Jazz | Fusion Vinyl 460 Items

The first of Sonny’s albums for Impulse!, this 1965 collection caught Rollins at the peak of his creative powers, and is arguably the tenor hero’s best for the label–an intense, freewheeling set, featuring classic takes on ‘On Green Dolphin Street’ and ‘Three Little Words’ in the company of Ray Bryant (piano), Walter Booker (bass) and Mickey Roker (drums).

Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

Reissue for this classic album from '67 on Orange Impulse Rec. Considered to be the last Coltrane's lifetime release it includes the all-time classic "Welcome", as defined by Coltrane himself “the song is that feeling you have when you finally do reach an awareness, an understanding which you have earned through struggle. It is a feeling of peace. A welcome feeling of peace."

"This fine set matches together the already distinctive tenor of Clifford Jordan with veteran trumpeter Kenny Dorham, pianist Cedar Walton, bassist Wilbur Ware and drummer Albert "Tootie" Heath. Other than Duke Ellington's "Don't You Know I Care," the group sticks to originals by Jordan, Dorham and Walton. The music is straight-ahead, and although the tunes are pretty obscure, the solos and high musicianship uplift the music. Recommended to straight-ahead jazz collectors." Scott Yanow -All Music Guide

“South Africa’s lost jazz history contains many an overlooked classic. But even within that hidden tradition, there are few albums that suffered such an unlucky fate as Spring, the monumental 1968 debut album by pianist Ibrahim Khalil Shihab, formerly Chris Schilder.

Though Shihab was only twenty-two when Spring was recorded, he was already a lynchpin of the Cape Town scene, and the album was to be his first major statement as leader and composer. It is a magnum opus gilded by the presence of the upcoming saxophonist Winston ‘Mankunku’ Ngozi, who was soon to find huge acclaim with the hit album Yakhal’ Inkomo.

Three months of touring southern Africa in 1968 honed the band to the point that this entire album was recorded within the just two hours of allocated studio time. This album was repressed just once before the master tapes were destroyed by an ignorant record company executive. While it has remained out of print since then, the album was ‘kept alive’ as an ‘add-on’ to a 1996 CD of Mankunku’s Yakhal’ Inkomo. As a result, many modern jazz lovers still incorrectly believe these five compositions come from Yakhal’ Inkomo.

With this edition of Spring, Matsuli Music corrects an historic wrong. This edition of Shihab’s stunning debut, produced with the blessing of the man himself, is the first time it has been properly available in over forty years, and the first time it has ever been available outside South Africa. Restored and presented with new liner notes by Valmont Layne, Spring can now be seen for what it is: a peerless masterwork of Cape Jazz, blessed by the presence of the great Mankunku, but truly animated by the subtle vision and original musical spirit of its creator, Ibrahim Khalil Shihab.”

• The monumental 1968 debut album by pianist Ibrahim Khalil Shihab, formerly Chris Schilder.

• Almost lost recording is back on vinyl after more than 50 years.

• Heavyweight 180g vinyl with remastered audio, inner sleeve with photographs and new notes by Valmont Layne

"Although often reissued under Eric Dolphy's name, this reissue gives the leadership back to pianist Mal Waldron. The seven originals not only feature altoist Dolphy (who makes a rare appearance on clarinet during "Warm Canto") but tenor-saxophonist Booker Ervin, Ron Carter (on cello) and Waldron. With bassist Joe Benjamin and drummer Charlie Persip giving alert support, the complex music (which falls between hard bop and the avant-garde) is successfully interpreted. Worth checking out." Scott Yanow -All Music Guide

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.

More information coming soon.

This 1961 set of standards, favoring ballads, is Gene Ammons in his prime. For the most part, this session is tight and structured, keeping Ammons firmly locked in the groove more so than on some of his more wandering dates. His big-as-a-house tone stands center stage in front of a sympathetic piano-bass-drums trio of Richard Wyands, Doug Watkins and J.C. Heard, respectively.

Saxophonist Eddie Harris – a favorite sample staple of jazz-leaning hip-hop producers of the ‘90s – was a very busy man in the 1960s, releasing albums at a brisk pace since his first as a leader in 1961. By the late ‘60s he had fully hit his stride, as both a performer and an innovator.
A case in point is heard very clearly on this gem from Harris’ expansive catalog – 1968’s Plug Me In, which features his pioneering use of the Varitone saxophone effects processor unit (first heard on his 1967 album, The Tender Storm). The effect, used on “It’s Crazy” and “Ballad (For My Love),” never gets in the way, but gives the proceedings a feeling of “the next.” 1968 saw jazz entering a new era, influenced by electronic advances as well as the soul music dominating the pop charts of the day. Plug Me In slid perfectly into the vanguard of the day.
There is a soulful warmth to the proceedings on this classic LP, starting with album opener “Live Right Now,” which builds and swirls to a beautiful crescendo, with notes ricocheting back and forth amongst a top level crew of players including Jodie Christian, Chuck Rainey and Richard Smith. “Lovely Is Today” and “It’s Crazy” also feature waves of sunshiney brass and group interplay, alongside album ballads like “Winter Meeting” and “Ballad (For My Love).”
Eddie Harris’ catalog can be daunting, considering his impressive input throughout the 60s and 70s, but there’s a reason fans old and new come back to Plug Me In again and again. Innovation and soul is a combination that never fails, and this reissue is destined to bring more fans into the fold.

Never before reissued, this legendary 1968 EMI recording is a revered Indian jazz rarity; a collectors’ holy grail.

Raga Jazz Style is an original Indian excursion into Indo-jazz fusion. A one-away recording from the almost unknown Bombay jazz scene, it is among the few jazz LPs to hail from the subcontinent.

One night during a one-time, two-week engagement at the Five Spot produced enough music of lasting merit for three albums. When Rudy Van Gelder took his portable equipment down to the fabled Cooper Square jazz club on July 16, 1961, he captured the interaction of an extraordinary quintet.
Eric Dolphy, Booker Little, Mal Waldron, Richard Davis and Ed Blackwell had formed a cooperative group and, if LIttle had not died in October 1961, there is no doubt that it would have been a potent force in the music of the 1960s and beyond. Dolphy himself died in June 1964, after establishing himself as one of the important contemporary reedmen. Here his alto saxophone and bass clarinet and Little’s trumpet explore three originals: "The Prophet" by Dolphy, "Bee Vamp" by Little, and "Fire Waltz" by Waldron. It’s time caught in a bottle — music for the ages.

2LP, 180 Gram Audiophile Vinyl, Numbered Limited-Edition

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.

This is it, the live, double LP where the magical Tony Bennett created indelible memories! "Tony Bennett At Carnegie Hall" is the Tony Bennett album to buy for any Bennett fan or those just introduced to his music. And you'll never hear or experience it presented in finer fashion than from this outstanding reissue by Analogue Productions and Quality Record Pressings!
We've given "Tony Bennett At Carnegie Hall" the deluxe reissue treatment. Starting with premier mastering by Ryan Smith at Sterling Sound from the original analog tapes. Then plating and presssing by Gary Salstrom and the crew at Quality Record Pressings, where the finest quality LPs in the world are pressed. But it doesn't stop there: We've expanded and enhanced the original studio photography, which was supplied by Sony to our graphic designers. And we've wrapped up the whole package in a deluxe 'old-school' tip-on gatefold jacket from Stoughton Printing!
Originally recorded in 1962, "Tony Bennett At Carnegie Hall" is a testament to Bennett's live vocal ability, writes allmusic.com. Backed by the Ralph Sharon Orchestra, Bennett moves far beyond his standard musical catalogue.
Along with standards like "I Left My Heart In San Francisco" and "Just in Time", Bennett reached out to create great medleys such as "(I Like New York in June) How About You/April in Paris", that automatically become his as soon as they are performed. Altogether there are 30 tracks on the album. Most remarkable is the clarity of the recording of the concert. If not for the tremendous applause of the audience, you could swear that Bennett had recorded each track in the studio. A masterpiece!

Recorded in Rome, Italy at RCA's studios, Chet Is back! is the 1962 studio album by the undisputed master of the trumpet, Chet Baker. Backed by a group of up-and-coming European jazz musicians, which included Belgian saxophonist Bobby Jaspar, Belgian guitarist Rene Thomas, Italian pianist Amedeo Tommasi, French bassist Benoit Quersin, and Swiss drummer Daniel Humair, according to critics Chet Baker may have never sounded better.

Limited edition on clear wax!

Re-mastering by Ray Staff at Air Mastering!

Released in 1967, California Dreaming was Wes Montgomery's last album for Verve (other than an exciting collaboration with Jimmy Smith). It’s an extraordinary orchestral date featuring arrangements by Don Sebesky that showcases soloists such as pianist Herbie Hancock and percussionist Ray Barretto. The songs (which include "Sunny" and the title tune "California Dreaming") are in this case mostly pop material of the era, from which the great performer extracts magic sounds. The album reached No. 1 on the Billboard jazz album chart and No. 4 on the R&B chart, and was one of the last great works by Montgomery, whose later guitar style influenced jazz fusion and smooth jazz. At the peak of his popularity, the guitarist unexpectedly died of a heart attack on June 15, 1968, at the age of 45.