Vinyl, CD & Tape 400 Items

A 1965 journey into found sound, courtesy of John Cage, assisted by David Tudor. Another seminal volume of indeterminate music from an icon of experimental sounds gets reissued for the first time, thematically on gorgeous clear 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

180g vinyl

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

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.

« 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.

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)

There is nothing hurried about this disc. That said, the music is focused and will stretch your mind. Lewis employed masterful melodic improvisers here: Paul Gonsalves, Eric Dolphy, Jim Hall among others. Listen to "Body And Soul" as it builds powerfully and the soloists explore every possible melodic theme, where the quiet power of these master musicians is almost too much to take. Listen to "I Remember Clifford" where the players are essentially the MJQ with Jim Hall replacing Milt Jackson. This set swings, but oh-so-elegantly. Just like Mr. Lewis.
S.C.Berry
Whether you're an old-time jazz afficionado or new to the genre, this album is essential. In my opinion, Lewis' lovely solo on "Body & Soul" makes his version virtually definitive - 15 minutes of bliss. The rest of the album, particularly "Afternoon In Paris", is at the same level. "Wonderful" is the perfect title for this record.
E Barrios

Recording: July and September 1960
Production: Nesuhi Ertegun & Tom Dowd

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.

Polysom Brazil vinyl LP repress import, released in 1964.

Limited Clear Vinyl edition, 300 copies! First released in 1963 on Phillips Records, this was Jorge Ben's debut album. "Samba Esquema Novo", which translates to 'New Style Samba' deliberately sets a new standard in Brazilian music. A beautiful, fresh and vital combination of Ben's percussive guitar and smooth/rough voice backed by Big Band style horns, percussion (the great Dom Um Romao) and strings. In 2007, it was listed by Rolling Stone Brazil as one of the 100 best Brazilian albums in history, but It would be enough to remind you that this is the album containing the first original version of "Mas Que Nada' one of the most popular songs in the world!

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.

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.

First issued on the Dot label in 1965, Karen Verros’ recording of ‘You Just Gotta Know My Mind’ is one of the most popular and in-demand tracks ever to appear on Ace Records’ “Girls With Guitars” compilation series. Pressings of the hopelessly rare original exist in two variants, one 20 or so seconds shorter than the other.

This new Ace release features the longer of the two versions. ‘Karen’s Theme’ on the B-side is the ‘You Just Gotta Know My Mind’ backing track, with added freakbeat guitar in place of Karen’s vocal.

An original copy, in the unlikely event one should become available for sale, is likely to carry a hefty asking price. Designed to resemble a small-run mid-60s acetate pressing, rather than a replica Dot label, this very welcome addition to Ace’s catalogue of 7-inch vinyl singles should set punters back about the cost of a bottle of cheap plonk.

Looking Ahead is the debut album by American jazz musician Ken McIntyre, recorded with fellow alto saxophonist Eric Dolphy in 1960 and released on the New Jazz label in January 1961. From the beginning Mr. McIntyre considered himself part of the avant-garde or ''new thing'' movement in jazz, as spearheaded by musicians like Ornette Coleman, Bill Dixon and Cecil Taylor, although his own music was considerably more traditionally melodic than theirs. He played a whole fleet of reed instruments, including oboe, bassoon, bass clarinet and saxophones. In 1964, on the album ''Way, Way Out,'' he recorded bouncing, urgent jazz tunes with chilly, dissonant string arrangements; in 1966, he accompanied Mr. Taylor on the album ''Unit Structures,'' a landmark recording of the jazz avant-garde.

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.

Guitarist Kenny Burrell debuted on Blue Note Records in 1956 and over the following seven years made a series of excellent albums for the label that culminated with his masterwork Midnight Blue. Recorded in 1963, the album waded deep into the blues, conjuring an alluring late-night vibe with a profoundly soulful cast including tenor saxophonist Stanley Turrentine, bassist Major Holley, Jr., drummer Bill English, and Ray Barretto on congas.
Burrell originals including “Chitlins con Carne,” “Midnight Blue,” “Saturday Night Blues,” and the stunning solo guitar piece “Soul Lament” set the tone for this timeless classic adorned by one of the all-time great Reid Miles cover designs.

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.

Recorded at the 1962 Jazz Jamboree festival in Warsaw and originally released in 1963 on Danish Metronome label, here's a true gem from one of the most important figures in Polish music and a founding father of European Jazz. "Ballet Etudes" was one of the three full LPs released during Komeda' short lifetime. His fluent modern jazz conception was a perfect synthesis between the American influence and the European harmonic complexity, a unique kind of marriage colored by a clear Slavic lyricism. For many years considered a rare collector item "Callet Etudes" comes back to life as a major statement in East-European music history.” Allan Botschinsky - trumpet, Jan Wróblewski - tenor sax, Krzysztof Komeda - piano, Roman Dylag - bass, Rune Carlsson drums.

Infectious rock&roll, surf, beat, girl group and ye-yé sounds by LAS Mosquitas, the first female beat band from Argentina.

Including their rare album from 1965 for the Music Hall label plus bonus tracks from singles and their impossible to find split EP with Los Gatos Salvajes.

Las Mosquitas (“The Little Flies”) consisted of Stella Maris Conde (Pupé) on vocals and guitar, María Cristina Medina (Nita) on bass, Ana María Millán (Nené) on vocals and guitar and Beatriz Cabrera (Dina) on drums. They performed their original compositions as well as Spanish sung covers of hits from the era. Producer Ricardo Romero of pioneering rock&roll Argentinean band Los Cinco Latinos took them under his wing and secured a deal with the Music Hall label.

They toured nationally and internationally, sometimes supporting Los Cinco Latinos, other times as the main act. Not only that, but they conquered every city they performed in, they were received by fans, ambassadors, presidents and their daughters, all eager to see Las Mosquitas on stage. Tours through Panamá, the Dominican Republic, Peru, Puerto Rico, Chile, Uruguay, Brasil, Curazao and Argentina were completed with fantastic public response and TV appearances.

The “Mosquitamania” was born and a string of singles and a full album on the Music Hall label followed. All of them are compiled here for the first time.

“Their music was a mix of ye-yé and beat and they dressed how you would expect the Beatles to dress if they had been women” - Gareth Wynne (Ugly Things)

"Lightnin'" is among the rewarding acoustic dates Lightnin' Hopkins delivered in the early '60s. The session has an informal, relaxed quality, and this approach serves a 48-year-old Hopkins impressively well on both originals like "Thinkin' 'Bout An Old Friend" and the familiar "Katie Mae" and enjoyable interpretations of Sonny Terry & Brownie McGhee's "Back To New Orleans" and Arthur 'Big Boy' Crudup's "Mean Old Frisco". Hopkins' only accompaniment consists of bassist Leonard Gaskin and drummer Belton Evans, both of whom play in an understated fashion and do their part to make this intimate setting successful. From the remorseful "Come Back Baby" to more lighthearted, fun numbers like "You Better Watch Yourself" and "Automobile Blues", "Lightnin'" is a lot like being in a small club with Hopkins as he shares his experiences, insights and humor with you.

Originally recorded in 1954 for the short-lived Herald record label and released over the years as 7” singles, these 12 songs were finally collected as an LP in 1960. With the support of a rhythm section, Lightnin’s electric blues has never run as wild, with dirty licks and riffs plentiful throughout. With reverse printing and coating, we’ve completely replicated the original jacket - but now with an obi-strip! Don’t miss the mastepiece of blues from P-vine Records!

180 gram vinyl!

No one can doubt that Lightnin' Hopkins is the king of Texas country blues. P-vine is reissuing on LP for the first time in 35 years the classic album, which was originally released on Crown in 1961 and is a compilation of Modern/Kent recordings from 1950-51, one of the pinnacles of the Lonesome & Dirty Blues world. With its deep, withering vocals, which sometimes sounded even terrific, and a guitar that moved nimbly and uninhibitedly, this is one of Lightnin's top-class recordings in his storytelling style. No one can escape the devilish charm of these dense blues.