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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.

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

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.”

180 Gram Vinyl

One of the key 60s free jazz recordings!

180g vinyl.

Booker Ervin's recordings with Charles Mingus and Randy Weston brought him good reviews and a bit of notoriety. But it was his series of Song Books for Prestige Records that broadcast the stentorian announcement that a jazz orator of gigantic stature had arrived. Ervin's tenor saxophone sound was haunted by the loneliness and spaciousness of the Texas plains where he was raised. The Southwest moan was an integral part of his playing. But his style went beyond the classic Texas tenor tradition to incorporate the intricacies of bebop and suggestions of the free jazz that was initiating one of the periods of self-renewal that keeps jazz fresh and interesting. "The Freedom Book", recorded at the end of 1963, was one of Ervin's masterpieces. He is abetted by the power and drive of Jaki Byard, Richard Davis, and Alan Dawson.

This 180g reissue comes with a download code.

It's 1964 and the first Berlin Jazz Festival is about to reach its absolute peak: the final concert on the night of Friday, 25th September by Miles Davis. And the European subsidiary of Columbia Records, CBS, couldn’t wait to release this legendary event on LP.
The new quintet, for the first time with Wayne Shorter on the tenor sax (and not yet as composer), thrilled and roused the audience in the Philharmonie from the first minute to the very end. The classics "Miles(tones)", "So What" and "Walkin’" were performed at an astonishingly fast pace, the ballads were tender and dreamy. Such a magical atmosphere was rarely evoked at later concerts, which was probably due to the excellent acoustics of the large concert hall. The audience were also seated behind the stage, so Miles couldn't turn his back provokingly on people; sometimes he just squatted on the stage. However, this didn’t prevent him from performing his solos lyrically and tenderly, most of them finely nuanced, soft and gentle, yet audible right into the furthest corner. The rhythmic structure created by the young drummer Anthony Williams provided the necessary excitement.
Miles at the top of his form, an enthusiastic audience, impressive acoustics and, to top it all, excellent recording technology and a fantastic pressing on virgin vinyl - what more does a jazz fan want? Now’s the time to dig out your credit card!

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

The album Rock 'n Soul was originally released in 1964 by Grammy Award winning Solomon Burke (†2010). 7 tracks ended up in Top 100 Billboard Hits at the time. "If You Need Me" went as high as #2 in the Black Singles Chart. This extraordinary album is not only soulful but a confirmation that Burke is a genius when it comes to writing music and making it happen in a studio!

The virtuoso trombonist Albert Mangelsdorff was one of the prominent figures of European Jazz of the 60s – 70s. Eastern influences with a perfect blend of Western culture characterized this album recorded in Frank- furt after the groups Asian tour. “Now Jazz Ramwong” sees the group in its best shape: alto saxophonist Gunther Kronberg, tenor saxophonist Heinz Sauer, bassist Gunter Lenz and drummer Ralf Hubner. A really mind-blowing mix of jazz, folk and Eastern sounds. The album contains “Three Jazz Moods”, a jazz adaptation of Ravi Shankar’s music.

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.

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.

The last of the collaborative LPs Miles Davis recorded with Gil Evans for Columbia, Quiet Nights is easily the most controversial. Following the success of Sketches Of Spain, Davis and Evans aimed to further the Latin explorations, this time pointing to Brazil, as heard on the adaptation of Antonio Carlos Jobim’s ‘Corcovado’ and Joao Gilberto’s ‘Aos Pés Da Cruz,’ with its stellar Ron Carter bass accompaniment, though some were surprised by the brevity of the proceedings, including Miles himself. Nevertheless, those who get to know the album will appreciate its intricacies, the product of the pair’s unique creative chemistry.

Sahib, besides being an undisputed leader and releasing records for prestigious European and American labels, was one of the key members of the prestigious Kenny Clarke Francy Boland Big Band.

Sahib, besides being an undisputed leader and releasing records for prestigious European and American labels, was one of the key members of the prestigious Kenny Clarke Francy Boland Big Band.

A few copies arrived with a seamsplit Cover. We're therefore selling it on a reduced price.

Sahib, besides being an undisputed leader and releasing records for prestigious European and American labels, was one of the key members of the prestigious Kenny Clarke Francy Boland Big Band.

Mostly improvised by clarinettist Scott, backed by Hozan Yamamoto and Shinichi Yuize — on the Japanese instruments shakuhachi and koto — this 1964 album is a precursor to later movements in ambient and new age music, from in and out of the jazz world.



VERVE BY REQUEST SERIES: remastered, audiophile-quality 180-gram vinyl from Third Man Pressing/Detroit, Single Sleeve.

180 GRAM AUDIOPHILE VINYL
HIS 1964 ALBUM FEATURING “STUFFY TURKEY”
RECORDED WITH BUTCH WARREN, BEN RILEY, CHARLIE ROUSE,
AND TEO MACERO

60TH ANNIVERSARY EDITION OF 1500 INDIVIDUALLY NUMBERED
COPIES ON TRANSLUCENT RED COLOURED VINYL

Der frühreife und begnadete Schlagzeuger und Komponist Tony Williams war bereits Mitglied des Miles Davis Quintet und wirkte an zahlreichen bahnbrechenden Blue-Note-Aufnahmen mit, darunter Herbie Hancock "Empyrean Isles", Eric Dolphy "Out To Lunch", Andrew Hill "Point Of Departure", Jackie McLean "One Step Beyond" und Grachan Moncur III "Evolution", als er im August 1964 sein eigenes abenteuerliches Debütalbum "Life Time" aufnahm, als er gerade einmal 18 Jahre alt war.

Williams hatte nicht die Absicht, auf seiner Jungfernfahrt als Leader auf Nummer sicher zu gehen und machte sich daran, seinen kompromisslosen Ausdruck auf diesem Programm mit innovativen Originalkompositionen zu dokumentieren. Seite 1 präsentiert die ausgedehnte zweisätzige Suite "2 Pieces of One", bei der der Schlagzeuger von dem Tenorsaxophonisten Sam Rivers und den Bassisten Gary Peacock und Richard Davis unterstützt wird. Seite 2 beginnt mit dem fröhlichen "Tomorrow Afternoon", bei dem Williams, Rivers und Peacock mitwirken. Auf dem frei improvisierten "Memory", bei dem Herbie Hancock am Klavier und Bobby Hutcherson am Vibraphon mitwirken, spielt Williams verschiedene Perkussionsinstrumente, und das nachdenkliche Klavier-Bass-Duett "Barb's Song to the Wizard", das von Hancock und Ron Carter gespielt wird und das Album abschließt, ist ganz auf ihn zugeschnitten.

Diese Stereo Tone Poet Vinyl Edition wurde von Joe Harley produziert, von Kevin Gray (Cohearent Audio) von den originalen analogen Masterbändern gemastert, bei Record Technology Inc. (RTI) auf 180g Vinyl gepresst und in einer luxuriösen Gatefold-Tip-on-Hülle verpackt.

“Is that what you wanted, Alfred?” we hear in Miles Davis’ unmistakable rasp at the end of “One for Daddy-O,” making it clear that the legendary (and assertive) trumpeter was not just playing the role of sideman on Somethin’ Else, the sole Blue Note album by Cannonball Adderley. The alto saxophonist was a memb¬er of Davis’ band at the time and the depth of their musical camaraderie lifts this session up to rarefied heights throughout, from the breathtaking performance of “Autumn Leaves” that opens the album to the thrilling call-and-response theme of the title track. Pianist Hank Jones, bassist Sam Jones, and drummer Art Blakey round out the quintet on this timeless classic.

Nobody had expected the extraordinary success of this album and its funky title track. When Blue Note released trumpeter Lee Morgan's “The Sidewinder” in 1964, the label “only” pressed 4,000 copies, but they were completely sold out within three days. The instrumental album reached number 25 in the pop charts and number 10 in the rhythm'n'blues charts, while the soul-jazzy title track, which was shortened for that, was also successful as a single. The album, recorded with tenor saxophonist Joe Henderson, pianist Barry Harris, bassist Bob Cranshaw and drummer Billy Higgins, is now a classic album that should be in every jazz collection.

Blind musician Hrant Kenkulian (1901-1978), generally known as Oudi Hrant was a master of the oud (fretless lute) who was probably best known for his taksims. He was an Armenian born in Adapazar, a city close to Istanbul which had a large Armenian population before the Genocide of 1915. After WWI, Hrant's family settled in Istanbul. Hrant started out singing in the church choir, but soon moved on to the oud. He made his career in Istanbul, but he toured the US in 1950, and did a world tour in 1963 to Paris, Beirut, Greece, America, and Yerevan, Soviet Armenia. He was a teacher of many Armenian-American oudists including Richard Hagopian. He was the pride of the Armenian people, and many consider him to be the most soulful oudist ever to emerge from Turkey. Released in 1964 on jazz label Prestige the record shows the stunning classical inspiration of the musician.

1964 was one of the most momentous years in the musical life of Wayne Shorter. Early in the year the saxophonist was still a member of Art Blakey & The Jazz Messengers, appearing on classic Blue Note albums like Free for All and Indestructible. Shorter made his own auspicious label debut that spring with Night Dreamer and quickly recorded the impressive follow-up JuJu. That summer he joined the Miles Davis Quintet, cementing a line-up that would become one of the seminal bands in jazz history. And when Shorter entered Van Gelder Studio with Freddie Hubbard, Herbie Hancock, Ron Carter, and Elvin Jones on Christmas Eve 1964 they created a masterpiece with Speak No Evil, a transcendent set of six Shorter originals including the swinging title track, “Witch Hunt,” and sublime ballad “Infant Eyes.”

Why you'll love it...
Freddie Roach’s first three albums introduced him to the world, but Brown Sugar showed it who he was. It was the album that Roach made to capture the energy of soul jazz. To somehow take the sounds in the city, in the clubs, and bring them to a record. In his original liner notes, Roach writes that the album is an ode to late nights and loud clubs, to backs damp with sweat, arms wrapped around waists. ‘’Not caring for the moment about troubles or problems,'' he wrote of people dancing, ‘’their bodies quivering under smiles that seemed to promise ‘after the dance.’'' After talking to Alfred Lion, president of Blue Note, they decided that the album needed to be made up of standards — not the standards of the stage or screen, but the standards of the people. ‘’To get the ‘soul,’'' Roach wrote, ‘’I decided to do show soul tunes.''

180g audiophile pressing.

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.

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

180 Gram 45RPM Audiophile Vinyl, Numbered Limited-Edition

It was a clever move by George Avakian, producer at Atlantic Records, to record live the Charles Lloyd Quartet during their appearance in Monterey, and to release the LP under the title "Forest Flower". Although the hippy flower-power movement tended towards a rather different musical genre at the end of the Sixties, they were blown away by this music. The four artists attracted masses of people and ensured that every seat was taken and all standing room filled at jazz festivals such as Newport, Molde (Norway), Antibes (France) and the Fillmore East and West. The super group also appeared in Monterey, 120 Km south of San Francisco, the centre of the hippy movement, on 18 September 1966.
On the LP we have the almost 18-minute-long title piece and the standard work "East Of The Sun", which were recorded at the festival. The disc is complemented by a Keith Jarrett composition and one by Cecil McBee, both of which were recorded in the studio ten days before the festival.
Of particular note is the rich interplay, the energy that is palpable throughout, the perfect harmony in each and every change of mood, and the intensity. Even 50 years later, it is quite clear that Charles Lloyd managed to break down the barriers between pop and jazz.
Charles Lloyd is committed to this objective to this very day! All four musicians are still active, although they no longer appear together as a group. Such a special treat for the ears is offered by this newly mastered disc only.

After his great success as a new discovery through playing on tour and in the studio with Art Blakey’s creative and inspirational group, the Jazz Messengers, Freddie Hubbard made a dozen LPs over 16 years for Blue Note and Impulse under his own direction.
It was no wonder then that a big record company made him a lucrative offer in autumn 1966. All in all, Atlantic Records released six LPs and the very first, entitled "Backlash", is still until today the best of the bunch.
Three numbers by Freddie Hubbard, one by Bob Cunningham, and two by friends, provide the basis for a successful transition between hard bop and soul beat. Hubbard made high demands on his fellow musicians James Spaulding, Albert Dailey and especially the bass player Bob Cunningham and the drummer Ray Appleton because they had to cope with the ever-changing beat. Right from the very first note, it is obvious that Freddie Hubbard had Fats Navarro and Clifford Brown in his heart and fingers. All the titles are excellent. Of special note, however, is "Little Sunflower". The sound colouring of the flute harmonizes particularly well with Hubbard’s brass, and Ray Barretto’s contribution is more than mere decoration. You’re certainly on the right track with this LP, no matter whether it’s the beginning of a Freddie Hubbard collection or a further contribution to a large jazz collection.

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

Recording: 1967 by Tom Dowd, Phil Jehle and Adrian Barber
Production: Arif Mardin