Jazz | Fusion 445 Items

She was the sultry film starlet-turned-torch singer-come-TV actress whose dusky alto captivated a generation. Julie London was 'discovered' while running a department store elevator in Hollywood.
Just three years earlier the bountiful 15 year old, born Julie Peck to her parents, a song-and-dance duo of the vaudeville era, was singing on her parents' radio show. When she started working in the movies in the 1940s, she changed her name to London. During the course of a celebrated career in acting and music, she made more than 30 albums.
The sultry-voiced actress, who was once married to "Dragnet" producer-star Jack Webb, had a hit record with the 1950s single "Cry Me a River". The single debuted in 1955, sold three million copies and remained in demand into the 1960s.
Analogue Productions has brought back Julie London sings Latin In A Satin Mood in damatic, deserving fashion. Remastered by Kevin Gray at Cohearent Audio, and plated and pressed on 200-gram vinyl at Quality Record Pressings, the crispness and vibrancy of this recording is spectacular.
Exotic and Latin albums were big deals in the 1950s and early '60s, and singers as diverse as Dean Martin, Lena Horne, and Peggy Lee were recording with castanets and bongo drums. Like Peggy Lee, London combines a restrained vocal approach with jazz phrasing and a cool attitude with icy sex appeal on this album of relaxing Latin standards. Julie does look beautiful on the cover, and the backup male 'mariachi-esque' serenade adds to the romantic ambiance.
And as to the cover, expect only top-notch reproduction for our Analogue Productions reissue. Originally a single LP jacket, we've upgraded to a gatefold incorporating more original photographs provided by Universal Music.
Describing her smoky vocal style, London once said, »It's only a thimbleful of a voice, and I have to use it close to a microphone. But it is a kind of over-smoked voice, and it automatically sounds intimate.« A style inimitable, in our estimation.

Re-issue of 1968 album by British jazz guitarist (born January 2, 1933 in Doncaster, England). He played with Norman Burns, "Ray Ellington's Quartet", Benny Goodman (in tour in England, 1971), "Don Lusher's Big Band", and as a session man in the 1970s, 1980s and 1990s.

Judd uses varying permutations of the following instruments on various tracks. Twelve string guitar, electric Fender guitar, electric Gibson guitar (l4) with a Charlie Christian bar pick-up, and a Maton acoustic guitar.

Be With is delighted to present Jorge López Ruiz’s El Grito (Suite Para Orquesta De Jazz), eternal Argentinian magic released on CBS in 1967 that must be one of the most sought-after South American jazz LPs. Living in Buenos Aires in the 60s, driven by creative impulse and rage Jorge López Ruiz used music as his platform to protest the Argentine military dictatorship: “I could never stand dictatorships, to be told how you have to think, what you have to do. Nor did I endure discrimination”. A young López Ruiz had appeared on a television panel alongside writer, politician and philosopher Arturo Jauretche, criticising the Onganía dictatorship. Jauretche told López Ruiz “Now say it with music”. This was the deep inhale that lead to El Grito, literally “The Scream”. As López Ruiz later explained “Jauretche urged me that my protests should not remain in words and acquire the consistency of a work… but it was not so much what he told me but how he told me, what prompted me to make the work take shape, first in a live concert and then in a recording”. As the police and military began resorting to kidnapping, torture and summary executions to quiet dissent, with depressing inevitability the artist community and their work were a particular target of the increasingly brutal regime. El Grito was banned not long after it was released and the majority of original copies were unceremoniously destroyed. The work of a genius artist living under an opressive dictatorship, erased by the government of the time, this is buried treasure in every sense and it’s been a rare record for over 50 years.

Jorge López Ruiz is one of most versatile of musical talents to emerge from Argentina. As a bass player, composer, performer and arranger he has worked across many genres including jazz, pop as well as stage productions and feature films. The "B.A. Jazz" album has been a rarity for years and original pressings attract huge amounts from collectors. It's rarity is matched by the fantastic music contained with its grooves. It's a genuinely important record in the development of jazz in South America.

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.

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.

Under-recognized trumpeter Johnny Coles recorded only one album for Blue Note but 1963’s Little Johnny C is a little-known treasure of the catalog featuring Coles at the helm of a dynamic sextet with tenor saxophonist Joe Henderson, alto saxophonist Leo Wright, pianist Duke Pearson, bassist Bob Cranshaw, and drummers Walter Perkins & Pete La Roca.



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.

Originally issued in Stereo on Prestige LP (PR 7233)
Subsequently reissued in the Prestige/New Jazz budget subsidiary label Status (ST 7233)

The John Wright Trio
John Wright (piano), Wendell Roberts (bass), Walter Perkins, Jr. (drums).
Recorded at Rudy Van Gelder Studios in Englewood Cliff, New Jersey, April 10, 1962

Engineered & mastered by Rudy Van Gelder
Cover photo & design: Don Schlitten
Back-liner notes: Tom Wilson
Recording supervised by Esmond Edwards

180 Gram Newly Remastered Vinyl Reissue of the original Prestige Prlp 7233 Limited edition in Solid carton sleeve

180g vinyl including download code.

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."

Reissue as a part of the Start Your Year Off Right Kampagne von Warner. The final album recorded by Coltrane under his own supervision for Atlantic Records, Ole Coltrane features several of the players from Africa/Brass, which was recorded two days earlier, and is widely considered one of the premiere statements of Avant Garde jazz as well as the moment that Coltrane moved from an accessible artist to a more daring and complicated one. (Original RD: November 1961)

« 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.

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.

Reissue for this classic album from '67 on Orange Impulse Rec. Considered to be the last Coltrane's lifetime release it includes the all-time classic "Welcome", as defined by Coltrane himself “the song is that feeling you have when you finally do reach an awareness, an understanding which you have earned through struggle. It is a feeling of peace. A welcome feeling of peace."

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!

The Avant-Garde is an album by the two jazz giants John
Coltrane & Don Cherry. Coltrane plays compositions
by Ornette Coleman accompanied by the members of
Coleman’s quartet: Don Cherry, Charlie Haden, and Ed
Blackwell. The album is a result of the mutual respect and
friendship between Coltrane and Coleman. It’s the ability
of each to complement the other that lends heavily to the
success of these recordings. Both fans of jazz music as
of one of the two jazz musicians will love this records, as
it brings the best of both to the surface. So don’t let this
record pass you

180g vinyl.

John Coltrane Quartet — Ballads
Analogue Productions' UHQR, the pinnacle of high-quality vinyl!
45 RPM Ultra High Quality Record release limited to 5,000 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 recording session images by Jim Marshall

Audiophile reviews rave about saxophone master John Coltrane's immortal Impulse! records, A Love Supreme (1964) and Ballads (1963). Ballads is an album that will never go out of style and never be unwelcome on any jazz lover's turntable.

You're about to experience Ballads 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 !2" x 12" 12-page booklet featuring liner notes by Ashley Kahn and recording session images by Jim Marshall.

The intense passionate Coltrane interpretation of standards such as "All Or Nothing At All," "What's New," "It's Easy To Remember" and the Sinatra classic "Nancy (With The Laughing Face)" are the essence of Ballads. When asked why attempt such an undertaking, Coltrane replied "Variety."

While it may have been a short detour by Trane before he exploded off into the nether regions of jazz music a few years later, it is still a fantastic document of one of the premier jazz groups of the 1960s.

Recorded December 21, 1961 and September 18 & November 13, 1962 at Rudy Van Gelder Studios.

"It's impossible to sleepwalk through tracks like "You Don't Know What Love Is" and "I Wish I Knew" and impart them with even a fraction of the emotional heft that the Quartet achieves. This is the type of jazz album in which the music just washes over the listener with it's restrained grace and beauty, and while it may not have the adventurousness that some listeners think Trane should have had each and every time he recorded, I'd say it shows off a side of him that only makes us appreciate his more bold and daring albums even more." — The Jazz Record

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.

One of the most influential albums in all of jazz. Recorded in 1964 with the likes of Jimmy Garrison, Elvin Jones & McCoy Tyner

The West Indian-born alto saxophonist Joe Harriott was one of the most convincing boppers outside of the USA, though by the end of the 1950s he was exploring freer musical pastures, and the quintet with which he undertook the exploration was an outgrowth of the hard bop band with which he'd made a name on the British scene. Often in the past the group's music, in which trumpet and flugelhorn player Shake Keane figured alongside Harriott in the front line, has been compared with that of the early Ornette Coleman quartets, but here it's far more interactive, a fact borne out most obviously by the lack of soloists. Here on Free Form (1961) is where the rhythm of that indigenously West Indian form is extraordinarily maintained in the midst of characteristic group exchanges.

It’s a testament to Jimmy Smith’s volcanic creativity that the Hammond B3 organ firebrand recorded not one but two soul jazz classics—Midnight Special and Back at the Chicken Shack—in a single day when he entered Van Gelder Studio on April 25, 1960 with Stanley Turrentine on tenor saxophone, Kenny Burrell on guitar, and Donald Bailey on drums. Blue Note Classic Vinyl Edition: Stereo, mastered from a digital source by Kevin Gray, manufactured at Optimal (180 g), padded inner sleeves.

Jimmy Smith (Hammond B3 organ); Stanley Turrentine (tenor sax); Kenny Burrell (guitar); Donald Bailey (drums)

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."