Jazz | Fusion 180 Items

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.''

New York based Jazz singer Helen Merrill moved to Europe after her London debut concert in 1959. as she is living in Italy for 4 years, Helen also performed Japan in 1960 and 1963.

Hank Mobley was inspired by 'Birth of the Cool' on his 1966 album 'A Slice of the Top' featuring Duke Pearson’s arrangements for an octet that added euphonium and tuba to a group with James Spaulding on alto sax, Lee Morgan on trumpet, McCoy Tyner on piano, Bob Cranshaw on bass, and Billy Higgins on drums.

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 gatefold sleeve with deluxe tip-on jacket.

One of the great line-ups of Art Blakey & The Jazz Messengers coalesced when saxophonist Wayne Shorter joined trumpeter Lee Morgan, pianist Bobby Timmons, and bassist Jymie Merritt, as heard on the 1960 album "A Night In Tunisia". Opening with a fiery version of Dizzy Gillespie’s famous piece, the rest of the set showcased new bandmember originals.

This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Tenor saxophonist Hank Mobley had already led nine dates for Blue Note Records by the time he arrived at Rudy Van Gelder’s studio on February 7, 1960 with pianist Wynton Kelly, bassist Paul Chambers, and drummer Art Blakey, but on that day the quartet laid down what would become his masterpiece: Soul Station.
The crystalline six-song set was a showcase for Mobley’s lyrical flow from the breezy opening take on Irving Berlin’s “Remember” through bluesy originals like “Dig Dis” and the title track, and the swinging up-tempo numbers “This I Dig of You” and “Split Feelin’s.” Soul Station endures as a jazz classic for the ages.

180 gram audiophile vinyl
Sleeve finished with linen laminate
Recorded live at the Philharmonic Hall at Lincoln Center, New York, February 12, 1964
Featuring Herbie Hancock, George Coleman, Ron Carter and Tony Williams
Album produced by Teo Macero
Black vinyl

Recorded at the same Feb. 12, 1964 New York concert that yielded the more balladic album My Funny Valentine, Four & More showcases the Miles Davis quintet at their blistering best. The great trumpeter and bandleader (1926-1991), and his stellar group, which was less than a year old at the time of this recording, mostly essayed tempos that ranged from Indianapolis 500 to Bonneville Salt Flats. Offering a well-balanced, albeit reconfigured, repertoire featuring the familiar hard-bop strains of “Four” and “Walkin’,” newer, original free bop compositions like “Joshua” and “Seven Steps To Heaven,” and the standard “There Is No Greater Love,” which the ensemble performed relatively infrequently and is the only tune herein not taken at a supersonic pace, the quintet electrified a sold out Philharmonic Hall. Spurred on consistently by the mercurial rhythm section of pianist Herbie Hancock (23 years old at the time), bassist Ron Carter (then 26), and especially by the cross rhythms of 18-year old genius drummer Tony Williams, Davis’ work, particularly in the upper register, was seldom more commanding. As for his front line partner, tenor saxophonist George Coleman, Davis would write in his autobiography that he “played better that night than I ever heard him play.”

Four & More is available on black vinyl and comes in a sleeve finished with linen laminate.

Recorded in 1965 at Rudy Van Gelder's studio in New Jersey, Roland Kirk's album Rip, Rig and Panic finds him teamed with the most awesome rhythm section he ever recorded with: pianist Jaki Byard, bassist Richard Davis, and drummer Elvin Jones. It received a 5 stars rating on AllMusic, with reviewer Thom Jurek stating that "Rip, Rig, and Panic may be pre-Rahsaan Roland Kirk's greatest outing. Kirk and his quartet moved through a series of musicological changes that defined him as an artist at the time. Five of the seven compositions are his, and reach through each of the phases that Kirk was interested in integrating into his compositional and improvisational voice. Positively smashing."

Originally released on Roulette records in 1960, this is a unique and yet often overlooked document in the form of a split album featuring early, little known works by John Coltrane and Lee Morgan. Coltrane, already in full modal flight, is featured with an unusual quartet that includes McCoy Tyner on piano, Steven Davis on bass and the great Billy Higgins on drums. Lee Morgan's straight ahead hard bop set sees the young trumpet genius leading a hard swinging group that includes a fabulous Wayne Shorter on tenor sax, Bobby Timmons on piano (both were Morgan's colleagues in Art Blakey Jazz Messengers) Jimmy Rowser on bass and Art Taylor on drums. A must have item for fans of these two masters of modern jazz

Even by the high-water marks set by Herbie Hancock’s tremendous 1960s Blue Note output, 1965’s Maiden Voyage remains one of the pinnacle artistic achievements of the great pianist’s career. Hancock is joined here by his Miles Davis Quintet bandmates Ron Carter on bass and Tony Williams on drums, along with Freddie Hubbard on trumpet and George Coleman on tenor saxophone. The quintet embarks on an oceanic exploration of five original Hancock compositions, several of which have since become enduring standards of the jazz lexicon including the title track, “Eye of the Hurricane,” and “Dolphin Dance.”

Mixed Bag is the debut studio album by Richie Havens, released in 1966. Mixed Bag is frequently cited as the singer's best work,[1] and was his first album to appear on Billboard's charts (appearing on both the jazz and pop charts). The recording was the first to introduce a wider audience to Havens's rich baritone vocals and the full-sound of Havens's distinct guitar style (thumb-chorded and played in open E tuning).[1] Electric Havens and Mixed Bag were two of the records reported among the personal collection of Havens' one-time Greenwich Village buddy, Jimi Hendrix.

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.”

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.

Vibes player Johnny Lytle was one of the heroes of the early acid jazz club circuit, with his cut 'Selim' being an anthem of the scene.

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.

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."

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.

Kenny Burrell's album "Guitar Forms" stands as Burrell’s definitive musical statement. It was nominated for three Grammys in 1965, is considered one of the true masterpieces in the Verve catalog. This is partly due to the outstanding performance of the guitarist himself, of course, but also to the unforgettable arrangements that Gil Evans wrote for five of the album's nine tracks. According to AllMusic, these were in no way inferior to the brilliant arrangements that Evans had made for Miles Davis classics such as "Birth Of The Cool", "Porgy And Bess" and "Sketches Of Spain".



Verve Acoustic Sounds Series: mastered fully analogue from the original tapes by Ryan K. Smith at Sterling Sound, QPR pressing (180 g), firm tip-on gatefold (Stoughton Printing), padded inner sleeve, Gatefold Sleeve.

"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)

Art Blakey and the Jazz Messengers with Barney Wilen provide an essential jazz soundtrack to an extended ‘surprise party’ scene in director Roger Vadim’s 'Les liaisons dangereuses'. Originally released on the Fontana label, Blakey’s lively hard-bop and latin originals were used specifically as night club and party music in the film and his ‘No Problem’ became a classic with Blakey’s band in full flight. Decca France present the original soundtrack recording on 180gm vinyl in a deluxe gatefold tip-on jacket with English translation of the original liner notes, and a photo from the film of Gérard Philippe and Jeanne Moreau. Included is a 2pp insert with additional notes by recording producer Marcel Romano from 1988.

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.

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.

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

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.

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.

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.

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.

The Shadow of Your Smile is a studio album by Astrud Gilberto. With arrangements by Don Sebesky, Claus Ogerman, and João Donato, it was released via Verve Records in 1965. It peaked at number 66 on the Billboard 200 chart.

Trumpeter Blue Mitchell had a soulful, swinging style and was equally at home in jazz, R&B, and funk settings. This 1965 date featured his Horace Silver bandmates Junior Cook on tenor sax and Gene Taylor on bass along with a 24-year-old Chick Corea on piano and 22-year-old Al Foster on drums.

“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.

Ahmed Abdul-Malik was best known to jazz listeners as a bassist with Thelonious Monk, Randy Weston, Coleman Hawkins, and many others. He made a few records as a leader, with this one being his most exotic. The Brooklyn native was of Sudanese descent; in addition to playing bass, he also plays oud, the forerunner to the lute. Originally released in 1960 the album is rich and heady, a multi-layered set of tonal grooves that are wrapped tight beneath the melody lines. The musicians on Malik's eight originals vary from track to track. On the mournful "La Ibky (Don't Cry)," Malik's oud shares the spotlight with a tenor sax (either Benny Golson or Johnny Griffin) plus trumpeter Lee Morgan. "Rooh (The Soul)" features the 72-string kanoon (which is sort of a brittle sounding and much smaller harp) played by Ahmed Yetman, along with Malik's arco bass and the droning violin of Naim Karacand. His ability to fuse Western Jazz with the driving rhythms created by his oud that seems almost sequenced, are startling.

Sacd

180g 2LP 45rpm

The only one of tenor saxophonist Tina Brooks’ albums as a leader to be released during his too-brief lifetime, 1960’s True Blue is a hard bop masterpiece featuring Brooks’ distinctive compositions performed by an exceptional quintet with Freddie Hubbard on trumpet, Duke Jordan on piano, Sam Jones on bass, and Art Taylor on drums.



Blue Note Classic Vinyl Edition: Stereo, mastered from a digital source by Kevin Gray, manufactured at Optimal (180 g), padded inner sleeves.

The late percussionist Milford Graves was one of the most unique artists the world has ever seen. Born in Jamaica, Queens in 1941, he began his career in the early '60s as a part of New York's vibrant Latin jazz scene. His focus quickly turned inward, shifting towards a practice that explored the very nature of self. From his work in the New York Art Quartet and collaborations with Albert Ayler, Sonny Sharrock and more to his important contributions during NYC's loft era – he is, simply put, free jazz royalty. In April 1966, the duo of Graves and pianist Don Pullen played at Yale University. As John Corbett writes in the liner notes, "This performance was something of a turning point for Graves. Until then he had been working in other people's bands or collective ensembles. He was phenomenally busy. In 1965 alone, he recorded with Nyaq (two LPs), Giuseppi Logan Quartet, Paul Bley Quintet and Lowell Davidson Trio, and he made his first recording released under his own name, Percussion Ensemble. Every one of these is important in its own way, but none of them quite anticipate how radical was the music that he and Pullen would unleash that evening in New Haven." Originally released on the artists' own Self-Reliance Program label, this legendary one-night performance would be split into two volumes: In Concert At Yale University and Nommo. While rooted in African rhythms, Graves' music has its own sense of time. As the drummer stated in a 1966 DownBeat interview, "Time was always there, and the time I see is not the same as what man says time is. It works by impulsion."

Another legendary Lateef session cut in 1960 for the New Jazz imprint. The co-leader - bassist Doug Watkins - died tragically in a car accident in 1962 at the age of 27. However, prior to his early demise, he recorded dozens of wonderful sessions with some of the greatest jazzmen of his time, among them Sonny Rollins, Art Blakey’s Jazz Messengers and the Horace Silver Quintet. Imagination ! marked his second and final album as a leader, and features Watkins on cello instead of bass. The use of cello - and oboe on some numbers - makes the date stand out a bit from the usual hard bop sessions of the period and straight-ahead jazz fans will want to get this.

Re-mastered from a copy of the Mono Master Tapes. Limited edition 2000 copies. 180 gr vinyl pressed by Pallas in Germany. Deluxe high-gloss flipback album jacket. Facsimile reissue using the original photo by JP Leloir. Double insert using an original photo by JP Leloir from 1959. Each record has been visually checked to prevent defects.

Recorded October 1959, Paris.

Original LP issue: Decca 153.924

Critics often complain that small-group sessions comprised of members of the Duke Ellington Orchestra are somewhat disappointing; this is definitely not the case with this session led by Clark Terry, recorded during a 1959 tour of Europe in the final month of the trumpeter’s almost eight-year tenure with the band. Fellow Ellington sidemen Paul Gonsalves, Jimmy Woode, and Sam Woodyard are present, along with Raymond Fol at the piano. Terry was one of the most gifted trumpeters to grace the Ellington band and he blossoms when he has more opportunities to solo in a small group setting like this one. Gonsalves proves to be the perfect foil for Terry as they trade lines on several of the numbers. Unlike many dates led by Ellington veterans, this one doesn’t rely heavily on songs from the vast Ellington songbook; instead, Terry includes only ‘Satin Doll’, a Monk’s tune, one by Babs Gonzales and three of his own compositions, with ‘Serenade to a Bus Seat’ (a remake of his upbeat instrumental interpretation of the hectic life of a touring musician) proving to be the most memorable.

This studio date was recorded for French Decca label and was almost impossible to find until now.

Clark Terry (Trumpet) Paul Gonsalves (Tenor saxophone) Raymond Fol (Piano) Jimmy Woode (Bass) G. T. Hogan (Drums)

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.

Vibes player Johnny Lytle was one of the heroes of the early acid jazz club circuit, with his cuts 'Selim' and 'The Man' being anthems of the scene.

The Ohio-born player’s first album as a leader was on the Jazzland label in 1962 with “Nice And Easy”. His second, three years later, on Riverside, "The Village Caller", made him a star in the jazz world. When Riverside encountered difficulties, co-owner Orrin Keepnews collaborated with Lytle on two albums which came out on the Detroit label, Tuba.

The first of these, "The Loop", featured his regular trio partners, organist Milt Harris and drummer “Peppy” Hinnant. This line-up was augmented on some tracks by former Miles Davis pianist Wynton Kelly and bassist George Duvivier. A 7” version of the title track actually spent five weeks in the Billboard Hot 100 in January 1966. As for the album, as well as the acid jazz cut 'The Man', it features a stunning version of Duke Pearson's 'Cristo Redentor' and the dancefloor-friendly 'Possum Grease' and 'Hot Sauce'. The band also stretch out on extended track ‘The Shyster’.

"The Loop” is a classic album and Ace’s pressing is the first time it has been legally reissued on vinyl.

Best known for his work with Charles Mingus, pianist Horace Parlan began recording for Blue Note in 1960 with an excellent run of hard bop classics including Speakin’ My Piece, a quintet date featuring a frontline of Stanley Turrentine on saxophone and Tommy Turrentine on trumpet with the rhythm team of George Tucker on bass and Al Harewood on drums.



Blue Note Classic Vinyl Edition: stereo, all-analog, mastered by Kevin Gray from the original master tapes, pressed on 180g vinyl at Optimal, padded inner sleeve.

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.