Jazz | Fusion Vinyl 647 Items

John Coltrane Quartet — A Love Supreme Analogue Productions' Uhqr, the pinnacle of high-quality vinyl! 45 RPM Ultra High Quality Record release. Limited to 10,000 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 images from the Coltrane home

Audiophile reviews rave about saxophone master John Coltrane's immortal Impulse! records, A Love Supreme (1964) and Ballads (1963). In fact, jazz critics have lauded A Love Supreme as Coltrane's most important recording. The rave reviews which appeared in the magazines Downbeat, Jazz Hot, Jazz Podium and Swing-journal reflected this: critics all over the world, in America, Europe and Japan recognized that Coltrane's deep religious belief had influenced both his approach to life and his music-making.

You're about to experience A Love Supreme 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 12" x 12" 12-page booklet featuring liner notes by Ashley Kahn and images from the Coltrane home.

The original master tape is available but it's not in the best shape. This LP was cut from a flat tape copy made by Rudy Van Gelder and used for cutting in the UK in April of 1965. Of course, the original recording was in December '64, so only a handful of months later. This tape was discovered at Abbey Road and had been untouched between 1965 and 2002. So while the original tape is available and while we would always opt for the original whenever we can, in this case this copy was the better choice as the tape has incurred less overall wear and sounds much better than the original.

A Love Supreme was Coltrane's pinnacle studio outing that at once compiled all of his innovations from his past, spoke of his current deep spirituality, and also gave a glimpse into the next two and a half years (sadly, those would be his last). Recorded at the end of 1964, Trane's classic quartet of Elvin Jones, McCoy Tyner, and Jimmy Garrison stepped in and created one of the most thought-provoking albums of their relationship.

The album not only enabled Coltrane to express himself with great intensity but also lent him the necessary inner peace to conceive a work of almost 40 minutes in length and to lead his quartet along the same path as himself.

Record has some hairlines and a few superficial scratches.
Plays with faint surface noise but far from overpowering the music.
Upper and lower seam are split. Sticker on back cover.

Vinyl with scuffs and hairlines, cover with yellowing and open seam split on top and bottom spine.

Original US pressing.

Original US mono MGM pressing.

Vinyl with many scuffs, hairlines and some deeper marks. Cover with long seam splits, shelf wear. and yellowing

Original US mono pressing . Vinyl with scuffs and hairlines. Cover close to VG+

US original.
Sleeve has taped seams, heavy wear, punchhole.
LP has scratches.

1993 reissue. OBI is missing. With insert. Stuffed corner. Vinyl is close to NM.

Vinyl with scuffs and hairlines. Cover with shelf wear

US original.
Sleeve has taped edges, heavy wear.
LP has hairlines and surface marks.

180 Gram 45RPM Audiophile Vinyl, Numbered Limited-Edition

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!

seam split

US original.

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.