Jazz | Fusion Vinyl 401 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.

180g

Recorded in 1965 at Rudy Van Gelder's studio in New Jersey, Roland Kirk's album Rip, Rig and Panic finds him teamed with the most awesome rhythm section he ever recorded with: pianist Jaki Byard, bassist Richard Davis, and drummer Elvin Jones. It received a 5 stars rating on AllMusic, with reviewer Thom Jurek stating that "Rip, Rig, and Panic may be pre-Rahsaan Roland Kirk's greatest outing. Kirk and his quartet moved through a series of musicological changes that defined him as an artist at the time. Five of the seven compositions are his, and reach through each of the phases that Kirk was interested in integrating into his compositional and improvisational voice. Positively smashing."

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.

Exclusive reissue for Plattenladenwoche 2011!

Kenny Burrell's album "Guitar Forms" stands as Burrell’s definitive musical statement. It was nominated for three Grammys in 1965, is considered one of the true masterpieces in the Verve catalog. This is partly due to the outstanding performance of the guitarist himself, of course, but also to the unforgettable arrangements that Gil Evans wrote for five of the album's nine tracks. According to AllMusic, these were in no way inferior to the brilliant arrangements that Evans had made for Miles Davis classics such as "Birth Of The Cool", "Porgy And Bess" and "Sketches Of Spain".



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, Gatefold Sleeve.

Even by the high-water marks set by Herbie Hancock’s tremendous 1960s Blue Note output, 1965’s Maiden Voyage remains one of the pinnacle artistic achievements of the great pianist’s career. Hancock is joined here by his Miles Davis Quintet bandmates Ron Carter on bass and Tony Williams on drums, along with Freddie Hubbard on trumpet and George Coleman on tenor saxophone. The quintet embarks on an oceanic exploration of five original Hancock compositions, several of which have since become enduring standards of the jazz lexicon including the title track, “Eye of the Hurricane,” and “Dolphin Dance.”

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.

Vibes player Johnny Lytle was one of the heroes of the early acid jazz club circuit, with his cut 'Selim' being an anthem of the scene.

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."

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)

Underrated drummer’s 1965 album
His debut solo album and one of only two Blue Note albums as leader (the second emerged in 1997)
Recorded at the Van Gelder Studio on 19th May 1965
Featuring Blue Note legend Joe Henderson on tenor, Steve Kuhn on piano and Steve Swallow on bass
Showcasing three fine La Roca originals (the title track, ‘Candu’, ‘Tears Come From Heaven’), Steve Swallow’s ‘Eiderdown’ and interesting takes on the standards ‘Malaguena’ and ‘Lazy Afternoon’
 Produced by Alfred Lion
Includes a famous Reid Miles cover, plus photography by Francis Wolff and liner notes by Ira Gitler

Hardly any other musician has released so little as Hasaan Ibn Ali, born William Henry Langford Jr., in 1931, who died in 1980. Just seven titles in all are his complete output, all of which he composed himself, all of them on the present Atlantic LP, and all recorded in December 1964. The saxophonist Odean Pope, who often practised with him, talks of a second recording session in 1965 for Atlantic, but the recordings were never released because Hasaan was sent to jail shortly afterwards; rumour has it that the tapes were destroyed in a fire – and it might well be that recordings with John Coltrane still exist somewhere or other.
Until then, one should enjoy the Max Roach Trio with Art Davis on the bass to the full. We have here a recording that will astound and fascinate your ears with its originality. A first impression conjures up reminiscences of Cecil Taylor and Herbie Nichols, while Hasaan himself talks of the pianist Elmo Hope as the man who brought him closer to the 'mystery of music'. When asked how the recording session with maestro Max Roach went, Hasaan said: »They scared me to death.«
According to Odean Pope, Hasaan was not an easy person to get on with, and he was convinced of his talent to the point of arrogance. But despite this – or perhaps because of this – one listens spellbound to the 40 minutes on this LP, a legacy and never-fulfilled promise of an extremely talented man. We are indebted to Max Roach, who persuaded the bosses of Atlantic Records to make these recordings. For many, many years they had vanished from the record market, but fortunately they are now available as an audiophile re-release to be listened to and admired.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com.
All royalties and mechanical rights have been paid.

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."

Although the name Stan Getz (tenor sax) was initially synonymous with the West Coast cool scene during the mid-to-late 1950s, he likewise became a key component in the Bossa Nova craze of the early 1960s. Getz Au Go Go (1965) is Stan Getz in his prime, recorded with perhaps one of the best quartets of his career, featuring Bossa Nova singer Astrud Gilberto.

180g vinyl.

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.

Vinyl has scuffs and hairlines.

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.