Jazz | Fusion 449 Items

A follow up to the similarly-titled Conversations With Myself album recorded several years before -- and like that one, a record that has Bill Evans playing "with" himself, via the technology of overdubs! The album's less a solo album, than a duet one -- given that most of the numbers feature Evans working between melody and rhythm on overlapping piano lines -- creating a mini chorus of pianos that sounds totally great, and wonderfully unique! Titles include "Emily", "Yesterdays", "Santa Claus Is Coming To Town", "Funny Man", "The Shadow Of Your Smile", "Little Lulu" and "Quiet Now”

Why you'll love it...
Nina was singular in both her ability and the music she made. She will always be one of the best to ever do it. "Nina Simone Sings the Blues' comes on 180 gram blue vinyl.

Reissue of the 5th studio album by Brazilian jazz legend Antônio Carlos Jobim. Considered one of Jobim’s best albums, this masterpiece peaked at #5 on the Billboard Jazz Albums chart. It features a plethora of star sidemen, such as Dom Um Romão, Claudio Slon, Jerome Richardson, Ron Carter & Urbie Green, among others, as well as superb arrangements by Claus Ogerman.

Reissue of the debut album on A&M Records by jazz guitarist Wes Montgomery, released in 1967. It reached #1 on the Billboard Jazz Album chart and #2 on the R&B chart. Considered by far the best of his three albums on A&M (in partnership with Creed Taylor’s CTI Records), A Day in the Life features a plethora of star sidemen, such as Herbie Hancock, Ron Carter, Ray Barretto, and Grady Tate, among others, as well as superb arrangements by Don Sebesky. The LP was masterfully engineered by Rudy Van Gelder.

Formed by Kenny Clarke and Francy Boland, the Clarke-Boland Sextett, with the participation of numerous musicians from both Europe and the United States, made significant contributions to the development of jazz in Europe. At the core of this ensemble, the powerhouse sextet consisting of Kenny Clarke, Francy Boland, Sahib Shihab, Jimmy Woode, Joe Harris, and Sadi came together to record the album "Music For The Small Hours" in 1967, and it is now set to be reissued with an obi.

This album spans a wide range of styles, from standards like Burt Bacharach's "Wives & Lovers" to Brazilian and Afro-Cuban influences such as Luiz Bonfá's "Ebony Samba" and Dizzy Gillespie's "Tin Tin Deo." Additionally, it features original compositions like Shihab's "Please, Don't Leave," where he takes on vocal duties. The entire recording exudes a sophisticated and relaxed mood, showcasing the utmost skill of this formidable sextet. "Music For The Small Hours" is a masterpiece that deserves a place in the history of European jazz, boasting the ultimate level of refinement.

Released in 1967, California Dreaming was Wes Montgomery's last album for Verve (other than an exciting collaboration with Jimmy Smith). It’s an extraordinary orchestral date featuring arrangements by Don Sebesky that showcases soloists such as pianist Herbie Hancock and percussionist Ray Barretto. The songs (which include "Sunny" and the title tune "California Dreaming") are in this case mostly pop material of the era, from which the great performer extracts magic sounds. The album reached No. 1 on the Billboard jazz album chart and No. 4 on the R&B chart, and was one of the last great works by Montgomery, whose later guitar style influenced jazz fusion and smooth jazz. At the peak of his popularity, the guitarist unexpectedly died of a heart attack on June 15, 1968, at the age of 45.

Yes, *that* Al Hirt record. Featuring the godlike "Harlem Hendoo", looped unforgettably by De La Soul for the legendary Buhloone Mind State cut, "Ego Trippin' (Part Two)"!

Al Hirt's infamous Soul In The Horn is inextricably tangled up in crate-digger lore. Originally released in 1967, the album has been in heavy, heavy demand for over 30 years, entirely down to the majestic soul-jazz fire of "Harlem Hendoo". And it's a song so good, so vital, so timeless, that it will always tower above everything else in its proximity. This one track alone is worth the price of admission - even if the cost of entry were $100 or even $1000.

However, it would be an error to dismiss this record as merely a one tracker, loaded as it is with dope samples for adventurous beat makers. Certainly the funkiest Al Hirt record, it definitely lives up to the "soul" in the title. Thanks to composer Paul Griffin and arranger Teacho Wiltshire, Hirt got uncharacteristically free and groovy throughout. It comes on more like an obscure KPM library funk record than the easy listening Al was notorious for.

A Louisiana trumpeter and band leader who made Allen Toussaint’s “Java” famous, Al Hirt was also known for TV themes, Dixieland, Swing and being a minority owner of the New Orleans Saints. Unlike every other Al Hirt record - and despite most "diggers" claiming otherwise - this here gem is genuinely hard to come across "in the wild". Normally, you can't give Al Hirt records away, except this particular one, which raises pulses in the crate digging community to life-threatening levels. For every owner claiming to have found their copy for a dollar, there's scores more claiming to have *never* unearthed one in the field. So, paradoxically, you can consider this the most tricky-to-pull "thrift store record", ever. This is why we're finally making it available for everyone, not just those with endless hours to spend scouring the global goodwills!

Soul In The Horn represented an expressive detour into authentic soul-jazz for Al Hirt. Throughout, we're struck by a fierce, fiery energy that's otherwise absent from his typically easy listening work. Without question, the slinky, magical "Harlem Hendoo" is the standout, here. It's also the reason why the record is so scarce and commands awe among crate diggers, sounding like something from an obscure and deeply revered spiritual jazz record. As is often the case, the true genius of the song is tricky to do justice to; it's like a minor miracle of songwriting and performance that simply swooned down from the heavens on the back of horns, bells and harpsichord. It's one of the sweetest musical compositions ever recorded inside a studio - it's only failing is that it's just too short. Sampled brilliantly by De La Soul, it has also been used by The Roots for "Stay Cool" and Nightmares On Wax for "Damn".

The rest of the record makes for a mighty fine listen. From the opening cover of Booker T. & The MG's "Honey Pot", to the propulsive, ultra-funky "Mess Around", it's nothing but a good time. Given its title, the elegant stepper "Calypsoul" sounds exactly as you'd hope whilst the melancholic, wistful "Long Gone" hurts so good. Truly, this is just dying to be looped up, Al's muted playing capturing a soulful longing only horns can often achieve. The bluesy, slo-mo swing of "Sweetlips" oscillates between cool disaffection and swelling pride whilst the graceful, low-key funky "Girl" closes out the A-Side in the fine style. Ushering in the B-Side, the brief but brilliant strut of "Love Ya' Baby" shines brightly before the skipping funky-jazz of true highlight "Sunday-Goin' To Meetin' Time" demands both your attention and your dancing shoes. The mellifluous piano-funk of bass and horn-drenched "Snap Back" serves as the sumptuous prelude to "Harlem Hendoo"'s main character energy before the irrepressible, upbeat R&B of "Ludwig" closes out this quite remarkable album. An album deserving of a place in every serious record collection.

The audio for Soul In The Horn has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. This is after-hours music. Let it speak for itself. Listen. Listen to the soul in Al Hirt's horn.

Flutist Herbie Mann is backed by a large rhythm section and a small horn section on this Creed Taylor-produced A&M set (which has been reissued on CD). Actually the most interesting aspect of the R&B-oriented date (which includes such songs as “Hold on, I’m Comin’,” “House of the Risin’ Sun” and “Unchain My Heart”) is that the up-and-coming flutist Hubert Laws is matched with Mann on several tracks.

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."

In the late 1960s, vibraphonist Roy Ayers was among the top young talents in jazz, thriving during a remarkable era for the genre. While Ayers would later become a jazz-funk pioneer and delve heavily into R&B fusions, his third album Stoned Soul Picnic is a masterful showcase of soul-jazz grooves. Produced by Herbie Mann, Stoned Soul Picnic features a memorable Laura Nyro-penned title track, along with an exceptional lineup of musicians, including Gary Bartz, Hubert Laws, Ron Carter, Herbie Hancock, and Grady Tate. Originally released in 1968, this early Roy Ayers classic is now receiving an official reissue via Nature Sounds.

"Easterly Winds"—the second of three Blue Note albums Jack Wilson recorded for Blue Note in the late-1960s—found the pianist at the helm of a first-rate hard bop sextet with Lee Morgan on trumpet, Garnett Brown on trombone, Jackie McLean on alto saxophone, 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 deluxe gatefold tip-on jacket.

1968’s Love Cry mixes Albert Ayler’s free jazz with a catchy combination of nursery rhythms and brass band marches, resulting in a peak example of experimental jazz of the period. This was Ayler’s last recording with his brother, Donald, who keeps the pace fiery along with the rhythm section of bassist Alan Silva and drummer Milford Graves, and harpsichordist Call Cobbs.



Verve BY Request Series: remastered, audiophile-quality 180-gram vinyl from Third Man Pressing/Detroit, gatefold sleeve.

In the mid-'60s, Albert Ayler found himself at the center of major transformations within jazz. On his albums for ESP-Disk', his delivery was radically aggressive and his tone blistering – aiming for something beyond the New Thing. His music would be further energized when (at the behest of John Coltrane) Bob Thiele signed him to Impulse! As Ayler told The Plain Dealer at the time, "It's not about notes anymore. It's a sound – a feeling. The approach we're taking will discontinue the use of the word 'jazz.'" In Greenwich Village, Ayler's first LP on Impulse!, perfectly captures the Cleveland-born saxophonist's radiant intensity. Sourced from a pair of live engagements – February '67 at the Village Theatre on New York's Lower East Side and December '66 at the Village Vanguard – these recordings show an improved clarity in production and performance. Both sets feature two basses (including Alan Silva and Henry Grimes) which allowed the ensemble to go in different harmonic directions while maintaining an organic unity. Of particular interest are "For John Coltrane," a tribute to Ayler's mentor who would pass later that year, and "Truth Is Marching In" where trumpeter Donald Ayler joins his brother to celebrate and ultimately deconstruct several jazz traditions to stunning effect. Vibrant in sound and vision, Albert Ayler's In Greenwich Village is a landmark statement in free jazz and a career high-point for this truly original artist. Superior Viaduct is honored to present this classic album on vinyl for the first time domestically in 30 years.

Long before becoming an icon of funk, acid jazz, and R&B, Roy Ayers was a promising young jazz vibraphonist. Originally released in 1967, Virgo Vibes was Ayers' second album, and his debut for Atlantic. With five cool, funky jazz tracks, the LP features talented musicians like Joe Henderson, Charles Tolliver, Bruno Carr, Jack Wilson and the mysterious pianist Ronnie Clark (Herbie Hancock playing under a pseudonym). A rare treasure infused with the relaxed, sunny vibe that defined Ayers’ stellar career, Virgo Vibes is now available again on vinyl.

Donald Byrd’s 1967 album Slow Drag was one of the last pure hard bop records the trumpeter would make before his music began evolving towards fusion. Byrd flies high on this gratifying set featuring alto saxophonist Sonny Red, pianist Cedar Walton, bassist Walter Booker & drummer 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.

This 1967 set, recorded live at Boston’s Jazz Workshop, showcases virtuoso guitarist Szabó—a veteran of Chico Hamilton’s and Charles Lloyd’s bands—at the top of his game on a diverse program featuring standards (“What Is This Thing Called Love”) and pop hits (“The Beat Goes On”) as well as the original and psychedelic-tinged jam, “Space.”



Verve BY Request Series: remastered, audiophile-quality 180-gram vinyl from Third Man Pressing/Detroit, gatefold sleeve.

In his 1967 DownBeat review of the initial release, Amiri Baraka wrote: "The music is beautiful on this album... These two players... are making some of the deepest music anywhere. It wants nothing."

Peter Margasak included the album in his list of "Favorite Albums of 2020," and wrote: "Essential coupling of two insanely rare duo albums from a 1966 concert at Yale University: Pullen at his most ferocious and probing, Graves making a huge step in establishing his radical approach to polymetric movement."

In a review for Point of Departure, John Sharpe commented: "The five pieces represent a true dialogue... Although intensity levels vary, the exchanges remain resolutely non-melodic and non-metric throughout... Even after all this time the music still challenges preconceptions. It remains a classic of the genre and deserves to be widely heard."

Thurston Moore included Nommo in his "Top Ten From The Free Jazz Underground" list, first published in 1995 in the second issue of the defunct Grand Royal magazine, calling the interplay between the musicians "remarkable."

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.

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.

Psychedelic Percussion definitely sticks to his title. With the help from Paul Beaver of Beaver & Krause (famous keyboard wizard and sound engineer for the likes of Stevie Wonder), vibe master Emil Richards (check is two fantastic album on Impulse! with The Microtonal Blues Band featuring Joe Porcaro, father of the famed Toto brothers) and Gary Coleman (percussionist in the famous Wrecking Crew), Blaine goes wild in the studio with drums, gong, xylophone, organ, bongos, congas and timpani. Unusual textures and tones lead the way to 12 instrumental exotic numbers similar in a way to Raymond Scott most visionary experiments. This is pure madness, a record full of breaks and still unsurpassed in many ways. Blaine was an American drummer and session musician, estimated to be among the most recorded studio drummers in the history of the music industry, claiming over 35,000 sessions and 6,000 singles. His drumming is featured on 150 US top 10 hits, 40 of which went to number one, as well as many film and television soundtracks. He became one of the regular players in Phil Spector's de facto house band, which Blaine nicknamed "the Wrecking Crew". Some of the records Blaine played on include the Ronettes' single "Be My Baby" (1963), which contained a drum beat that became widely imitated, as well as works by popular artists such as Frank Sinatra, Elvis Presley, the Beach Boys, Simon & Garfunkel, the Carpenters, Neil Diamond and the Byrds.

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 Svart Mondo Release. Limited to 500 copies on black vinyl. By early 1960’s, jazz in its mainstream form had become the standard dance music for the student parties in high schools and several student union clubrooms in Helsinki. The Polytech union even organized matinée dances for high school students on Sundays. The change in the musical preference of young people’s dance music occurred with the arrival of British rock in the mid-sixties and this, of course, coincided with another cultural and musical development. As the new campus for the school was built in Otaniemi, Espoo in 1955-1966 and its operations gradually moved there, the modern style “Dipoli” building became the crowning edifice on the campus. It was to be the new home for the Polytech student union. When this controversial building was opened in 1966, it was meant to introduce a new vision of the future and constituted an embodiment of the modernist spirit of those times in the late 1960’s. This reissue of The Complete Jazz at the Polytechnicum recordings, done in 1967-68, also provides us with a glimpse of the modern directions of those days, not only in jazz music, but also in performance art. It is easy to hear that the main aesthetic in these performances was to break conventions and find new avenues for individual expression. The publisher of these recordings was the Jazz Society of the Tech Students, which was formed a little before these recordings. The name of the society was a take-off from Norman Granz’ Jazz at The Philharmonic and it became Jazz at the Polytechnicum. Both are, of course, abbreviated as J.A.T.P., which became formulated in musicians’ mouths into “Jappa”. This Svart Records re-issue consists of four EP-records in chronological order. The first three feature three jazz groups of the leading young players with their ages ranging from 21 to 30. The fourth one documents an avant-garde art “happening” held in Dipoli on March 20th – 24th 1968 called “Posotusta, pimputusta, pompotusta”, which could freely be translated as “Huff ‘n’ puff ‘n’ plonk”.

Includes both the mono and stereo versions of the album!

Strut presents an all-time classic of South African music, the definitive remastered edition of Miriam Makeba's 'Pata Pata', her first album recorded for Reprise in 1966.
The album marked a significant international breakthrough for Makeba. Moving to the US after the anti-apartheid film 'Come Back, Africa' gained international attention and staying there in exile, she quickly built her career in New York during the '60s, mentored by Harry Belafonte. Signing with Reprise after a period with RCA, she returned to one of her older songs: "I wrote 'Pata Pata' back in 1956, back in South Africa", remembered Makeba in her autobiography. "It was a fun little song and I was thinking of a dance that we do at home ("pata" means 'touch" in Zulu and Xhosa)".
The track peaked on the Billboard Hot 100 at no. 12 and the album. Other songs on the album included a version of the traditional Xhosa classic, 'Click Song Number One' ('Qongqothwane'), the atmospheric 'West Wind', later famously covered by her friend Nina Simone, and a version of Tilahun Gessesse's 'Yetentu Tizaleny' which Makeba learned on a trip to Addis to perform for Haile Selassie at the Organisation Of African Unity.

Four-and-a-half decades after the event, saxophonist Charles Lloyd's "Love-In", recorded live at San Francisco's Fillmore Auditorium in 1967, the counterculture's West Coast music hub, endures as much as an archaeological artifact as a musical document. From sleeve designer Stanislaw Zagorski's treatment of Rolling Stone photographer Jim Marshall's cover shot, through the album title and some of the track titles ("Tribal Dance", "Temple Bells"), and the inclusion of John Lennon and Paul McCartney's "Here There And Everywhere", "Love-In's" semiology reeks of the acid-drenched zeitgeist of the mid 1960s, a time when creative music flourished, and rock fans were prepared to embrace jazz, provided the musicians did not come on like their parents: juicers dressed in sharp suits exuding cynicism.
It is likely that more joints were rolled on "Love-In's" cover than that of any other jazz LP of the era, with the possible exception of saxophonists John Coltrane's "A Love Supreme" (Impulse!, 1965) and Pharoah Sanders's "Tauhid" (Impulse!, 1967). Chet Helms, a key mover and shaker in the West Coast counterculture, spoke for many when he hailed the Lloyd quartet as »the first psychedelic jazz group«.
It is to Lloyd's credit that, at least in the early stages of his adoption by the counterculture, he resisted dumbing down his music. The adoption stemmed from Lloyd's espoused attitude to society, his media savvy, his sartorial style and his sheer nerve in playing jazz in the temples of rock culture. He took the quartet into the Fillmore West three years before trumpeter Miles Davis took his into the Fillmore East.
So "Love-In" comes with a load of baggage, some of it less than fragrant. But as 45 minutes of music, it still has legs. Lloyd's vocalized tenor (and flute on two tracks) has Coltrane-derived muscle; the young Jarrett's lyrical and funky solos, particularly on his 07:55 showcase, the gospel-ish "Sunday Morning", his two featured originals ("Sunday Morning" and the soul jazz-ish "Is It Really the Same?"), and his playing the strings of the piano directly with his hands, all remain compelling; McClure and DeJohnette are solid and inventive.

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

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

180 Gram 45RPM Audiophile Vinyl, Numbered Limited-Edition

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

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.

180g audiophile pressing.

Blow-Up is a soundtrack album by American jazz pianist Herbie Hancock, featuring music composed for Michelangelo Antonioni's 1966 film Blow Up. The album features performances by Hancock, trumpeters Freddie Hubbard and Joe Newman, alto saxophonist Phil Woods, tenor saxophonist Joe Henderson, guitarist Jim Hall, bassist Ron Carter and drummer Jack DeJohnette. Furthermore, there are four psychedelic rock songs that Antonioni strongly wanted to include in the movie, the pearl of them being Stroll On by the Yardbirds, performed live in the film by the band.

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.

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.

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.