Jazz | Fusion 417 Items

180 Gram 45RPM Audiophile Vinyl, Numbered Limited-Edition

Intensity marked everything that Booker Ervin played. In his harmonic concept, slashing attack, and broad Texas sound, Ervin demanded attention and constantly built improvisations of searing drama and epic sweep. His primary legacy is a series of albums recorded for Prestige in the 1960s, of which this was his first, a riveting quintet recital where the alto saxophone of Frank Strozier supplies an urgent complement and the rhythm section is piloted by Horace Parlan, Ervin’s longtime compatriot from their days together in the Charles Mingus Jazz Workshop and in a cooperative quartet that worked at "Minton’s Playhouse". In addition to four inspiring originals by Ervin and drummer Walter Perkins, the session features an eloquent reading of Fats Waller’s immortal "Black And Blue" and an exploration of the show tune "Just in Time". Both the latter and "No Land’s Man" are included in two versions, the shorter of which were cut for release as a 45rpm single.

Nuff Said! Is an album by Jazz singer/ pianist/ songwriter Nina Simone. In 1969, the album was placed on peak 44 in R&B Albums Chart. The album received an Emmy nomination and featured one of Nina's biggest hits in Europe: "Ain't Got No, I Got Life".

180g Vinyl.

Best known for the lush 1961 rendition of the ballad “At Last”– a slow-dance staple at wedding celebrations everywhere,she is also celebrated for having recorded one of the bestlive albums of all time, “Rocks the House.” Recorded in 1963at the New Era Club in Nashville, James is captured at her performance peak. The foundation for her reputation as a fiery no-holds-barred performer was firmly established in this recording.

Blues, soul, jazz, R&B, and rock vocalist Etta James, needs no introduction. An icon from early rock’n’roll’s pantheon of divas, she has inspired 5 decades of listeners and fellow artists with her vocal stylings. From Janis Joplin to Beyonce, her expressive and guttural style has been imitated but never quite matched.

Jackpot Records is honored to release this momentous record on stellar blue vinyl, with the original album artwork and including 3 bonus tracks which have only ever been released previously on CD. Her powerful version of “Something’s Got a Hold on Me” will shake you. Her impassioned version of “All I Could Do Is Cry,” will break you.

180g vinyl including download code.

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.

Pressed at Pallas in Germany

Monk's Dream is the first album jazz musician Thelonious Monk released on Columbia Records. Jazz scholars and enthusiasts alike also heralded this combo as the best Monk had been involved with for several years.

180g audiophile vinyl.

Limited edition on clear wax!

Blow-Up is a soundtrack album by Herbie Hancock featuring music composed for Michelangelo Antonioni's cult film Blow-Up, released in 1966. Musically the songs evoke the ambience of swinging Sixties' London with grooves that create effective bluesy Jazz moods on the slow pieces, and funky ones on the up-tempo tracks.

Although the beautiful sound, mutual understanding and harmonic balance mostly predominate, the music of alto saxophonist Paul Desmond performing together with baritone saxophonist Gerry Mulligan is far from what one calls 'easy listening'. For many, it is even difficult to identify the melody of evergreens such as "Stardust" and "The Way You Look Tonight". (And what theme is tucked away in "Two Of A Mind"????)
The recording in the RCA Victor Studio took place over several days in 1962, and this is why different bass players and percussionists are heard – Wendell Marshall, Joe Benjamin and John Beal each take their turn on the bass, while Connie Kay and Mel Lewis change places behind the drum set. These musicians form a brilliant team, and that there is no piano is both deliberate and inevitable for Gerry Mulligan recordings of the day. By the way, the second saxophonist in "The Way You Look Tonight" is Paul Desmond – by means of over-dubbing in the middle of the stereo recording!
The present LP could certainly take a rightful place in a 'Best Of' collection alongside the other recordings by Gerry Mulligan with Ben Webster and Stan Getz.

Pressed to 180g audiophile vinyl.

180 Gram Audiophile Vinyl, limited & numbered!

One of the key 60s free jazz recordings!

One of the most important Jazz Albums from the mighty Amiga catalogue is back in print!

180g vinyl

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.

Oscar Peterson's Frank Sinatra tribute features his trio with bassist Ray Brown & drummer Ed Thigpen. The renditions are all under four minutes and are highlighted by "Come Dance with Me," "Just in Time," "I Get a Kick Out of You," and "How About You?" This is one of Oscar Peterson's most essential dates—swinging and enjoyable.

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

Saar Records, through its famous Music subsidiary, re-releases the second Chet Baker’s LP, recorded with his sextet and quartet and originally released in March 1960; one of the rare occasions for our musicians to team together with an American trumpet player for a rather long period.

Chet Baker is one of the most important and essential characters of modern jazz and over the years he has not lost his strength and colour, a fact that’s clearly demonstrated by this release, indeed showing us a quite different Chet Baker. His style has become less slender, more excited, more precise, more violent, and several tracks of this record prove it.

The musicians here accompanying Chet Baker are the very best the Italian jazz scene of the time could offer: Glauco Masetti on alto sax, Gianni Basso on tenor sax, Renato Sellani on piano, Franco Cerri on double bass, together with the Italian-American Gene Victory on drums. As usual in such situations, arrangements were entrusted to Giulio Libano, who wisely provided the musicians with ample space for their solos. Chet Baker is undoubtedly the protagonist, but a lot of freedom of expression is granted to his fellow adventurers.

The album was recorded on 25 and 26 September and on 6 October 1959 at the Guertler Bros studio.

The first and best out of just two collaborative albums by organist Jimmy Smith and guitarist Wes Montgomery, Jimmy & Wes: The Dynamic Duo was recorded in 1966 and features arrangements by Oliver Nelson. It is frequently listed among Jimmy Smith's best albums. The duo's follow-up record, Further Adventures of Jimmy and Wes, was taped during the same sessions and released in 1968. Al/Music critic Richard S. Ginell gave The Dynamic Duo the maximum * * * * * rating, stating that "Creed Taylor matched two of his most famous artists, Wes Montgomery and Jimmy Smith, on this session (Montgomery's last for Verve), and the results are incendiary- a near-ideal meeting of yin a.nd yang. Smith comes at your throat with his big attacks and blues runs while Montgomery responds with rounder, smoother octaves and single notes that still convey much heat. They are an amazing pair."

"Space Flight" was the debut recording by the mysterious organist Sam Lazar, who disappeared from the music scene after just a few recordings in the 1960s. Issued on Argo in 1960, it features guitar wizard Grant Green—on only his second recording—as well as Chicago blues legend Willie Dixon on bass.



Verve BY Request Series: remastered, audiophile-quality 180-gram vinyl from Third Man Pressing/Detroit, Single Sleeve

Tracklisting: Space Flight (1960)

An American jazz critic once said that Wes Montgomery was the "best thing that could happen to a guitar." Grand words, one might say quickly racking one's brains to come up with other great names. But after only a few minutes of listening to this live recording made in 1965 at the Half Note in New York, you will forget your brain-storming and concentrate on the unfused performance of this brilliant guitarist and the superb Wynton Kelly Trio. The music which gets down to the nitty-gritty, is always cool and straight with no fuss or frills getting in the way; the message comes over clearly--and it makes the blood surge through one's veins! This legendary session was recorded at a New York nightclub. It captures Montgomery at the height of his improvisational powers. Many consider it the best performance on record by one of the most inventive guitarists in jazz history.

Complex, emotive, and straddling several genres, Sketches Of Spain is one of Miles Davis’ masterpieces, a landmark of orchestrated jazz. The third of his collaborations with Gil Evans, Sketches was inspired by the classical ‘Concierto de Aranjuez,’ which sparked the suite that makes up the LP. Drummers Jimmy Cobb and Elvin Jones and bassist Paul Chambers reconfigured their approaches to blend with the orchestra under Evans’ command and Davis uses a muted flugelhorn for the epic opener; his solo on ‘Saeta’ is blinding and the adapted Andalusian folk song ‘Solea’ draws on flamenco. This absolute stunner is a must-have!

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

Bobby Hutcherson’s 1968 album "Total Eclipse" was the vibraphonist’s first recording to feature saxophonist Harold Land who would become a key collaborator for years to come. Rounding out the band were pianist Chick Corea, bassist Reggie Johnson, and drummer Joe Chambers on this impassioned and probing 1968 set of post-bop.



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 gatefold tip-on jacket.

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.

« Lush Life » (1958) is among John Coltrane’s best endeavors on the Prestige (and Music) label.

One reason can easily be attributed to the interesting personnel and the subsequent lack of a keyboard player for the August 16, 1957 session that yielded the majority of the material.

Coltrane (tenor sax) had to essentially lead the compact trio of himself, Earl May (bass) and Art Taylor (drums). The intimate setting is perfect for ballads such as the opener ‘Like Someone in Love ».

John Coltrane doesn’t have to supplement the frequent redundancy inherent in pianists, so he has plenty of room to express himself through simple and ornate passages. Unifying the slippery syncopation and slightly Eastern feel of « I Love You » is the tenor’s prevalent capacity for flawless, if not downright inspired on-the-spot « head » arrangements that emerge singular and clear, never sounding preconceived. Even at an accelerated pace, the rhythm section ably prods the backbeat without interfering. A careful comparison will reveal that « Trane’s Slow Blues » is actually a fairly évident derivation (or possibly a different take) of « Slowtrane ». But don’t let the title fool you as the mid-tempo blues is undergirded by a lightheartedness.

May provides a platform for Coltrane’s even keeled runs before the tenor drops out, allowing both Earl May and then Art Taylor a chance to shine. The fun cat-and-mouse-like antics continue as Taylor can be heard encouraging the tenor player to raise the stakes and the tempo – which he does to great effect.

A grab-bag of hot John Coltrane performances executed in the early 1960s, Impressions is comprised of four Trane killers, all highlighting his versatility and a concerted effort not to be constrained by any given form, the music delivered with aplomb by Trane and an impressive supporting cast that includes the unfettered drummer Elvin Jones. The extended versions of ‘India’ and the title track were taken from Coltrane’s celebrated residency at the Village Vanguard with bass clarinettist Eric Dolphy in the fold; ‘Up Against The Wall’ holds a kind of tense optimism and ‘After The Rain’ is a melancholic classic. Top-notch Coltrane, superb!

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.