Jazz | Fusion 366 Items

"[...] Tenor saxophonist Harold Land leads an all-star sextet that includes guitarist Wes Montgomery, trumpeter Joe Gordon, pianist Barry Harris, bassist Sam Jones and drummer Louis Hayes. Together, they perform three of Land's originals, "Don't Explain," and Charlie Parker's "Klactoveedsedstene," and an early version of Montgomery's "West Coast Blues." The music is as well-played and swinging as one would expect from this superior bop group." Scott Yanow -All Music Guide

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.

“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.

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

"The Blue Yusef Lateef" - Yusef Lateef (ts, fl, perc, voc); Sonny Red (as); Blue Mitchell (tp); Kenny Burrell (g); Hugh Lawson (p); Buddy Lucas (hca); Cecil McBee, Bob Cranshaw (b); Roy Brooks (dr); strings and vocal group

Yusuf Lateef was a leading representative of world music, long before world music was known as such in the jazz, pop and rock community. He integrated all kinds of oriental instruments in his jazz music, such as the koto, bamboo flute and tambura and also – as in this case – in his blues compositions. His saxophone playing is also flawless too and full of wonderful textures, hard and impulsive at one moment, cool and exotic at the next.
On this album Lateef explores, in a painterly way, the border areas of the blues, in all their various guises and addresses both eastern and western cultures. "Juba Juba" begins with a drumbeat on a slave ship, the tempo builds up slowly and agonizingly, and is only penetrated by Lateef’s plaintive flute and background voices singing »freedom, freedom, freedom«. After such a gloomy beginning the classical blues number "Like It Is" comes over like a breath of fresh air, with its superb string quartet as the foundation. The R&B contributions on the other tracks testify to Lateef’s skilled excursions into the realm of the blues, while the truly adventurous tracks such as "Back Home" and the mystic, Chinese odyssey "Moon Cup" weave a magical net of sheer pleasure. "The Blue Yusef Lateef" is in every possible way absolutely breathtaking. It is a milestone as a jazz album. As a blues album it is quite unique. But as a musical work of art it is a glorious and genial masterpiece.

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.

Recording: April 1968 in RCA Studios, New York City by Ray Hall
Production: Joel Dorn

From the time Coleman Hawkins firmly established the tenor saxophone on the jazz map, it has been one of the most potent forces in the music, its best practitioners able to raise the roof with a jumping blues, soothe the savage beast with a tender love ballad, and do just about anything in between. At the time of this recording (1961), Jimmy Forrest, the St. Louis-born reedman, was a veteran of the Fate Marable, Jay McShann, Andy Kirk, and Duke Ellington bands. Later in his career he starred with Count Basie. Here he leads a quartet of teammates from the combo of 'Sweets' Edison, including the young Austrian pianist Joe Zawinul, through a gamut of the aforementioned moods from "Crash Program" to the caressing "That's All", with a few tips of the cap to Ben Webster along the way. With Joe Zawinul, Tommy Potter and Clarence Johnston.

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.

Limited Clear Vinyl edition, 300 copies! In 1959, at the time of this recording session, Yusef Lateef was already approaching a new and more open form of Jazz. A sophisticated, spiritual yet urban music form informed by non western languages and cultures. Cry Tender! is a deeply inventive, mostly contemplative album inspired by an original cosmopolitan vision of Jazz and based on masterful playing from a bunch of solid Jazz musicians including among others: Wilbur Harden – flugelhorn, Hugh Lawson – piano, Herman Wright – bass and Oliver Jackson – drums, percussion, all under the direction of master of ceremonies Yusef Lateef on tenor sax, flute and oboe.

One of the most active bebop trumpeters, Kenny Dorham started in the big bands of Mercer, Ellington, Lionel Hampton, Billy Eckstine and Dizzy Gillespie and eventually landed in the Charlie Parker Quintet. In addition, he was a charter member of Art Blakey’s Jazz Messengers, recorded as a sideman with Thelonious Monk and Sonny Rollins and replaced Clifford Brown in the Max Roach Quintet. Throughout his career he can be heard playing trumpet on various recordings with Lou Donaldson, Sonny Stitt, Fats Navarro, Kenny Clarke, Mary Lou Williams and many more musical legends. “Quiet Kenny” is a jazz masterpiece. Recorded by the great Rudy Van Gelder with a group of musicians playing at the top of their game, this title continues to be one of the most collectible Jazz LPs due to its high demand and short supply.

Master jazz pianist Tenorio Jr aka Francisco Tenório Júnior only recorded this one album, 'Embalo', originally released on RGE in 1964. Rumour has it that he was arrested and thrown in jail (and possibly even murdered) while on tour with Toquinho and Vinicius de Moraes in Argentina in 1976. He has not been seen since...
Soon after the disappearance of Tenorio Jr. filmmaker Rogerio Lima produced a short film entitled "Balada para Tenorio," which chronicles the disappearance with interviews with family and friends.
Júnior played on Gal Costa’s classic song ’Pontos De Luz’, as sampled by Kaytranada on Lite Spots.
This classic album has long been on our list to reissue and we are delighted to be able to present it at last with replica original artwork. As regularly played by the likes of Gilles Peterson, Floating Points and co.

Shape of Things to Come is the fifth studio album by the American guitarist George Benson, recorded in 1968 and arranged by Don Sebesky. It was his first album for A&M Records and his first album to be produced by Creed Taylor, who would remain his producer until 1976. After four years and three different labels, Benson signed with the A&M/CTI label in 1968. He was to be the replacement for their star Wes Montgomery, who had died earlier in the year. For his first album with the label, producer Taylor brought in all of the labels heavyweights, arranger Sebesky, engineer Rudy Van Gelder, and guest artists Herbie Hancock and Ron Carter. The album is mostly cover songs from artists as diverse as Aretha Franklin, The Monkees and Glenn Miller. It also contains a pair of original compositions and some reworkings of movie soundtracks.

1step Process 180g 45rpm Double LP Pressed on VR900-Supreme Vinyl! Mastered From The Original Analogue Master Tapes by Bernie Grundman! Super-Luxe "Monster Pak" Jacket with a Rich 36-Page Booklet & Striking Outer Slipcase!

New lacquers cut for every 500 pressings!

Strictly Limited To 7,500 Numbered Pressings!

There have been more than 40 U.S. releases (and hundreds more worldwide) of Stan Getz's cultural touchstone album and for good reason: few recordings better capture the breezy warmth and easy-going sophistication of Brazilian bossa nova for an American jazz audience. Fewer recordings can replicate the you-are-there presence and flawlessly tight studio acoustics. Only Getz/Gilberto has Billboard Top-10-charting singles like "The Girl from Ipanema." When Impex Records jumps into this densely-populated fray with our own production, we need to bring maximum value and prestige to it. Challenge accepted. We worked directly with Stan's wife Monica Getz and their son Nicolaus to create the most authentic, best-presented Getz/Gilberto ever.

Exclusive to Impex's 1step Getz/Gilberto includes an insightful new interview/essay by Charles Granata featuring Monica reminiscences of the making of this record, the subsequent cultural phenomenon, and Stan's battles with some pretty heavy demons. Also unique to this release are two bonus tracks: an alternate mono 7" mix of "The Girl from Ipanema" (without the added echo, thank you very much) and a live recording of "Corcovado" from Carnegie Hall. Finally, the large-format, 36-page booklet features dozens of rare photos, the original album notes, and a fascinating personal remembrance from Monica Getz herself, celebrating her late husband's work and an inside look at Stan's family life while making the record!

Using the original analog master tapes and no computers at all, Bernie Grundman at Bernie Grundman Mastering sought to keep the sense of space and tone on the master tape intact without unnecessary embellishment. Impex 1steps get you closer to the source, not the ideal.

We know you have many choices when it comes to enjoying this singular album. The Impex 1step of Getz/Gilberto cuts above all other releases with added-value content that takes you deeper into Stan Getz's life and process in a way never previously possible.

The 1step Process:



The Impex 1step process relies on short, tightly-controlled runs that require a new lacquer after each 500 pressings. This unforgiving format has the lacquer skipping the regular father-mother process, going right to a single convert and then pressing. Though this dramatically increases mastering and production costs, it also assures each run is more consistent from disc to disc, with less noise, clearer details and deeper bass.

Reducing production complexity to just a single "convert" disc between the lacquer and the press greatly improves groove integrity, diminishes non-fill anomalies and increases signal integrity from the master tape to your system.

Features:



The only release of this fundamental jazz classic crafted with the full participation of the Getz family, including never-before-seen photos and notes from Monica and Nick Getz Exclusive new interview essay about Getz's life and the recording of the album by noted producer and historian Charles L. Granata Exclusive ultra-luxe Impex 1step packaging featuring a deluxe 36-page booklet within a heavy-stock two-sleeve Monster Pack jacket and striking colour-matched slip case Two all-analogue bonus tracks: an alternate mono 7" mix of "The Girl from Ipanema" and a live recording of "Corcovado" from Carnegie Hall Limited to 7,500 copies



Musicians:



Stan Getz- tenor saxophone Joao Gilberto - guitar, vocals Antonio Carlos - Jobim piano Tommy William - bass Milton Banana - drums Astrud Gilberto - vocals

Andrew Hill’s 1968 album Dance With Death stands as one of the most gratifying though under-recognized sessions of the brilliant pianist’s discography featuring his singular compositions performed by a versatile quintet with Charles Tolliver, Joe Farrell, Victor Sproles, and 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.

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!

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

In 1960, the free jazz pioneered by Ornette Coleman, Cecil Taylor, Horace Tapscott and a very few others was rejected by many musicians and most listeners. For the visionary saxophonist, clarinetist and flutist Eric Dolphy, it was simply new music fed by the mainstream, a logical extension of the jazz tradition. In "Far Cry" without leaving form behind, he incorporated the spirit of adventure and abandon with which free jazz at its best infused freshness into jazz. Recording with a pianoless quartet that used Ron Carter’s cello as the other melody instrument, Dolphy worked from chord patterns developed within structures that depart from ordinary 32-bar jazz and popular song forms. He used 30-bar, 35-bar and 18-bar structures, but he also observed standard practice with 12-bar blues, “Serene”. Dolphy’s speech-like improvisations and Carter’s bowed or plucked cello solos soar over the impeccable and responsive accompaniments of bassist George Duvivier and drummer Roy Haynes.

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!

The Latin Jazz classic that started it all! Mandatory!

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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.

Limited Clear Vinyl edition, 500 copies! Twistin' the Night Away is Sam Cooke's eighth studio album. Released in April 1962 by RCA Victor, the album shows how the one and only Sam Cooke approached the twist dance phenomenon and as a result became one of Cooke's most successful releases. In fact Twistin' the Night Away peaked while the single of the same name charted high at number nine on the Billboard Hot 100. Twistin' the Night Away stands as one of the great dance albums of its period,"and "a brilliant soul album as well.

Limited Clear Vinyl edition, 500 copies! Originally released on Impulse in 1962 "Soul Trombone and the Jazz Clan" was a major statement from one of the great trombone players in American jazz. Here Fuller displays an outstanding hard-bop ensemble based on a bunch of great individuals all at the top of their game. Fuller himself is part of a super strong horn section with trumpeter Freddie Hubbard and tenor saxophonist Jimmy Heath, while the groove is assured by a hard swinging rhythm section with pianist Cedar Walton, bassist Jimmie Merritt and drummer Jimmy Cobb. Fuller gives lots of space to his musicians who naturally respond and empathize with great solos.In one word: an outstanding record!

A multi-instrumentalist who reconfigured jazz many times during his long career, Yusef Lateef came to prominence in the late 1950s, after having toured with Dizzy Gillespie. Jazz Mood dates from 1957, when his Quintet had some of Detroit's finest, including Alice Coltrane's brother Ernest Farrow on bass and future Jazz Messenger Curtis Fuller on trombone. The use of an argol on 'Metaphor' and a rabat and finger cymbals on 'Morning' point to Lateef's Islamic grounding and his belief that music serves a higher purpose; this edition has bonus track 'Passion,' from the equally excellent Before Dawn. Rich, deep, and varied, this is required listening for all serious jazz heads.

Gilberto with Turrentine is an album by Brazilian samba and bossa nova singer Astrud Gilberto and American saxophonist Stanley Turrentine featuring performances recorded in 1971 released on the CTI label. The album can be described as a blend of jazz, pop, and tropicalia. It was arranged by Eumir Deodato and features appearances by A-list jazz performers including Airto Moreira, Ron Carter, Sam Brown, Hubert Laws, and Toots Thielemans.

Charles Mingus brought together an amazing lineup spanning the totality of the nation's jazz scene with such luminaries as Eric Dolphy, Buddy Collette, Clark Terry, Zoot Sims, Pepper Adams, Jaki Byard, Grady Tate, and more. Brought together to perform new Mingus compositions for the first time in public, the recording was initially considered weak due to limited rehearsal time but the years have been kind to this recording and it's a fantastic set of Mingus compositions, including the powerful "Freedom" which rivals the works on Mingus Ah-Um (1959) for its strength of purpose and message, in a similar vein to Max Roach's legendary We Insist! album (1960). Mingus is one of the most important figures in 20th century music and this live recording documents his compositional and arranging process as well as sheer swinging joy.

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.

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."

180g vinyl.

Volker Kriegel is considered the pioneering Jazz-rock and Fusion guitarist from Europe. 1968 was a crucial year for his career as he released "With A Little Help From My Friends," his first solo album, and signed with American vibraphonist Dave Pike, joining what would quickly emerge as one of the most popular and influential jazz fusion combos. This precious document reissued for the first time by Cinedelic Jazz with bonus tracks highlights all his qualities that enabled him to become one of the most acclaimed and innovative guitarists in European jazz. The original album included two recording sessions; Side A in Cologne and Side B in Frankfurt, with different performers. Side A as a trio with double bass and drums, and on the other with the addition of vibraphonist Claudio Szenkar. The covers performed are the two by Lennon-McCartney 'With A Little Help From My Friends' and 'Norwegian Wood’, and the traditional Brazilian 'Nãnã Imborô'. Added to the original album are four previously unreleased tracks of great depth recorded at the Deutsches Jazz Festival in Frankfurt in 1968: "Teaming Up" and "Vian-De" by Kriegel himself, "Spanish Soul" by Szenkar and "Nina's Dance" lasting over 9 minutes and featuring Tony Scott on Clarinet and Gustl Mayr on Tenor Sax. Over the years, Kriegel would go on to participate in over 200 albums.

180g Vinyl LP pressing. High Priestess of Soul is the last album Simone released under Philips Records. The songs are accompanied by a large band directed by Hal Mooney. The album contains popular songs, such as "Don't You Pay Them No Mind" and African American gospel and folk related songs written by Simone herself, such as "Take Me to the Water" and "Come Ye." After this album title, Nina Simone was sometimes referred to as "the high priestess of soul." Nina Simone was an American singer, songwriter, pianist, arranger, and civil rights activist who worked in a broad range of musical styles including classical, jazz, blues, folk, R&B, gospel, and pop. Simone's musical style fused gospel and pop with classical music, in particular Johann Sebastian Bach, and accompanied expressive, jazz-like singing in her contralto voice.

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.