studio - it's only failing is that it's just too short. Sampled brilliantly by De La Soul, it has also been used by The Roots for "Stay Cool" and Nightmares On Wax for "Damn".

The rest of the record makes for a mighty fine listen. From the opening cover of Booker T. & The MG's "Honey Pot", to the propulsive, ultra-funky "Mess Around", it's nothing but a good time. Given its title, the elegant stepper "Calypsoul" sounds exactly as you'd hope whilst the melancholic, wistful "Long Gone" hurts so good. Truly, this is just dying to be looped up, Al's muted playing capturing a soulful longing only horns can often achieve. The bluesy, slo-mo swing of "Sweetlips" oscillates between cool disaffection and swelling pride whilst the graceful, low-key funky "Girl" closes out the A-Side in the fine style. Ushering in the B-Side, the brief but brilliant strut of "Love Ya' Baby" shines brightly before the skipping funky-jazz of true highlight "Sunday-Goin' To Meetin' Time" demands both your attention and your dancing shoes. The mellifluous piano-funk of bass and horn-drenched "Snap Back" serves as the sumptuous prelude to "Harlem Hendoo"'s main character energy before the irrepressible, upbeat R&B of "Ludwig" closes out this quite remarkable album. An album deserving of a place in every serious record collection.

The audio for Soul In The Horn has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. This is after-hours music. Let it speak for itself. Listen. Listen to the soul in Al Hirt's horn.

John Coltrane Quartet — Ballads
Analogue Productions' UHQR, the pinnacle of high-quality vinyl!
45 RPM Ultra High Quality Record release limited to 5,000 copies
Mastered from the original tape by Ryan K. Smith at Sterling Sound
Pressed at Quality Record Pressings using Clarity Vinyl®
Includes a 12" x 12" 12-page booklet featuring liner notes by Ashley Kahn and recording session images by Jim Marshall

Audiophile reviews rave about saxophone master John Coltrane's immortal Impulse! records, A Love Supreme (1964) and Ballads (1963). Ballads is an album that will never go out of style and never be unwelcome on any jazz lover's turntable.

You're about to experience Ballads at its peak of vinyl perfection — in UHQR format on Clarity Vinyl, with the added bonus of a double 45 RPM cut by Ryan K. Smith at Sterling Sound. Ryan's cut has his characteristic clarity and transparency all set against Quality Record Pressing's usual noiseless backgrounds on 200-gram flawless records. Each UHQR will be packaged in a deluxe box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product.

For this 45 RPM 2LP edition you'll also receive a !2" x 12" 12-page booklet featuring liner notes by Ashley Kahn and recording session images by Jim Marshall.

The intense passionate Coltrane interpretation of standards such as "All Or Nothing At All," "What's New," "It's Easy To Remember" and the Sinatra classic "Nancy (With The Laughing Face)" are the essence of Ballads. When asked why attempt such an undertaking, Coltrane replied "Variety."

While it may have been a short detour by Trane before he exploded off into the nether regions of jazz music a few years later, it is still a fantastic document of one of the premier jazz groups of the 1960s.

Recorded December 21, 1961 and September 18 & November 13, 1962 at Rudy Van Gelder Studios.

"It's impossible to sleepwalk through tracks like "You Don't Know What Love Is" and "I Wish I Knew" and impart them with even a fraction of the emotional heft that the Quartet achieves. This is the type of jazz album in which the music just washes over the listener with it's restrained grace and beauty, and while it may not have the adventurousness that some listeners think Trane should have had each and every time he recorded, I'd say it shows off a side of him that only makes us appreciate his more bold and daring albums even more." — The Jazz Record

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.

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.

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.

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.

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)

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!

There have been many great Jazz Pianists, but foremost amongst them is Bill Evans. Accepted by all fans as being supremely influential for defining the format and scope of the Jazz trio, Evans entered his first purple patch in the mid to late fifties and refined his playing with a series of album. Over the years he recorded many trio albums with frequent changes of members, with the most lauded being his first and second line-ups. By May 1962 Evans cut what would be his seventh album for Riverside . New Bassist, Chuck Israels, joined the group, and together this second classic line-up cut two albums in the same sessions. The first was Moon Beams which contained ballads, while the second one, How My Heart Sings, had the up-tempo numbers. These were recorded as a mixture during the sessions as producer Orrin Keepnews wanted to release an album of just ballads from Evans, and so made up the album from the varied session tracks. During the recordings, Evans only revealed the tracks to his trio at the session itself. Fans and critics alike were more than appreciative of Chuck Israels' ability to meld into the trio with his punchy lines, meshing in especially well with Motian.

Limited Clear Vinyl edition, 300 copies! Recorded intermittently between June and September 1962, "Year of the Iron Sheep" was Ken McIntyre's third album, the fruit of various studio sessions featuring three different personnels. Here the great multi-instrumentalist, mostly known for his collaborations with the likes of Eric Dolphy, Archie Shepp, Cecil Taylor and Charlie Haden is heard on alto sax and flute while the rhythm section variously features pianist Jacki Byard, bassists Ron Carter and Ahmed Abdul-Malik, drummers Ben Riley, Louis Hayes and Warren Smith. An amazing cast of players for a great and yet forgotten post-bop gem.

Originally issued in Stereo on Prestige LP (PR 7233)
Subsequently reissued in the Prestige/New Jazz budget subsidiary label Status (ST 7233)

The John Wright Trio
John Wright (piano), Wendell Roberts (bass), Walter Perkins, Jr. (drums).
Recorded at Rudy Van Gelder Studios in Englewood Cliff, New Jersey, April 10, 1962

Engineered & mastered by Rudy Van Gelder
Cover photo & design: Don Schlitten
Back-liner notes: Tom Wilson
Recording supervised by Esmond Edwards

180 Gram Newly Remastered Vinyl Reissue of the original Prestige Prlp 7233 Limited edition in Solid carton sleeve

Psychedelic Percussion definitely sticks to his title. With the help from Paul Beaver of Beaver & Krause (famous keyboard wizard and sound engineer for the likes of Stevie Wonder), vibe master Emil Richards (check is two fantastic album on Impulse! with The Microtonal Blues Band featuring Joe Porcaro, father of the famed Toto brothers) and Gary Coleman (percussionist in the famous Wrecking Crew), Blaine goes wild in the studio with drums, gong, xylophone, organ, bongos, congas and timpani. Unusual textures and tones lead the way to 12 instrumental exotic numbers similar in a way to Raymond Scott most visionary experiments. This is pure madness, a record full of breaks and still unsurpassed in many ways. Blaine was an American drummer and session musician, estimated to be among the most recorded studio drummers in the history of the music industry, claiming over 35,000 sessions and 6,000 singles. His drumming is featured on 150 US top 10 hits, 40 of which went to number one, as well as many film and television soundtracks. He became one of the regular players in Phil Spector's de facto house band, which Blaine nicknamed "the Wrecking Crew". Some of the records Blaine played on include the Ronettes' single "Be My Baby" (1963), which contained a drum beat that became widely imitated, as well as works by popular artists such as Frank Sinatra, Elvis Presley, the Beach Boys, Simon & Garfunkel, the Carpenters, Neil Diamond and the Byrds.

A Svart Mondo Release. Limited to 500 copies on black vinyl. By early 1960’s, jazz in its mainstream form had become the standard dance music for the student parties in high schools and several student union clubrooms in Helsinki. The Polytech union even organized matinée dances for high school students on Sundays. The change in the musical preference of young people’s dance music occurred with the arrival of British rock in the mid-sixties and this, of course, coincided with another cultural and musical development. As the new campus for the school was built in Otaniemi, Espoo in 1955-1966 and its operations gradually moved there, the modern style “Dipoli” building became the crowning edifice on the campus. It was to be the new home for the Polytech student union. When this controversial building was opened in 1966, it was meant to introduce a new vision of the future and constituted an embodiment of the modernist spirit of those times in the late 1960’s. This reissue of The Complete Jazz at the Polytechnicum recordings, done in 1967-68, also provides us with a glimpse of the modern directions of those days, not only in jazz music, but also in performance art. It is easy to hear that the main aesthetic in these performances was to break conventions and find new avenues for individual expression. The publisher of these recordings was the Jazz Society of the Tech Students, which was formed a little before these recordings. The name of the society was a take-off from Norman Granz’ Jazz at The Philharmonic and it became Jazz at the Polytechnicum. Both are, of course, abbreviated as J.A.T.P., which became formulated in musicians’ mouths into “Jappa”. This Svart Records re-issue consists of four EP-records in chronological order. The first three feature three jazz groups of the leading young players with their ages ranging from 21 to 30. The fourth one documents an avant-garde art “happening” held in Dipoli on March 20th – 24th 1968 called “Posotusta, pimputusta, pompotusta”, which could freely be translated as “Huff ‘n’ puff ‘n’ plonk”.

Puerto Rican composer, bandleader and percussionist Willie Rosario was a giant of Latin music, known as Senor Afinque or Mr. Tight for the strength of his musical arrangements. Born in Coamo in 1930, Rosario had already formed the Coamex band, prior to his emigration to New York in 1947, where he played in various orchestras, forming his own band in Spanish Harlem in 1959 and also presenting a Spanish-language music show on radio station Wado. Signing to Alegre in 1962, he began touring widely, the label issuing this sought-after debut in 1963; mixing covers and original, the hot salsa here features the dulcet tones of lead singer, Frankie Figueroa.

The drum hero’s classic 1963 album
 Recorded at Van Gelder Studios, Englewood Cliffs, New Jersey, during November and December 1961
The Jazz Messengers’ 11th Blue Note album
Featuring the classic Messengers line-up of Freddie Hubbard (trumpet/flugelhorn), Wayne Shorter (tenor), Curtis Fuller (trombone), Cedar Walton (piano) and Jymie Merritt (bass)
Showcasing three classic Shorter compositions (‘Backstage Sally’, ‘Contemplation’, ‘Reincarnation Blues’) plus Fuller’s ‘Bu’s Delight’, Walton’s ‘Shaky Jake’ and a take on Henry Mancini’s ‘Moon River’
Produced by Blue Note co-founder Alfred Lion
Includes photography by BN co-founder Francis Wolff and liner notes by esteemed writer Leonard Feather

Includes both the mono and stereo versions of the album!

Strut presents an all-time classic of South African music, the definitive remastered edition of Miriam Makeba's 'Pata Pata', her first album recorded for Reprise in 1966.
The album marked a significant international breakthrough for Makeba. Moving to the US after the anti-apartheid film 'Come Back, Africa' gained international attention and staying there in exile, she quickly built her career in New York during the '60s, mentored by Harry Belafonte. Signing with Reprise after a period with RCA, she returned to one of her older songs: "I wrote 'Pata Pata' back in 1956, back in South Africa", remembered Makeba in her autobiography. "It was a fun little song and I was thinking of a dance that we do at home ("pata" means 'touch" in Zulu and Xhosa)".
The track peaked on the Billboard Hot 100 at no. 12 and the album. Other songs on the album included a version of the traditional Xhosa classic, 'Click Song Number One' ('Qongqothwane'), the atmospheric 'West Wind', later famously covered by her friend Nina Simone, and a version of Tilahun Gessesse's 'Yetentu Tizaleny' which Makeba learned on a trip to Addis to perform for Haile Selassie at the Organisation Of African Unity.