{"title":"Mono vinyl","description":"","products":[{"product_id":"pet-sounds-the-beach-boys","title":"The Beach Boys - Pet Sounds (1LP, Mono, 33RPM, 200g)","description":"\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\" title=\"vinyl featuring The Beach Boys\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring the Beach Boys]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003ePerformed by The Beach Boys : Brian Wilson (vocals, bass guitar, keyboards), Mike Love (vocals, percussion, saxophone, Electro-Theremin), Al Jardine (vocals, rhythm guitar, bass guitar), Bruce Johnston (vocals, keyboards, bass guitar), Dennis Wilson (vocals, drums, keyboards).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Brian Wilson (all tracks), Tony Asher (A1, A2, A3, A4, B1, B3, B4, B6), Mike Love (A5), Michael Ruff (A3), Terry Sachen (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, Stoughton tip-on jackets\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded July 12, 1965 - April 13, 1966 at Columbia Studios (Hollywood, CA), Gold Star Recording Studios (Hollywood, CA), Sunset Sound Studios (Los Angeles, CA), Western Studios (Los Angeles, CA)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMastered by Kevin Gray \u003cb data-mce-fragment=\"1\"\u003eat Cohearent Audio\u003c\/b\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginally issued on May 16th, 1966 in mono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eReissued in Nov 2015\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWouldn’t It Be Nice\u003c\/li\u003e\n\u003cli\u003eYou Still Believe In Me\u003c\/li\u003e\n\u003cli\u003eThat’s Not Me\u003c\/li\u003e\n\u003cli\u003eDon’t Talk (Put Your Head On My Shoulder)\u003c\/li\u003e\n\u003cli\u003eI’m Waiting For The Day\u003c\/li\u003e\n\u003cli\u003eLet’s Go Away For Awhile\u003c\/li\u003e\n\u003cli\u003eSloop John B\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGod Only Knows\u003c\/li\u003e\n\u003cli\u003eI Know There’s An Answer\u003c\/li\u003e\n\u003cli\u003eHere Today\u003c\/li\u003e\n\u003cli\u003eI Just Wasn’t Made For These Times\u003c\/li\u003e\n\u003cli\u003ePet Sounds\u003c\/li\u003e\n\u003cli\u003eCaroline No\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Ranked 55\/100!\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003eRolling Stone 500 Greatest Albums of All Time - Rated 2\/500\u003cbr\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003e\u003cbr\u003eRolling Stone 500 Greatest Songs of All Time - \"Sloop John B\" - Rated 278\/500\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 61\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"one of the most innovative recordings in rock\", 101 Albums that Changed Popular Music (2009)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"It was \u003cem\u003ePet Sounds\u003c\/em\u003e that blew me out of the water…I love the album so much. I've just bought my kids each a copy of it for their education in life. I figure no one is educated musically 'til they've heard that album.\" – Paul McCartney\u003c\/p\u003e\n\u003cp\u003e\"All of us, Ginger (Baker), Jack (Bruce), and I consider \u003cem\u003ePet Sounds\u003c\/em\u003e to be one of the greatest pop LPs to ever be released. It encompasses everything that's ever knocked me out and rolled it all into one.\" – Eric Clapton\u003c\/p\u003e\n\u003cp\u003e\"Overall though, this new reissue is the best sounding of all. The bottom end has more weight and solidity and the instrumental separation and front to back layering is nothing short of astonishing compared to the pleasing mush offered up by other editions. ... Pet Sounds belongs in every serious rock record collection and if you're going to have but one version this one from Analogue Productions is the one to have.\"  Michael Fremer,\u003cspan\u003e \u003c\/span\u003eAnalogPlanet.com\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\"Produced, composed and arranged by Brian Wilson, \u003cem\u003ePet Sounds\u003c\/em\u003e stands as the Beach Boys' pinnacle. The album is brimming with beautiful ballads, exotic instrumentation, lush five-part harmonies, and aching sentimentality. Recorded largely with session players from L.A.'s fabled Wrecking Crew, \u003cem\u003ePet Sounds\u003c\/em\u003e was Wilson's chance to step away from songs about surfing and cars, instead crafting tender songs about adolescent love, both newfound and lost, as well as innocence and bewilderment. Analogue Productions' two-disc 45 RPM, 180-gram stereo album boasts exceptionally detailed separation and aptly showcases \u003cem\u003ePet Sounds\u003c\/em\u003e' shimmering sonics. Mark Linett produced this stereo mix with an assembled digital multi-track master that synched the original four-track instrumental master with the four- and eight-track vocal overdub master. It was then mixed to 15 ips 1\/4-inch analog tape with SR noise reduction. How good is it? Carol Kaye's picked Fender P-Bass is tight and punchy on the intro to \"God Only Knows,\" and the clarity reveals the swelling emotion of Carl Wilson's angelic lead vocal to announce that you've entered the Church of Rock 'n' Roll. Say amen.\" Greg Cahill, \u003cem\u003eThe Absolute Sound\u003c\/em\u003e, December 2017\u003c\/p\u003e\n\u003cp\u003e« The best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound. Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. \"Wouldn't It Be Nice,\" \"God Only Knows,\" \"Caroline No,\" and \"Sloop John B\" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as \"You Still Believe in Me,\" \"Don't Talk,\" \"I Know There's an Answer,\" and \"I Just Wasn't Made for These Times.\" It's often said that this is more of a Brian Wilson album than a Beach Boys recording (session musicians played most of the parts), but it should be noted that the harmonies are pure Beach Boys (and some of their best). Massively influential upon its release (although it was a relatively low seller compared to their previous LPs), it immediately vaulted the band into the top level of rock innovators among the intelligentsia, especially in Britain, where it was a much bigger hit. » AllMusic Review by Richie Unterberger\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 5 \/ 5 ,  Rate your Music : 4.18 \/ 5\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMichael Fremer : Music = 11\/11, Sound = 11\/11\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGreg Cahill, The Absolute Sound : Music 5\/5, Sonics 4.5\/5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40374721216663,"sku":"AAPP 067M","price":120.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-beach-boys-pet-sounds-1lp-mono-33rpm-200g-audiosoundmusic-1.jpg?v=1719851398"},{"product_id":"masterpieces-duke-ellington","title":"Duke Ellington - Masterpieces (2LP, 45RPM, Mono)","description":"\u003cp\u003e\u003cstrong\u003eDuke Ellington, piano \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/duke-ellington\" title=\"Vinyl featuring Duke Ellington\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/duke-ellington\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Duke Ellington]\u003c\/span\u003e\u003c\/a\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Strayhorn (piano). Russell Procope, Paul Gonzalves, Johnnie Hodges, Jimmy Hamilton (saxophone). Nelson Williams, Andrew Ford, Harold Baker, Ray Nance, William Anderson (trumpet). Quentin Jackson, Lawrence Brown, Tyree Glenn (trombone). Mercer Ellington (horn). Sonny Greer (drums). Wendell Marshall (bass). Yvonne Lanauze (vocals).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Duke Ellington (A1, B1, C1, D1), Albany Bigard (A1), Irving Mills (A1, B1, D1), Eddie Delange (D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Production\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in New York on December 18, 1950\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Ryan K. Smith at Sterling Sound\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1951\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMood Indigo\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSophisticated Lady\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Tattooed Bride\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSolitude\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 1\/100!\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003e\u003cspan\u003eMichael Fremer, Analog Planet's Best Reissues of the Decade, March 2020\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e“Amazingly, it took Columbia Records until the very end of 1950, two years into the LP era and the transition from disc to magnetic tape recording, to get Duke Ellington and His Orchestra into the studio to cut a long-playing record. For the first time in his recording career, Ellington was able to forego the three-minutes-and-change restrictions in running time of the 78 rpm disc -- he and the band rose to the occasion with extended (11-minute-plus) \"uncut concert arrangements\" of \"Mood Indigo,\" \"Sophisticated Lady,\" and \"Solitude,\" augmented with one splendid newer work, \"The Tattooed Bride.\" And it's taken 15 years into the CD boom before Masterpieces By Ellington has been given the treatment that it deserves. Sony Music of Japan reissued this classic recording in 1998, remastered using the company's 20-bit-based Super Bit Mapping digital system, and results are astonishing -- the band sounds like it's in the same room with the listener, and that goes double for the piano and the soloists (including singer Yvonne Lanauze) on \"Mood Indigo.\" Even in this august company, \"The Tattooed Bride\" is a swinging virtuoso piece that, as everyone present must have known, couldn't possibly have been captured in this manner in any era before this session -- this was also one of the last sessions to feature the classic Ellington lineup with Johnny Hodges, Lawrence Brown, and Sonny Greer, before their exodus altered the band's sound, and so it's a doubly precious piece (as is the whole album), among the last written specifically for this lineup.” AllMusic Review by Bruce Eder\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e:\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5 ; Discogs : 4.83\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40375735255191,"sku":"APJ4418-45","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/duke-ellington-masterpieces-2lp-45rpm-mono-audiosoundmusic-1.jpg?v=1719851398"},{"product_id":"ole-coltrane-john-coltrane","title":"John Coltrane - Ole Coltrane (2LP, 45RPM, Mono, ORG Music)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSoprano Saxophone (A1, B1), \u003c\/strong\u003e\u003cstrong\u003eTenor Saxophone (C1, D1) - \u003cmeta charset=\"utf-8\"\u003eJohn Coltrane -  \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-coltrane\" title=\"vinyl featuring John Coltrane\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-coltrane\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more VInyl\/SACD featuring John Coltrane]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlto Saxophone - George Lane (C1, D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass - Art Davis (A1, B1, C1), \u003c\/strong\u003e\u003cstrong\u003eReggie Workman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums - Elvin Jones\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca title=\"vinyl featuring Elvin Jones\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvin-jones\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvin-jones\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more Vinyl\/SACD featuring Elvin Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFlute - George Lane (A1, B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano - McCoy Tyner  \u003ca title=\"vinyl featuring McCoy Tyner\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/mccoy-tyner\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/mccoy-tyner\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more Vinyl\/SACD featuring McCoy Tyner]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet - Freddie Hubbard \u003ca title=\"Vinyl featuring Freddie Hubbard\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/freddie-hubbard\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/freddie-hubbard\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more Vinyl\/SACD featuring Freddie Hubbard]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eWritten by John Coltrane (A1, B1, C1) and McCoy Tiner (D1)\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\"\u003eRecord Press : Pallas\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\"\u003eLabel : Org Music\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\"\u003eOriginal Label : Atlantic\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\"\u003eRecording : \u003c\/span\u003eMay 25, 1961 at A\u0026amp;R Studio, New York City by Phil Ramone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRemastered by Bernie Grundman and\u003c\/strong\u003e\u003cstrong\u003e Chris Bellman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eProducer : Nesuhi Ertegun\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginally released in 1961\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReissued in 2013\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eSide A : Olé (Part 1)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eSide B : Olé (Part 2)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eSide C : Dahomey Dance\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eSide D : Aisha\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« The complicated rhythm patterns and diverse sonic textures on Olé Coltrane are evidence that John Coltrane was once again charting his own course. His sheer ability as a maverick -- beyond his appreciable musical skills -- guides works such as this to new levels, ultimately advancing the entire art form. Historically, it's worth noting that recording had already commenced two days prior to this session on Africa\/Brass, Coltrane's debut for the burgeoning Impulse! label. The two sets complement each other, suggesting a shift in the larger scheme of Coltrane's musical motifs. The assembled musicians worked within a basic quartet setting, featuring Coltrane on soprano and tenor sax, McCoy Tyner on piano, and Elvin Jones on drums, with double-bass chores held down by Art Davis and Reggie Workman. Added to that are significant contributions and interactions with trumpeter Freddie Hubbard and Eric Dolphy on flute and alto sax (although Dolphy's contract with another record label prevented him from being properly credited on initial pressings of the album). The title track is striking in its resemblance to the Spanish influence heard on Miles Davis' Sketches of Spain. This is taken a bit further as Coltrane's combo stretches out with inspired improvisations from Dolphy, Hubbard, Tyner, and Coltrane, respectively. \"Olé\" likewise sports some amazing double-bass interaction. The combination of a bowed upright bass played in tandem with the same instrument that is being plucked has a sinister permeation that undoubtedly excited Coltrane, who was perpetually searching for sounds outside the norm. The haunting beauty of \"Aisha\" stands as one of the finest collaborative efforts between Tyner, the song's author, and Coltrane. The solos from Hubbard, Dolphy, and an uncredited Tyner gleam from within the context of a single facet in a multi-dimensional jewel. » AllMusic Review by Lindsay Planer\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5,  Discogs : 4.73 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40376541577367,"sku":"JCOLOCOLBL-LP00","price":79.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/john-coltrane-ole-coltrane-45rpm-mono-audiosoundmusic-1.jpg?v=1719851419"},{"product_id":"milt-jackson-ballads-blues","title":"Milt Jackson - Ballads \u0026 Blues (Mono)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eMilt Jackson (vibraphone) \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Milt Jackson\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/milt-jackson\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/milt-jackson\"\u003e[click here to see more vinyl featuring Milt Jackson]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOscar Pettiford (double bass) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/oscar-pettiford\" title=\"vinyl featuring Oscar Pettiford\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/oscar-pettiford\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Oscar Pettiford]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKenny Clarke (drums)\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/kenny-clarke\" title=\"vinyl featuring Kenny Clarke\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/kenny-clarke\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Kenny Clarke]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLucky Thompson (tenor saxophone), Barney Kessler (guitar), Barry Galbraith (guitar), Skeeter Best (guitar), Percy Heath (double bass), Lawrence Marable (drums).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Harry Link (A2), Holt Marvell (A2), Jack Strachey (A2), Eddie DeLange (A3), Duke Ellington (A3), Irving Mills (A3), Irving Berlin (A4), Jerome Kern (A5), Herbert Reynolds (A5), Michael E. Rourke (A5), Nancy Hamilton (B1), Morgan Lewis (B1), Milt Jackson (B2, B3, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: January 1956 in New York City by Tom Dowd and February 1956 at Rudy Van Gelder Studio in Hackensack, New Jersey, by Rudy Van Gelder in mono\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Nesuhi Ertegun\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1956\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2019\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp\u003e                1. So In Love\u003c\/p\u003e\n\u003cp\u003e                2. These Foolish Things\u003c\/p\u003e\n\u003cp\u003e                3. Solitude\u003c\/p\u003e\n\u003cp\u003e                4. The Song Is Ended\u003c\/p\u003e\n\u003cp\u003e                5. They Didn't Believe Me\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp\u003e                1. How High The Moon\u003c\/p\u003e\n\u003cp\u003e                2. Gerry's Blues\u003c\/p\u003e\n\u003cp\u003e                3. Hello\u003c\/p\u003e\n\u003cp\u003e                4. Bright Blues\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eWhenever Milt Jackson could free himself from the 'bondage' of the Modern Jazz Quartet and its assertive leader John Lewis, he dedicated himself to his two great passions: ballads and the blues. That was precisely the case when he entered the famous Rudy van Gelder Studio in Hackensack, New Jersey, USA in 1956. He was free to choose his sidemen, and money was no object, which is why various formations gathered in the studio for the three recording sessions. With Lucky Thompson on the tenor sax (unfortunately for only three numbers), Barry Galbraith, Barney Kessel or Skeeter Best on the guitar, Oscar Pettiford or Percy Heath on the bass, together with Kenny Clarke or Lawrence Marable on the drums, he set off on a journey through the history of jazz. John Lewis stayed unobtrusively in the background and offered 'Bags' (as Milt was known) plenty of opportunities to glory in soloistic freedom.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe themes were soon found: the musical composers Cole Porter, Irving Berlin and Jerome Kern, as well as a work from The Duke Ellington Songbook, formed a basis upon which all the musicians could perform with confidence. Three compositions by Milt Jackson himself proved that he too was full of imagination.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« Many of the jazz elite are known by a moniker or nickname. “Fats”, “Trane”, “Mash”, “Fatha”, “Newk” and “Lady Day” are members of jazz royalty who earned this honor. Then, there is “Bags”, better known as Milt Jackson. The legendary vibraphonist performed in various jazz sub-genres, including bebop, hard bop, modal and post-bop. His instrumental prowess was strongly associated with his harmonic and rhythm swing patterns. Jackson was noted for a lower-end vibraphone oscillator (3.3 revolutions\/second) and tremolo sustains. His early career included stints with Dizzy Gillespie, Woody Herman, Thelonious Monk and Charlie Parker. Jackson may be remembered as a founding member of the Modern Jazz Quartet. The “prime” lineup included pianist John Lewis, bassist Percy Heath (who replaced Ray Brown) and drummer Kenny Clarke. MJQ (with some lineup adjustments) recorded intermittently for four decades. Additionally, Jackson enjoyed success as a band leader, and collaborated with fellow legends Ray Charles, Coleman Hawkins, John Coltrane, Wes Montgomery, Oscar Peterson, Hank Mobley, Miles Davis, Hubert Laws and Stanley Turrentine (among many others). His indelible mark on jazz is transcendental.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has released a 180-gram vinyl of the 1956 album, Milt Jackson – Ballads \u0026amp; Blues. This vintage recording, mixed by Rudy Van Gelder was one of many high points for Atlantic Records. Joining “Bags: is the his band mates from MJQ (Lewis, Heath and Clarke) with tenor saxophonist Lucky Thompson. Additionally, three guitarists (Barney Kessler, Barry Galbraith, Skeeter Best) with jazz veterans Oscar Pettiford (double bass) and Lawrence Marable rounded out the session. Side A opens with a Cole Porter composition from his Broadway play, Kiss Me Kate. Popularized by Patti Page in 1949, Jackson distills the minor-key moodiness with his crisp vibraphone runs. There is an effective reed accompaniment (arranged by Ralph Burns). Lewis, Pettiford and Clarke form a seamless, gently-flowing rhythm section. “These Foolish Things” (a staple of Billie Holiday’s repertoire), begins with Barney Kessel’s laid-back guitar licks. Jackson’s active notation dances around the melody. When the jam takes an expected uptick in tempo, it becomes a classic “Bags” swing number, ear-catching and spontaneous.\u003c\/p\u003e\n\u003cp\u003eReaching into The Great American Songbook, Duke Ellington’s bluesy reverie, “Solitude” is arranged with meticulous detail. Jackson plays around John Lewis’ signature minimal “Ellington-esque” piano solo. The reed section is a nice counterpoint, emphasizing the steady, processional build of this jazz composer. Switching gears, “The Song Is Ended” is pure, unadulterated swing. Jackson’s soloing is breathless in technical proficiency and rhythmic prominence. Kessel’s run is articulate and the subtle brush work (Marable) adds another texture. Jerome Kern’s perennial stage and movie standard, “They Didn’t Believe Me” is a ballad with a pulse. Jackson’s first solo is set against the guitar, while Lewis’ understated passage is framed by the reed section.\u003c\/p\u003e\n\u003cp\u003eAmazingly, Side B gets even better. “How High The Moon” originated in a 1940 broadway revue, but subsequent covers (Benny Goodman, Ella Fitzgerald and especially Les Paul\/Mary Ford) made it a part of jazz history. Easing into a wistful ballad mode, Jackson’s fierce notation is complemented by Pettiford’s graceful bowed double bass. Then in classic Milt Jackson mode, the quartet transitions to swing. Lewis, Pettiford and Clarke are dialed in as a cool jazz ensemble. Adding the mellifluous tenor saxophone of Lucky Thompson raises the bar. Milt backs off during the tenor and double bass solo, as Lewis offers another thoughtful, agile run. “Bags” closes it out with a glowing echo. On “Gerry’s Blues” a straight ahead bop-infused arrangement features another deft Kessel guitar solo. This may be the bluesiest jam on the album. Slowing things down, “Hello” is a slow dance meditation. Jackson and Thompson have a distinct melodic feel for each other that is influenced by the chord progressions. The finale, “Bright Blues” is hard driving as Thompson joins for a third number. Clarke, Pettiford, Lewis, Thompson and the brilliant vibraphonist are in a tight pocket. Their nuanced chemistry is flawless, and the call and response between saxophone and vibraphone is uplifting. Of course, there is a big finish.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has done an exemplary job in re-mastering Ballads \u0026amp; Blues to audiophile vinyl. Van Gelder’s pristine source engineering is maintained with integrity. Jackson’s diverse vibraphone tonality is captured with both clean precision and glowing warmth. The mono mix is blended without unnecessary density. » Robbie Gerson, Audiophile Audition, Apr 10, 2019\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic :  4.5 \/ 5  , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,20\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  ,  \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,67\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40399908962455,"sku":"1242","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/milt-jackson-ballads-and-blues-mono-audiosoundmusic-1.jpg?v=1719851470"},{"product_id":"lee-konitz-with-warne-marsh","title":"Lee Konitz with Warne Marsh (Mono)","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLee Konitz - saxophone \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/lee-konitz\" title=\"vinyl featuring Lee Konitz\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/lee-konitz\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Lee Konitz]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWarne Marsh (ts); Ronnie Ball, Sal Mosca (p); Billy Bauer (g); Oscar Pettiford (b); Kenny Clarke (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Warne Marsh (B2, B3, B4), Lee Konitz (B2, B3), Edgar Battle (A1), Eddie Durham (A1), Harry Warren (A2), Vernon Duke (A3), Charlie Parker (A4), Lennie Tristano (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: June 1955 at Coastal Studios, New York City, by Tom Dowd\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduction: Nesuhi Ertegun\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1955\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2018\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTopsy\u003c\/li\u003e\n\u003cli\u003eThere Will Never Be Another You\u003c\/li\u003e\n\u003cli\u003eI Can't Get Started\u003c\/li\u003e\n\u003cli\u003eDonna Lee\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTwo Not One\u003c\/li\u003e\n\u003cli\u003eDon't Squawk\u003c\/li\u003e\n\u003cli\u003eRonnie's Line\u003c\/li\u003e\n\u003cli\u003eBackground Music\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Altoist Lee Konitz and tenor-saxophonist Warne Marsh always made for a perfect team. Even by the mid-'50s when they were not as influenced by Lennie Tristano as previously (particularly Konitz), their long melodic lines and unusual tones caused them to stand out from the crowd. On this LP reissue Konitz and Marsh co-lead a particularly strong group that also includes pianist Sal Mosca, guitarist Billy Bauer, bassist Oscar Pettiford and drummer Kenny Clarke. Their renditions of \"originals\" based on common chord changes along with versions of \"Topsy,\" \"There Will Never Be Another You\" and \"Donna Lee\" are quite enjoyable and swing hard yet fall into the category of cool jazz. This set is worth searching for, as are all of the Konitz-Marsh collaborations. » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhat a great rhythm group! A dream comes true: Oscar Pettiford and Kenny Clarke – and then Billy Bauer on the guitar and alternately Ronnie Ball (UK) or Sal Mosca (USA) on the piano. No wonder that things really take off when these masters of improvisation from the Lennie Tristano school get going.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn June 1955, in the Atlantic studio, standards provided the starting base for the long and wonderfully sophisticated improvisations by Lee Konitz and Wayne Marsh, who were at that time pupils of the great Chicago maestro. Although the numbers are declared as own compositions, such as \"Background Music\" and \"Ronnie’s Line\", they are actually none other than adaptations of \"All Of Me\" or \"That Old Feeling\" – but at the very highest level. Lee Konitz always called this 'The Twelfth Step'. The repertoire is enriched by seldom-heard compositions by the great Oscar Pettiford. 'Time-keeping' – a neologism of prime importance for jazz musicians – is the most important element in \"Donna Lee\" and \"There Will Never Be Another You\" – and there is no better drummer for this music than Kenny 'Klook' Clarke, who lived in those days in the USA before moving to Paris in 1956 where there was no racial discrimination.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOf course, you can buy these recordings on various digital discs. But that can’t be compared to a superb black disc and a cover with lines notes by the famous Barry Ulanov.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJust one thing more: one of the musicians is still on the road. Lee Konitz is often to be heard and seen somewhere in Europe. Despite his almost 91 years!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic :  4 \/ 5 ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,41\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 ,  \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,73\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40399995240599,"sku":"1217","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/lee-konitz-with-warne-marsh-mono-audiosoundmusic-1.jpg?v=1719851485"},{"product_id":"charles-mingus-pithecanthropus-erectus","title":"Charles Mingus - Pithecanthropus Erectus (Mono)","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCharles Mingus - Bass \u003ca title=\"All vinyl featuring Charles Mingus\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/charles-mingus\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/charles-mingus\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more Vinyl\/SACD featuring Charles Mingus]\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJackie McLean -  Alto Saxophone \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jackie-mclean\" title=\"vinyl featuring jackie mclean\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/jackie-mclean\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more Vinyl\/SACD featuring Jackie McLean]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJ.R. Monterose - \u003cmeta charset=\"utf-8\"\u003eTenor Saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMal Waldron - Piano \u003ca title=\"vinyl featuring Mal Waldron\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/mal-waldron\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/mal-waldron\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more Vinyl\/SACD featuring Mal Waldron]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWillie Jones - Drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Charles Mingus (A1, B1, B2), George \u0026amp; Ira Gershwin (A2) \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: January 1956 at Audio-Video Studios, New York City by Tom Dowd \u0026amp; Hal Lustig in mono\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Nesuhi Ertegun\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1956\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePithecanthropus Erectus\u003c\/li\u003e\n\u003cli\u003eA Foggy Day\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eProfile of Jackie\u003c\/li\u003e\n\u003cli\u003eLove Chant\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Pithecanthropus Erectus was Charles Mingus' breakthrough as a leader, the album where he established himself as a composer of boundless imagination and a fresh new voice that, despite his ambitiously modern concepts, was firmly grounded in jazz tradition. Mingus truly discovered himself after mastering the vocabularies of bop and swing, and with Pithecanthropus Erectus he began seeking new ways to increase the evocative power of the art form and challenge his musicians (who here include altoist Jackie McLean and pianist Mal Waldron) to work outside of convention. The title cut is one of his greatest masterpieces: a four-movement tone poem depicting man's evolution from pride and accomplishment to hubris and slavery and finally to ultimate destruction. The piece is held together by a haunting, repeated theme and broken up by frenetic, sound-effect-filled interludes that grow darker as man's spirit sinks lower. It can be a little hard to follow the story line, but the whole thing seethes with a brooding intensity that comes from the soloist's extraordinary focus on the mood, rather than simply flashing their chops. Mingus' playful side surfaces on \"A Foggy Day (In San Francisco),\" which crams numerous sound effects (all from actual instruments) into a highly visual portrait, complete with honking cars, ringing trolleys, sirens, police whistles, change clinking on the sidewalk, and more. This was the first album where Mingus tailored his arrangements to the personalities of his musicians, teaching the pieces by ear instead of writing everything out. Perhaps that's why Pithecanthropus Erectus resembles paintings in sound -- full of sumptuous tone colors learned through Duke Ellington, but also rich in sonic details that only could have come from an adventurous modernist. And Mingus plays with the sort of raw passion that comes with the first flush of mastery. Still one of his greatest. » AllMusic Review by Steve Huey\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt was a fairly ordinary quintet that entered the Audio-Video Studios in New York City on 30 January 1956: one tenor saxophone, one alto saxophone, a pianist, a drummer and ... you guessed: an extraordinary man on the double bass! Not just an instrumentalist, but also an imaginative composer, wayfarer between all kinds of jazz, arranger and enfant terrible.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Suite \"Pithecanthropus Erectus\" is – among other things – programme music. Having learned to walk upright, having achieved alleged superiority over animals, and having caused devastation, the destruction of mankind’s natural resources follows. The composer Mingus gives his fellow mankind\/musicians the widest possible freedom, which all exploit to the full both in interplay and in the solos. Bedded down in noise and sound collages, the piece is the result of an experimental workshop. The Gershwin classic \"A Foggy Day\" takes on the role of intermediary between the jazz styles of the 1930s and free jazz. And in \"Profile Of Jackie\" and \"Love Chant\" the arranger calls for his soloists to go to the very limits of their artistic improvisation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCharles Mingus was certainly not an easy person to deal with for his family, friends and fellow musicians. But that fades into the background when it comes to such outstanding music. Luckily, we outsiders can once again enjoy the music of this genius 60 years after the studio recording, in its original format.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 5 \/ 5 ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:  \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,50\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  ,  \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,92\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40404019675287,"sku":"1237","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/charles-mingus-pithecanthropus-erectus-mono-audiosoundmusic-1.jpg?v=1719851497"},{"product_id":"miles-davis-in-berlin","title":"Miles Davis - In Berlin (Mono)","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMiles Davis - trumpet \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\" title=\"vinyl featuring Miles Davis\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Miles Davis]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWayne Shorter (ts)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHerbie Hancock - piano \u003ca title=\"vinyl featuring Herbie Hancock\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/herbie-hancock\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/herbie-hancock\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Herbie Hancock]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRon Carter (b)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTony Williams (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Miles Davis (A1, B1, B3), Joseph Kosma (A2), Johnny Mercer (A2), Jacques Prévert (A2), Richard Carpenter (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Palla\u003c\/strong\u003es\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: September 1964 live at Philharmonic Hall, Berlin, by SFB Radio in mono\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan\u003eProduction: Rudy Wolpert\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1967\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2017\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMilestones\u003c\/li\u003e\n\u003cli\u003eAutumn Leaves\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSo What\u003c\/li\u003e\n\u003cli\u003eWalkin'\u003c\/li\u003e\n\u003cli\u003eTheme\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003eReviews :\u003c\/p\u003e\n\u003cp\u003e« Recorded live in Germany at the Berlin Philharmonic, Miles in Berlin represents the first recording of trumpeter Miles Davis with tenor saxophonist Wayne Shorter. For various reasons, saxophonists George Coleman and Sam Rivers had both come and gone as members of Davis' band. With the addition of Shorter in 1964, Davis had found the lineup of musicians that he would stick with until 1968 and produce some of the most influential albums of his career -- collected on The Miles Davis Quintet, 1965-68: The Complete Columbia Studio. Eventually known as the \"second great quintet,\" most of the players here, including pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams, had been with Davis for just under a year. In that time, they had taken his traditional repertoire of standards and originals and reworked them with a more adventurous, edgy approach that flirted with the avant-garde. While there isn't a huge difference in the sound of this band or choice of songs from the group that recorded Seven Steps to Heaven or Miles Davis in Europe, there is a palpable sense of creative abandon in Davis' performance as well as synergy to the group sound that seems to foreshadow the innovative music to come. » AllMusic Review by Matt Collar\u003c\/p\u003e\n\u003cp\u003eIt's 1964 and the first Berlin Jazz Festival is about to reach its absolute peak: the final concert on the night of Friday, 25th September by Miles Davis. And the European subsidiary of Columbia Records, CBS, couldn’t wait to release this legendary event on LP.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe new quintet, for the first time with Wayne Shorter on the tenor sax (and not yet as composer), thrilled and roused the audience in the Philharmonie from the first minute to the very end. The classics \"Miles(tones)\", \"So What\" and \"Walkin’\" were performed at an astonishingly fast pace, the ballads were tender and dreamy. Such a magical atmosphere was rarely evoked at later concerts, which was probably due to the excellent acoustics of the large concert hall. The audience were also seated behind the stage, so Miles couldn't turn his back provokingly on people; sometimes he just squatted on the stage. However, this didn’t prevent him from performing his solos lyrically and tenderly, most of them finely nuanced, soft and gentle, yet audible right into the furthest corner. The rhythmic structure created by the young drummer Anthony Williams provided the necessary excitement.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMiles at the top of his form, an enthusiastic audience, impressive acoustics and, to top it all, excellent recording technology and a fantastic pressing on virgin vinyl - what more does a jazz fan want? Now’s the time to dig out your credit card!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRatings :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 4.5 \/ 5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,81\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:  \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,91\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40404157137047,"sku":"62976","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/miles-davis-in-berlin-mono-audiosoundmusic-1.jpg?v=1719851504"},{"product_id":"charles-mingus-the-clown","title":"Charles Mingus - The Clown (Mono)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCharles Mingus - DoubleBass \u003ca data-mce-fragment=\"1\" title=\"All vinyl featuring Charles Mingus\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/charles-mingus\" style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/charles-mingus\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more Vinyl featuring Charles Mingus]\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCurtis Porter - Alto \u0026amp; Tenor sax\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Kneeper - Trombone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWade Legge - Piano \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDonnie Richmond - Drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJean Shepherd - Narration (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Charles Mingus\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: Februay and March 1957 in New York City by Tom Dowd and Larry Hiller\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduced by Nesuhi Ertegün\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1957\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2016\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHaitian Flight Song\u003c\/li\u003e\n\u003cli\u003eBlue Cee\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eReincarnation of a Lovebird\u003c\/li\u003e\n\u003cli\u003eThe Clown\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« The Clown was Charles Mingus' second masterpiece in a row, upping the already intense emotional commitment of Pithecanthropus Erectus and burning with righteous anger and frustration. With Pithecanthropus, Mingus displayed a gift for airtight, focused arrangements that nonetheless allowed his players great freedom to add to the established mood of each piece. The Clown refines and heightens that gift; instead of just writing heads that provide launch points for solos, Mingus tries to evoke something specific with every piece, and even his most impressionistic forays have a strong storytelling quality. In fact, The Clown's title cut makes that explicit with a story verbally improvised by Jean Shepherd (yes, the same Jean Shepherd responsible for A Christmas Story) from a predetermined narrative. There are obvious jazz parallels in the clown's descent into bitterness with every unresponsive, mean-spirited audience, but the track is even more interesting for the free improvisations led by trombonist Jimmy Knepper, as the group responds to Shepherd's story and paints an aural backdrop. It's evidence that Mingus' compositional palette was growing more determinedly modern, much like his increasing use of dissonance, sudden tempo changes, and multiple sections. The Clown introduced two of Mingus' finest compositions in the driving, determined \"Haitian Fight Song\" and the '40s-flavored \"Reincarnation of a Lovebird,\" a peaceful but melancholy tribute to Charlie Parker; Mingus would return to both throughout his career. And, more than just composing and arranging, Mingus also begins to take more of the spotlight as a soloist; in particular, his unaccompanied sections on \"Haitian Fight Song\" make it one of his fieriest moments ever. Mingus may have matched the urgency of The Clown on later albums, but he never quite exceeded it. » AllMusic Review by Steve Huey\u003c\/p\u003e\n\u003cp\u003e« This is a lovely remastering of one of Mingus’ best albums – his 1957 mono release.\u003c\/p\u003e\n\u003cp\u003eThese four tracks were all composed and performed by the amazing bassist Mingus, and have been reissued on various poor discs (some with terrible cover art), so it is wonderful to finally have this Mingus masterpiece in a really good version that preserves everything that happened in that studio in March of 1957.  The original packaging includes detailed notes on the back by Nat Hentoff. He spends a lot time on the volatile personality of Mingus.  Mingus said, “Just because I’m playing jazz, I don’t forget about me…My music is alive and it’s about the living and the dead, about good and evil. It’s angry, yet it’s real because it knows it’s angry.”\u003c\/p\u003e\n\u003cp\u003eThe folk spirit of “Haitian Fight Song” open the first side. It also has a bit of the old black church in it. “Blue Cee” is a standard blues which Mingus feels has some Basie and church-like feelings in it.  “Reincarnation of a Lovebird” on the second side recalls Mingus’ relationship with Charlie Parker, which was also volatile. It has a mournful sort of mood.\u003c\/p\u003e\n\u003cp\u003eThe last track, “The Clown,”  (at 12 1\/2 minutes) features the narration of the great monologist Jean Shepard. Mingus says he was playing a little tune on the piano that sounded happy. Then he hit a dissonance, and decided the piece had to have two parts. He told the story of the clown to Jean Shepard, about a character who tried to please people like most jazz musicians, but nobody liked him until he was dead. Every time the group performed it live, Shepard improvised and changed the story, just like a jazz improvisor.  He even created an ending which leaves it up to the listener rather than explaining that the clown killed himself.\u003c\/p\u003e\n\u003cp\u003eThis was recorded by Tom Dowd and Larry Hiller and supervised by Nesuhi Ertegun.  It is undoubtedly one of the great Mingus sessions, with excellent fidelity of all five instruments, and probably a must-have for all jazz collectors. » John Henry, Audiophile Audition, Nov 15, 2016\u003c\/p\u003e\n\u003cp\u003eThe Clown tells the story of a clown \"who tried to please people like most jazz musicians do, but whom nobody liked until he was dead. My version of the story ended with his blowing his brains out with the people laughing and finally being pleased because they thought it was part of the act. I liked the way Jean changed the ending; leaves it more up to the listener.\" According to a later biography, Mingus was a fan of Shepard's radio show on WOR, and outlined a concept for Shepard but encouraged him to elaborate and improvise. » Gene Santoro, Myself When I am Real: The Life and Music of Charles Mingus. Oxford University Press\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWho hasn't got an ancient, worn-out copy of \"The Clown\" on his shelf, with a tatty cover and torn inner sleeve? Or maybe one of the rare re-releases made of cheap, thin vinyl with dreadful graphic art? And if you haven't heard this gem for a long time, despite the flood of Mingus LPs, CDs and downloads on the market, then you really should seize this opportunity to do so.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \"The Clown\" was, and still is, an absolute must-have for every jazz collector. The small ensemble, only five musicians, came into the New York Atlantic Records studio in March 1957 to record music exclusively composed by the double bassist. Over the next 15 years, three of them were to be heard in numerous concerts with other ensembles. But the original recordings on this LP were the most deeply concentrated, the most versatile, and quite simply the best of all. The more so because the label attached great importance to optimal studio conditions and allowed the instrumentalists plenty of time to make the recordings.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 5 \/ 5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,41\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 \u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40404321304727,"sku":"1260","price":30.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/charles-mingus-the-clown-mono-audiosoundmusic-1.jpg?v=1719851510"},{"product_id":"miles-davis-quintet-round-about-midnight","title":"Miles Davis Quintet - Round About Midnight (Mono)","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eMiles Davis - trumpet \u003ca title=\"vinyl featuring Miles Davis\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Miles Davis]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJohn Coltrane - tenor saxophone \u003ca title=\"vinyl featuring John Coltrane\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-coltrane\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-coltrane\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring John Coltrane]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRed Garland - piano \u003ca title=\"Vinyl featuring Red Garland\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/red-garland\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/red-garland\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Red Garland]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePaul Chambers - bass \u003ca title=\"vinyl featuring Paul Chambers\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-chambers\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-chambers\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Paul Chambers]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePhilly Joe Jones - drums \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/philly-joe-jones\" title=\"Vinly featuring Philly Joe Jones\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/philly-joe-jones\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Philly Joe Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eBernie Hanighen (A1), Cootie Williams (A1), Thelonious Monk (A1), Charlie Parker (A2), Cole Porter (A3), Mort Dixon (B1), Ray Henderson (B1), Tadd Dameron (B2). B3 is a traditional song.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: October 1955, June and September 1956 at Columbia’s 30th Street Studio, New York in mono\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: George Avakian\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1957\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2008\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e‘Round Midnight\u003c\/li\u003e\n\u003cli\u003eAh-Leu-Cha\u003c\/li\u003e\n\u003cli\u003eAll Of You\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBye Bye Blackbird\u003c\/li\u003e\n\u003cli\u003eTadd’s Delight\u003c\/li\u003e\n\u003cli\u003eDear Old Stockholm\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"A couple of the earlier albums are more consistently top-notch (\u003cem\u003eWorkin' \u003c\/em\u003eand \u003cem\u003eRelaxin'\u003c\/em\u003e), but this one is just as hard-driving on the uptempos and as crisp and moody on the ballads, especially the title track (maybe the most galvanizing version of Monk's anthem), 'All of You,' and 'Bye, Bye Blackbird.' Columbia's sound was equal to that of Rudy Van Gelder's as well.\" – Fred Kaplan, \u003cem\u003eStereophile\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAt long last these early recordings, which Miles Davis set down for the Columbia label in 1955 and 1956, are available on LP again. And what is more, they were made without any alternate takes or second attempts, as is the custom these days.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eYou can sit back and enjoy the six numbers in the order which the producer, probably in conjunction with Davis, decided upon. To be sure, all of the titles are well known and have been played a thousand times over in many different versions. But what this Quintet (and here each and every individual musician is meant!) produces as regards inventiveness, thrilling improvisations and artistry is absolutely top notch. Davis’s vibrato-less sound is taken over seamlessly by John Coltrane – wonderfully demonstrated in the middle of \"Bye, Bye Blackbird\", while Paul Chambers’ showpiece is \"Ack Värmeland du sköna\" (aka \"Dear Old Stockholm\"). In the years 1955\/56, bebop was the talk of the day, born witness to by the classics \"Tadd’s Delight\" by Tadd Dameron and \"Ah-Leu-Cha\" by Charlie Parker. Here, however, the improvised melodic strands are more moderate, pointing the way to the style that later became known as modal jazz.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlthough \"’Round About Midnight\" as an album does not enjoy the reputation of \"Kind Of Blue\", this Columbia recording contains many gems which are well worth hearing.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 5 \/ 5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,61\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,97\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40405070610583,"sku":"CL 949","price":30.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/miles-davis-quintet-round-about-midnight-mono-audiosoundmusic-1.jpg?v=1719851555"},{"product_id":"chet-baker-chet-is-back","title":"Chet Baker - Chet Is Back (Mono)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eChet Baker (trumpet) \u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/chet-baker\" title=\"Vinyl featuring Chet Baker\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/chet-baker\"\u003e[click here to see more vinyl featuring Chet Baker]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBenoit Quersin (bass), Daniel Humair (drums), Bobby Jaspar (Flute, Tenor Saxophone), Rene Thomas (guitar), Amedeo Tommasi (piano),\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Amedeo Tommasi (B3), Charlie Parker (A3), Raye (A4), De Paul (A4), Arlen (B1), Link (A2), Marvell (A2), Strachey (A2), Oscar Pettiford (B4), Sonny Rollins (B2), Thelonious Monk (A1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording in January 1962 in RCA's studio in Rome\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1962\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2005\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWell, You Needn’t\u003c\/li\u003e\n\u003cli\u003eThese Foolish Things\u003c\/li\u003e\n\u003cli\u003eBarbados\u003c\/li\u003e\n\u003cli\u003eStar Eyes\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eOver The Rainbow\u003c\/li\u003e\n\u003cli\u003ePent Up House\u003c\/li\u003e\n\u003cli\u003eBallata In Forma Di Blues\u003c\/li\u003e\n\u003cli\u003eBlues in The Closet\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eChet Baker - one of the most tragic figures of jazz who lived on the fast lane and ruined himself with drugs and alcohol - was constantly on the road from one European jazz club to another. Local rhythm groups were not always top notch so it was only logical to pick the very best from several countries for a film-music production in Italy. And it was equally logical that RCA’s Italian subsidiary brought the musicians into the studio in January 1962.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWith one exception, the eight titles on this disc are all so-called standards. The two winds demand total concentration from the rhythm section while maintaining relaxed and laid-back harmonic patterns. And this is something the Italian Tommasi, the Belgian Thomas, the Frenchman Quersin and the Swiss Humair carry off with an air of nonchalance. The two ballads \"These Foolish Things\" and the only new composition \"Ballata In Forma Di Blues\" are tucked in between the other numbers and give the listener space to breathe. They are surrounded by numbers with a fast tempo, all of which demonstrate Chet Baker’s and Bobby Jaspar’s high standard of musicianship. And then there is \"Over The Rainbow\", whose theme is coupled with another tragic figure of music history, Judy Garland: Chet on his trumpet conjures up pure magic in the middle section.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHappily, these recordings - made in Rome in 1962 - are not purely restricted to collectors living in the Sixties. This re-release on LP now offers the opportunity to listen to some excellent music and to enjoy the cover – just as it was on the original recording: a priceless gem!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 4 \/ 5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,29\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,91\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40405137195159,"sku":"PML-10307","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/chet-baker-chet-is-back-1lp-mono-audiosoundmusic-1.jpg?v=1719851560"},{"product_id":"delaney-bonnie-friends-on-tour-with-eric-clapton","title":"Delaney \u0026 Bonnie \u0026 Friends - On Tour With Eric Clapton (Mono)","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDelaney Bramlett - guitar, vocal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBonnie Bramlett - vocal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eEric Clapton - guitar \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/eric-clapton\" title=\"vinyl featuring Eric Clapton\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/eric-clapton\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Eric Clapton]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRita Coolidge - vocal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDave Mason (g); Bobby Keys (sax); Jim Price (tb); B. Whitlock (org, voc); Carl Radle (b); Tex Johnson (bgo, cga); Jim Gordon (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Steve Cropper (A1), Eddie Floyd (A1), Delaney Bramlett (A2), Jim Ford (A2), Leon Russell (A2), Dave Mason (A3), Beth Beatty (A4), Dick Cooper (A4), Ernie Shelby (A4), Bessie Griffin (B1), Bonnie Bramlett (B2, B3), Bobby Whitlock (B2), Eric Clapton (B3), Richard Penniman (B4a, B4c, B4d), Bobby Trout (B4b), Robert Blackwell (B4c)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atco\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded in December 1969 at Fairfield Halls, Croydon (UK), by Andy Johns and Glyn Johns\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Delaney Bramlett and Jimmy Miller\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1970\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSide A\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e1. Things Get Better\u003cbr\u003e2. Poor Elijah - Tribute To Johnson (Medley)\u003cbr\u003e3. Only You Know And I Know\u003cbr\u003e4. I Don't Want To Discuss It\u003c\/p\u003e\n\u003cp\u003eSide B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThat's What My Man Is For\u003c\/li\u003e\n\u003cli\u003eWhere There's A Will, There's A Way\u003c\/li\u003e\n\u003cli\u003eComing Home\u003c\/li\u003e\n\u003cli\u003eLittle Richard Medley : 4a Tutti-fruti, 4b The Girl can't Help It, 4c Long Tall Sally, 4d Jenny Jenny\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« This 42-minute, eight-song live album, cut at Croydon late in 1969, is not only the peak of Delaney \u0026amp; Bonnie's output, but also the nexus in the recording and performing careers of Eric Clapton and George Harrison. On Tour features Clapton performing the same blend of country, blues, and gospel that would characterize his own early solo ventures in 1970. He rises to the occasion with dazzling displays of virtuosity throughout, highlighted by a dizzying solo on \"I Don't Want to Discuss It,\" a long, languid part on \"Only You Know and I Know,\" and searing, soulful lead on the beautifully harmonized \"Coming Home.\" Vocally, Delaney \u0026amp; Bonnie were never better than they come off on this live set, and the 11-piece band sounds tighter musically than a lot of quartets that were working at the time, whether they're playing extended blues or ripping through a medley of Little Richard songs. It's no accident that the band featured here would become Clapton's own studio outfit for his debut solo LP, or that the core of this group -- Bobby Whitlock, Carl Radle, and Jim Gordon -- would transform itself into Derek \u0026amp; the Dominoes as well; or that most of the full band here would also serve as the group that played with George Harrison on All Things Must Pass and at The Concert for Bangladesh, except that the playing here (not to mention the recording) is better. Half the musicians on this record achieved near-superstar status less than a year later, and although the reasons behind their fame didn't last, listening to their work decades later, it all seems justified. » AllMusic Review by Bruce Eder\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e« Delaney and Bonnie Bramlett made a huge contribution to the rock movement. During their relatively brief career as a duo, their influence and respect from their peers was immense. They were originally signed to Stax Records, releasing a somewhat underwhelming studio album debut, Home in 1969. However, when they opened for British supergroup Blind Faith in 1969, their incendiary roots-bases Southern rock established a significant legacy. The fluid band lineup (which at times featured George Harrison, Eric Clapton and Dave Mason) distilled the essence of blues rock, especially in the soulful, vocals of the Bramletts. Clapton helped the duo procure a recording contract with Atco (Atlantic) Records. In late 1969, a live album, Delaney \u0026amp; Bonnie \u0026amp; Friends On Tour With Eric Clapton captured the magic of the group. Featuring a veritable “Who’s Who” of players, the genre of Southern Rock was ushered into the mainstream along with The Allman Brothers. This represented a commercial apex for Delaney \u0026amp; Bonnie, with chart success. After their inevitable breakup, these session musicians would comprise highly regarded ensembles like Joe Cocker’s Mad Dogs And Englishmen and Clapton’s Derek And The Dominos. Delaney was instrumental in popularizing slide guitar and Bonnie’s soulful vocal style (she was a backup singer for the Ike And Tina Turner Revue) influenced a generation of singers.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner Records has released a re-mastered 180-gram vinyl of Delaney \u0026amp; Bonnie \u0026amp; Friends On Tour With Eric Clapton. Fifty years later, it is a testament to the power of rock and roll. The powerhouse band includes  Clapton (lead guitar), Dave Mason (guitar), Carl Radle (bass), Jim Gordon (drums), Bobby Whitlock (organ, piano), Jim Price (trumpet, trombone), Bobby Keys (saxophone), Tex Johnson (conga) and Rita Coolidge (backup vocals). Side 1 opens with hard charging ‘rock ’n’ soul” on Eddie Floyd’s “Things Get Better”. Behind the layered horn\/sax\/organ, Delaney delivers a Memphis-inspired vocal. Bonnie joins in harmony before taking over lead vocals in commanding fashion. The duo’s vocal chemistry is magnetic as Clapton’s guitar licks ring with clarity. Bonnie’s spine-tingling yells close out the song. Clapton is featured on the “Poor Elijah\/Tribute To Robert Johnson Medley” (co-written by another Bramlett collaborator, Leon Russell). The band simply cooks like a vintage soul revue as Delaney offers falsetto and Bonnie is relentless. The crowd gets an early introduction to Dave Mason’s “Only You Know And I Know”. His version would be on the seminal 1970 “solo” album, Alone Together. This version revels in the raw aesthetics of live rock and roll. There is a barrage of guitar riffs. Delaney takes the first verse, and Bonnie, the second. Each delivers in their inimitable style. Bobby Whitlock’s organ is compelling and the dual third verse explodes with unabated energy. Delaney \u0026amp; Bonnie \u0026amp; Friends never let up. “I Don’t Want To Discuss It” is a festive romp that showcases Delaney’s vocal largesse. Another incendiary Clapton solo propels a gospel-driven chant as the band sustains its fury.\u003c\/p\u003e\n\u003cp\u003eDelaney \u0026amp; Bonnie \u0026amp; Friends On Tour With Eric Clapton - Atco Records, Album CoverSide 2 is a mixed bag. Bonnie Bramlett is electrifying as she belts out ‘down ’n’ dirty” blues on “That’s What My Man Is For”. In a tour-de-force performance, she brings an earthy urgency and emotional depth. The band lays back, letting the singer do her thing. Her gut-wrenching wailing is transcendental. On a Bonnie Bramlett\/Bobby Whitlock rocker, “Where There’s A Will, There’s A Way”, the vocals are ferocious. Jim Gordon executes a gritty drum-fill solo and the horn\/saxophone arrangement is testament to the cohesive band dynamics. With a definitive rock groove fest (“Coming Home”), multiple guitars demonstrate the visceral appeal of the era. Delaney is at his best. In the tradition of rock and roll, a suitable finale of vintage 50’s music is executed to perfection. The subject of this medley (”Long Tall Sally\/Jenny Jenny\/The Girl Can’t Help It\/Tutti Frutti”) is Little Richard. If there is a Mt. Rushmore of rock and roll, Richard Penniman would be up there. The band channels the freneticism of this charismatic performer as Clapton and Bobby Keys let it rip.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has done an excellent job in this 180-gram vinyl upgrade. The mix is robust and the vocals are centered. This vinyl pressing is flawless with minimal surface noise and no hisses or pops. This live recording established a high standard for future rock and roll albums. This is a great record and should be part of any vinyl collection. » Robbie Gerson, Audiophile Audition, Mar 22, 2021\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis 42-minute-long live album, which was recorded in December 1969 in Croydon, England and was awarded 5 stars by the magazine Rolling Stone, is not only the culmination of Delaney \u0026amp; Bonnie’s creative output, but also marks their connection to the further careers of Eric Clapton and George Harrison. On this particular tour Clapton plays the same mixture of country music, blues and gospel that were to hallmark his own early solo appearances from 1970. He rose to the occasion with consistently brilliant virtuosity; the highlights are a dizzying solo in \"I Don’t Want To Discuss It\", a lengthy 'Slowhand' passage in \"Only You Know And I Know\", and a dry fervent introduction to the wonderfully balanced \"Coming Home\". \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eVocally Delaney \u0026amp; Bonnie were never better than on this live set, and the 11-piece band sounds musically more close-knit than many a quartet of the times, regardless of whether they are playing a lengthy blues number or a medley of Little Richard songs. It is certainly no coincidence that the band featured here would become Clapton’s own choice for his first solo LP, or that the kernel of this group – Bobby Whitlock, Carl Radle and Jim Gordon – would metamorphose into Derek and the Dominos, or that the bulk of the band would constitute the group that would perform with George Harrison in \"All Things Must Pass\" and The Concert For Bangladesh, except that their playing (not to mention the recording) is better here. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHalf the musicians on this record attained near-superstar status less than one year later, and although their fame was fairly short-lived, this is certainly justified, as you will ascertain when you listen to this live performance.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 4.5 \/ 5 ; \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3.94\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 ; \u003c\/span\u003eAudiophile Audition : 5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40405631205527,"sku":"SD 33-326","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/delaney-and-bonnie-and-friends-on-tour-with-eric-clapton-mono-audiosoundmusic-1.jpg?v=1719851560"},{"product_id":"elvis-presley-elvis-golden-records","title":"Elvis Presley - Elvis' Golden Records (Mono)","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCOMPILATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eElvis Presley - guitar, vocals \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvis-presley\" title=\"vinyl featuring Elvis Presley\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvis-presley\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Elvis Presley]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe Jordanaires (vocals) and various bands\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Jerome Leiber (A1, A2, A5, A6, B5), Mike Stoller (A1, A2, A5, A6, B5), Elvis Presley (A3, A4, B1, B4), Otis Blackwell (A3, B1), Mae Boren Axton (A4), Tommy Durden (A4), Bernard Weinman (A7), Lee Rosenberg (A7), Fred Fisher (B2), George Brown (B2), William Raskin (B2), Bernie Lowe (B3), Karl Mann (B3), Vera Matson (B4), Aaron Schroeder (B6), Cliff Owens (B6), George Mysels (B7), Lou Kosloff (B7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: January 1956 - September 1957 in Hollywood, New York and Nashville in mono\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Steve Sholes\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1958\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2016\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp\u003e                1. Hound Dog\u003c\/p\u003e\n\u003cp\u003e                2. Loving You\u003c\/p\u003e\n\u003cp\u003e                3 . All Shook Up\u003c\/p\u003e\n\u003cp\u003e                4. Heartbreak Hotel\u003c\/p\u003e\n\u003cp\u003e                5. Jailhouse Rock\u003c\/p\u003e\n\u003cp\u003e                6. Love Me\u003c\/p\u003e\n\u003cp\u003e                7. Too Much           \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp\u003e                1. Don't Be Cruel\u003c\/p\u003e\n\u003cp\u003e                2. That's When Your Heartaches Begin\u003c\/p\u003e\n\u003cp\u003e                3. (Let Me Be Your) Teddy Bear\u003c\/p\u003e\n\u003cp\u003e                4. Love Me Tender\u003c\/p\u003e\n\u003cp\u003e                5. Treat Me Nice\u003c\/p\u003e\n\u003cp\u003e                6. Anyway You Want Me (That's How I Will Be)\u003c\/p\u003e\n\u003cp\u003e                7. I Want You, I Need You, I Love You\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« This was rock \u0026amp; roll's first greatest-hits album, and it set the standard for all others to follow. As originally conceived, it was a 14-song collection of most of the King's biggest hits up to that time, released on the eve of his start of military service -- a dearth of material being in the offing, it seemed only logical to assemble these hits. Each of the 14 songs had earned a Gold record award for a million sales, a record unequaled at that time by anyone else in rock \u0026amp; roll. The album wasn't intended as a history lesson, so \"Hound Dog\" and \"Loving You\" precede \"Heartbreak Hotel\" -- the 1997 remastering also tampers with the concept a bit, adding six bonus tracks. Elvis' singing never sounded richer or more expressive, and one can fully appreciate in vivid detail the delicate nuances of his phrasing on songs like \"Too Much.\" On the downside, the remastering has made the sound so clean on some of the harder songs that some of the raw, \"dirty\" ambience that characterized this stuff on the radio and the original 45s is lacking. Still, Scotty Moore's groundbreaking lead guitar part on \"Hound Dog\" and the Jordanaires' backup singing never came through more sharply or cleanly, and the all-important rhythm section is almost upfront in the mix. Those who own the first Elvis box from RCA, covering the '50s masters may hesitate to pick up this or the other parts of this latest remastered series, but the sound has been upgraded one more level, and Elvis' Golden Records does give a bite-sized glimpse of where Elvis had come from and where he was going (for better or worse) musically on the eve of heading into the Army. » AllMusic Review by Bruce Eder\u003c\/p\u003e\n\u003cp\u003e\"Have we got the lot?\" The King of Rock’n’Roll certainly didn't need to ask whether his entourage had collected together all their favourite hits. They had gathered them all together - a collection of \"Golden Records\", rather like a selection box of favourite chocolates, greedily swallowed down and enjoyed to the full. And how they loved them all - whether 'complete works' collectors or fans. To this very day, this collection from 1958 is quite set apart from the normal 'best of' collections. It shines out like a precious jewel among mere pebbles.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis was the first of four Gold volumes, and it set the standard for those to come. Before any of the immemorable songs came to be included, they had to have sold at least a million copies and won an undeniable and unforgettable reputation as a heart-string plucker. To name a title is more than superfluous. It's quite enough just to listen and enjoy. Whoever wants the ultimate basic Elvis collection can’t go wrong here.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 3.5 \/ 5 ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,23\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,24\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40410135593111,"sku":"LPM-1707","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/elvis-presley-elvis-golden-records-speaker-corners-black-vinyl-mono-audiosoundmusic-1.jpg?v=1719851627"},{"product_id":"elvis-presley-elvis-christmas-album","title":"Elvis Presley - Elvis' Christmas Album (Mono)","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eElvis Presley - guitar, vocals \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Elvis Presley\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvis-presley\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvis-presley\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Elvis Presley]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe Jordanaires - vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Jerry Leiber (A1), Mike Stoller (A1), Irving Berlin (A2), Gene Autry (A3), Oakley Haldeman (A3), Kim Gannon (A4), Walter Kent (A4), Buck Ram (A4), Bill Hayes (A5), Jay Johnson (A6), Claude Demetrius (A6), Aaron Schroeder (A6), Phillip Brooks (B1), Lewis Redner (B1), Franz Gruber (B2), Joseph Mohr (B2), Rev. Thomas A. Dorsey (B3, B5), Ervin Drake (B4), Irvin Graham (B4), Jimmy Shirl (B4), Al Stillman (B4), Stuart Hamblen (B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1957\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2007\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A : \u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSanta Claus Is Back In Town\u003c\/li\u003e\n\u003cli\u003eWhite Christmas\u003c\/li\u003e\n\u003cli\u003eHere Comes Santa Claus (Right Down Santa Claus Lane)\u003c\/li\u003e\n\u003cli\u003eI'll Be Home For Christmas\u003c\/li\u003e\n\u003cli\u003eBlue Christmas\u003c\/li\u003e\n\u003cli\u003eSanta Bring My Baby Back (To Me)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eO Little Town Of Bethlehem\u003c\/li\u003e\n\u003cli\u003eSilent Night\u003c\/li\u003e\n\u003cli\u003e(There'll Be) Peace in the Valley (For Me)\u003c\/li\u003e\n\u003cli\u003eI Believe\u003c\/li\u003e\n\u003cli\u003eTake My Hand, Precious Lord\u003c\/li\u003e\n\u003cli\u003eIt Is No Secret (What God Can Do)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e« Elvis' 1957 original Christmas album is one of his most inspired early outings and the first time he tackled anything resembling a thematic concept. Split evenly between rockers and bluesy numbers like \"Santa Claus Is Back in Town,\" \"Blue Christmas,\" and \"Santa Bring My Baby Back to Me,\" perennials like \"White Christmas,\" \"I'll Be Home for Christmas,\" and \"Silent Night,\" and straight-ahead gospel favorites like \"I Believe,\" \"Peace in the Valley\" and \"Take My Hand, Precious Lord,\" the disc revealed a different side of the rocker for the first time on a public instead conditioned to expect something outrageous. One of the King's shining moments, this is quite simply still one of the best holiday albums available. » AllMusic Review by Cub Koda\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eWild rock’n’roll and Christian spirituality at Christmastide are impossible to bring together musically, one might think. But Elvis, who in the Fifties was climbing as steadily up the ladder of success as Father Christmas coursed the sky in his sleigh, certainly pulled off this feat in his \"Christmas Album\" with its mixture of popular Christmas songs and seasonal evergreens. The 'King' delivers a rocking version of \"Santa Claus Is Back In Town\" just as successfully as \"Peace In The Valley\", an inspirational gospel song praising nature. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOf course it goes without saying that \"White Christmas\" – the most-recorded Christmas hit, which in the Bing Crosby version alone achieved sales of 35 million – is included on the album. And Elvis’s sentimental interpretation of \"Silent Night\" may well have made its contribution to the immortality of the former truck driver from Tennessee. Back on this earth the original LP exchanges hands for around US$ 500 when the gift tag is still attached. And because it’s Christmas, the coveted sticker can be found on the re-release.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 4.5 \/ 5  ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,90\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,45\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40412734193815,"sku":"LOC-1035","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/elvis-presley-elvis-christmas-album-mono-audiosoundmusic-1.jpg?v=1719851688"},{"product_id":"ruth-brown-miss-rhythm","title":"Ruth Brown - Miss Rhythm (Mono)","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRuth Brown (vocal) \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Ruth Brown\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ruth-brown\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ruth-brown\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Ruth Brown]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEd \"Tiger\" Lewis, Steve Lipkins, Joe Wilder (trumpet), Jimmy Cleveland, Richard Harris (trombone), Jimmy Mitchell, Jerome Richardson (alto saxophone), Arnett Cobb, King Curtis, Budd Johnson, Sam Taylor (tenor saxophone), Sylvester Thomas (baritone saxophone), Lee Anderson, Dick Hyman, Bu Pleasant, Mike Stoller (piano), Mickey Baker, Al Caiola, Allen Hanlon, Mundell Lowe, Charles Macey (guitar), Abie Baker, Percy Heath, Benny Moten, Lloyd Trotman (bass), Connie Kay, Joe Marshall, Noruddin Zafer (drums), Jerry Duane, Bob Harter, Artie Malvin, Bill Marine, Robert Miller, Ralph Nyland, The Rhythmakers, Maeretha Stewart (backing vocals)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Manny Curtis (A1), Bobby Darin (A1), Jerry Wexler (A2), C. Taylor(A2), Rudy Toombs (A3), Brook Benton (A4), Belford Hendricks (A4), Ronald Mack(A4), Ahmet Ertegun (A5), Jimmy Lewis (A6), Ruth Brown (A6), Jerry Leiber (B1, B2), Mike Stoller (B1, B2), Rose Marie McCoy (B3), Charlie Singleton (B3), C. Small (B4), D. Moore (B4), Leroy Kirkland (B5), Mamie Thomas (B5), Joe Shapiro (B6), Lou Stallman (B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded May 7, 1954, March 1, 1955, September 25, 1956, April 15 and December 5, 1957, July 30, 1958 and March 7, 1959, in New York City\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRe-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1959\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2018\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv\u003eSide A :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. \"This Little Girl's Gone Rockin'\" (Manny Curtis, Bobby Darin) \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. \"Just Too Much\" (Jerry Wexler, C. Taylor) \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. \"I Hope We Meet (On the Road Someday)\" (Rudy Toombs) \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. \"Why Me\" (Brook Benton, Belford Hendricks, Ronald Mack) \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. \"Somebody Touched Me\" (Ahmet Ertegun) \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. \"When I Get You Baby\" (Jimmy Lewis, Ruth Brown)\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eSide B :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. \"Jack O' Diamonds\" (Jerry Leiber, Mike Stoller)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. \"I Can't Hear a Word You Say\" (Leiber, Stoller) \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. \"One More Time\" (Rose Marie McCoy, Charlie Singleton) \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. \"Book of Lies\" (C. Small, D. Moore) \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. \"I Can See Everybody's Baby\" (Leroy Kirkland, Mamie Thomas) \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. \"Show Me\" (Joe Shapiro, Lou Stallman) \u003c\/div\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e : \u003c\/p\u003e\n\u003cp\u003e\"Ruth Brown's second LP is a minor masterpiece, built around a handful of hit singles and B-sides from the prior year (\"Book of Lies,\" \"Just Too Much,\" \"When I Get You Baby,\" \"This Little Girl's Gone Rockin',\" \"Why Me\") and containing a pair of current single sides, \"Jack O' Diamonds\" and \"I Can't Hear a Word You Say.\" Brown is amazing in her range, from the upbeat, romantic \"I Hope We Meet (On the Road Someday)\" to the jaunty shouter \"Why Me\" -- her timbre ranges from sweetly romantic to hard and raspy, and listening to the transformations, between the smooth, quick tempo \"Just Too Much\" to the hard, lusty \"Somebody Touched Me,\" one thinks of a distaff Sam Cooke. Brown's accompaniments may have lacked the polish of Cooke's sides, and she wasn't really shooting for pop-crossover success (though she saw some). Her singing even overcomes excessively pop-oriented arrangements on \"When I Get You Baby.\" At various times, in her upper register, Brown recalls Clyde McPhatter's falsetto singing, while in her middle and lower registers, as on \"I Can't Hear a Word You Say,\" she comes up with a power that could melt a microphone stand.\" Bruce Eder, Allmusic\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Brown’s first LP for Atlantic, Ruth Brown, is a compilation of hit singles recorded between 1949 and 1956. Miss Rhythm collects her popular sides released between 1954 and 1959. By the early 1960s, she was gone from Atlantic, even though the imprint released The Best of Ruth Brown (which includes a 1960 session song with Eric Dolphy in the band) in 1962. During the 1960s, Brown released a handful of albums on the Solid Stated, Cobblestone, and Skye labels, and proceeded to continue touring for the rest of her life. The dozen songs on Miss Rhythm show the vocalist at the top of her game and relying on her incredible range. While the backing bands vary from song to song, they are uniformly composed of top jazz and session players.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe front cover of Pure Pleasure’s LP depicts the standard mono cover. However, on the back and in the vinyl deadwax, the catalog number is listed as SD 8206. While it’s unlikely these early singles were recorded in two-track stereo, the stereo sonics here do not sound electronically rechanneled for stereo. Indeed, the production sounds like mono—and very good mono at that, with a fairly wide stage rather than instruments lined up front to back in a mono row\"\u003c\/em\u003e Dennis Davis -Vinyl Reviews\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 3.5 \/ 5  ,  Vinyl Reviews : 4 \/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40442050085015,"sku":"PPAN SD18026","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/ruth-brown-miss-rhythm-mono-audiosoundmusic-1.jpg?v=1719851785"},{"product_id":"lee-konitz-inside-hi-fi","title":"Lee Konitz - Inside Hi-Fi (Mono)","description":"\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAlto Saxophone – Lee Konitz (A1-4) \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Lee Konitz\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/lee-konitz\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/lee-konitz\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Lee Konitz]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTenor Saxophone – Lee Konitz (A1, B1-4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eBass – Arnold Fishkind (A1-4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e Peter Ind (B1-4) , \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eDrums – Dick Scott\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eGuitar – Billy Bauer (A1-4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003ePiano – Sal Mosca (B1-4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eComposed by Lee Konitz (A1, A4), Matt Dennis (A2), Tom Adair (A2), Gus Arnheim (A3), Harry Tobias (A3), Jules Lemare (A3), Gerald Marks (B1), Seymour Simons (B1), Don Raye (B2), Gene DePaul (B2), Peter Ind (B3), Ballard MacDonald (B4), James F. Hanley (B4) \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Unspecified\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded at the Van Gelder Studio, New Jersey, in \u003c\/span\u003eSeptember 26 and October 16, 1956 by \u003c\/strong\u003e\u003cstrong\u003eRudy Van Gelder\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1956\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRe-mastered by Ray Staff at Air Mastering\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Nesuhi Ertegun\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eKary's Trance\u003c\/li\u003e\n\u003cli\u003eEverything Happens To Me\u003c\/li\u003e\n\u003cli\u003eSweet And Lovely\u003c\/li\u003e\n\u003cli\u003eCork 'n' Bib\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAll Of Me\u003c\/li\u003e\n\u003cli\u003eStar Eyes\u003c\/li\u003e\n\u003cli\u003eNesuhi's Instant\u003c\/li\u003e\n\u003cli\u003eIndiana\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"A recent convert to Lee Konitz, the more I hear the more I like. Though he went on to record right up to the present day, the '50's recordings are remarkably fresh, with his alto's long fluid lines and swinging turns in direction. His alto has a refreshing lightness and his opening alto duet here with guitarist Billy Bauer on 'Kary's Trance' is a surprising sheer delight. Unusually, Konitz also picks up the tenor sax on several tracks for the first time, yielding a record with an additional layer of interest. The selling point for me, however, was the cover. For any audiophiles out there (yes you Guy! ) the artifice of Konitz, photographed through capacitors, valves and wires in Rudy Van Gelder's recording studio, is the ultimate Jazz Audiophile image.\" \u003c\/span\u003eLondonJazzCollector\u003c\/p\u003e\n\u003cp\u003e\"This LP, initially released on Atlantic in 1956 and soon after leaving his stint with Stan Kenton, features Rudy Van Gelder as producer with two line-ups that flip along with the LP from Side A to B. Side A includes guitarist Billy Bauer, Arnold Fishkind on bass and Dick Scott on drums. On the flip, you’ll find pianist Sal Mosca, Peter Ind on bass and Dick Scott on drums while Konitz switches to tenor.\u003c\/p\u003e\n\u003cp\u003eThe album has received a beautiful mastering job. The sheer breadth of the soundstage is impressive on its own. There is a definite impression that this band is spread across a stage with Konitz on the far left. While there is plenty of dynamic room for his crescendo outbursts, it’s good to hear the solid and grounded performance that talks of discipline.\u003cbr\u003eThis is a man who has two feet firmly planted. He knows where he’s going. The imagery is good too with the guitar to the left and behind the percussion. The complexity of this band is there for all to see (and hear) to hear.\u003cstrong\u003e\u003cem\u003e\" \u003c\/em\u003e\u003c\/strong\u003ePaul Rigby - HIFI WORLD\u003c\/p\u003e\n\u003cp\u003e\"This excellent recording features altoist Lee Konitz with two separate quartets during 1956. Either guitarist Billy Bauer or pianist Sal Mosca are the main supporting voices in groups also including either Arnold Fishkind or Peter Ind on bass and Dick Scott on drums. The most unusual aspect to the set is that on the four selections with Mosca, Konitz switches to tenor, playing quite effectively in a recognizable cool style. The overall highlights of this enjoyable album are \"Everything Happens to Me,\" \"All of Me,\" and \"Star Eyes,\" but all eight performances are well played and swinging.\" - Scott Yannow - AllMusic\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllmusic : 4 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40460305531031,"sku":"PPAN SD1258","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/lee-konitz-inside-hi-fi-mono-audiosoundmusic-1.jpg?v=1719851785"},{"product_id":"charles-mingus-east-coasting","title":"Charles Mingus - East Coasting (Mono)","description":"\u003cdiv\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCharles Mingus - Bass \u003ca data-mce-fragment=\"1\" title=\"All vinyl featuring Charles Mingus\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/charles-mingus\" style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/charles-mingus\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Charles Mingus]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Evans - Piano \u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/bill-evans\" title=\"Vinyl featuring Bill Evans\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/bill-evans\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[\u003cspan data-mce-fragment=\"1\" color=\"#ff8000\"\u003eclick here to see more vinyl featuring \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" color=\"#ff8000\"\u003eBill Evans]\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eShafi Hadi - Saxophone, Tenor Saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDannie Richmond - Drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Knepper - Trombone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Clarence Shaw - Trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Charles Mingus (A2-3, B1-3), Eubie Blake (A1), Andy Razaf (A1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal analog Master tape: YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRecord Press: Unspecified\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLabel: Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label : Bethlelem\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecorded 6th August 1957 in New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eProduced by George Avakian\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1957\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2014\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMemories of You\u003c\/li\u003e\n\u003cli\u003eEast Coasting\u003c\/li\u003e\n\u003cli\u003eWest Coast Ghost\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eCelia\u003c\/li\u003e\n\u003cli\u003eConversation\u003c\/li\u003e\n\u003cli\u003eFifty-First Street Blues\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e« One of Charles Mingus' lesser-known band sessions, this lyrical set of five originals (plus the standard \"Memories of You\") features his usual sidemen of the period (trombonist Jimmy Knepper, trumpeter Clarence Shaw, Shafi Hadi on tenor and alto, and drummer Dannie Richmond), along with pianist Bill Evans. The music stretches the boundaries of bop, is never predictable and, even if this is not one of Mingus' more acclaimed dates, it is well worth acquiring for the playing is quite stimulating. » AllMusic Review by Scott Yanow\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCharles Mingus is usually known for his wild, soulful and avant-garde compositions. \"East Coasting\" is mellow by comparison, but it still cooks on a musical level. The Mingus touches are there; the trombone, drummer Danny Richmond and of course the dark emotional undercurrent looms large, too. The personnel are all Mingus regulars, except for pianist Bill Evans, who would not be described as \"soulful\" in the traditional sense, but his introverted and sensitive style works well with Mingus's music. His playing on \"West Coast Ghost\" (the album's stand-out track) and \"Celia\" are two examples of Evans' ability to understand an artist's musical vision and play accordingly in his own beautifully original style.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"East Coasting\" sounds like the prototypical 1950s jazz recording. It's something one would hear in an attic converted to a bedroom where an artist or lonely soul might live. It's what a lot of people might believe Jazz would or should sound like. Highly recommended to Jazz lovers and perhaps more importantly- to young people who have just been blown away by Kerouac's novel \"On the Road\" and have become interested in exploring Jazz. \"East Coasting\" will allow them to get a taste of lost creative America. S. Wynn\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAllMusic: 4 \/ 5   , Discogs : 4.36 \/ 5  , Rate your Music : 3.54 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40485611274391,"sku":"BCP6019","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/charles-mingus-east-coasting-mono-audiosoundmusic-1.jpg?v=1719851796"},{"product_id":"big-joe-turner-the-boss-of-the-blues","title":"Big Joe Turner - The Boss Of The Blues Sings Kansas City Jazz (Mono)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan size=\"2\"\u003eJoe Turner (\u003c\/span\u003e\u003cspan size=\"2\"\u003evocals)\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003ca title=\"vinyl featuring Joe Turner\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/joe-turner\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more vinyl featuring Joe Turner]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan size=\"2\"\u003eJoe Newman (\u003c\/span\u003e\u003cspan size=\"2\"\u003etrumpet), \u003c\/span\u003e\u003cspan size=\"2\"\u003eLawrence Brown (\u003c\/span\u003e\u003cspan size=\"2\"\u003etrombone), \u003c\/span\u003e\u003cspan size=\"2\"\u003ePete Brown (\u003c\/span\u003e\u003cspan size=\"2\"\u003ealto sax), \u003c\/span\u003e\u003cspan size=\"2\"\u003eFrank Wess (\u003c\/span\u003e\u003cspan size=\"2\"\u003etenor sax), \u003c\/span\u003e\u003cspan size=\"2\"\u003ePete Johnson (\u003c\/span\u003e\u003cspan size=\"2\"\u003epiano), \u003c\/span\u003e\u003cspan size=\"2\"\u003eFreddie Green (\u003c\/span\u003e\u003cspan size=\"2\"\u003eguitar), \u003c\/span\u003e\u003cspan size=\"2\"\u003eWalter Page (\u003c\/span\u003e\u003cspan size=\"2\"\u003ebass), \u003c\/span\u003e\u003cspan size=\"2\"\u003eCliff Leeman (\u003c\/span\u003e\u003cspan size=\"2\"\u003edrums)\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan size=\"2\"\u003eOn A3, A5, B1 \u0026amp; B4 \u003c\/span\u003e\u003cspan size=\"2\"\u003eJimmy Nottingham\u003c\/span\u003e\u003cspan size=\"2\"\u003e replaces \u003c\/span\u003e\u003cspan size=\"2\"\u003eJoe Newman\u003c\/span\u003e\u003cspan size=\"2\"\u003e on trumpet \u0026amp; \u003c\/span\u003e\u003cspan size=\"2\"\u003eSeldon Powell\u003c\/span\u003e\u003cspan size=\"2\"\u003e replaces \u003c\/span\u003e\u003cspan size=\"2\"\u003eFrank Wess\u003c\/span\u003e\u003cspan size=\"2\"\u003e on tenor sax.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan size=\"2\"\u003eOn B3 \u003c\/span\u003e\u003cspan size=\"2\"\u003eJoe Turner\u003c\/span\u003e\u003cspan size=\"2\"\u003e is accompanied by the rhythm section, \u003c\/span\u003e\u003cspan size=\"2\"\u003eLawrence Brown\u003c\/span\u003e\u003cspan size=\"2\"\u003e \u0026amp; \u003c\/span\u003e\u003cspan size=\"2\"\u003ePete Brown\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan size=\"2\"\u003eArrangements by Ernie Wilkins\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Joe Turner (A1, A4, A5, B5), Pete Johnson (A1, A2, A5, B5), Moll (A3), Mencher (A3), Walter Donaldson (B1), W. C. Handy (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan size=\"2\"\u003eRecorded in New York in 1956 by\u003c\/span\u003e\u003cspan size=\"2\"\u003e \u003c\/span\u003e\u003cspan size=\"2\"\u003eLen Frank\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by \u003cspan\u003eNesuhi Ertegun \u0026amp; Jerry Wexler\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1956\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRemastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2015\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan size=\"2\"\u003eSide A :\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan size=\"2\"\u003e1.\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan size=\"2\"\u003eCherry Red\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan lang=\"EN\"\u003e\u003cspan size=\"2\"\u003e2.\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan size=\"2\"\u003eRoll 'em Pete\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan lang=\"EN\"\u003e\u003cspan size=\"2\"\u003e3.\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan size=\"2\"\u003eI Want A Little Girl\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan lang=\"EN\"\u003e\u003cspan size=\"2\"\u003e4.\u003c\/span\u003e\u003cspan size=\"2\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan size=\"2\"\u003eLow Down Dog\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan size=\"2\"\u003e5.\u003c\/span\u003e\u003cspan size=\"2\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan size=\"2\"\u003eWee Baby Blues\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cspan size=\"2\"\u003eSide B\u003cstrong\u003e \u003c\/strong\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan size=\"2\"\u003e1.\u003c\/span\u003e\u003cspan size=\"2\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan size=\"2\"\u003eYou're Driving Me Crazy\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan size=\"2\"\u003e2\u003c\/span\u003e\u003cspan size=\"2\"\u003e\u003cspan\u003e \u003c\/span\u003eHow Long Blues\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan size=\"2\"\u003e3.\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan size=\"2\"\u003eMorning Glories\u003c\/span\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan size=\"2\"\u003e4.\u003c\/span\u003e\u003cspan size=\"2\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan size=\"2\"\u003eSt. Louis Blues \u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan size=\"2\"\u003e5. Piney Brown Blues\u003c\/span\u003e\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan size=\"2\"\u003e\"At the time, Boss of the Blues marked a nostalgic return to the jump-blues style that Turner helped pioneer in the '40s. Besides Johnson, Boss featured some of Kansas City's finest ever jazzmen and various members of Count Basie's band, including Joe Newman (trumpet), Pete Brown (alto sax), Lawrence Brown (trombone), Frank Wess (tenor sax) and Freddie Green (guitar). The bawdy \"Cherry Red\" and the rollicking \"Roll 'Em Pete\" are my favorite Turner-Johnson collaborations.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan size=\"2\"\u003eBoth feature some incredible playing by the piano master. Turner's versions of \"I Want a Little Girl,\" \"Low Down Dog,\" \"You're Driving Me Crazy,\" and \"Morning Glories\" are definitive. If I had to compile a list of my 10 favorite albums, Boss of the Blues would be there.\"\u003c\/span\u003e\u003cspan size=\"2\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan size=\"2\"\u003e\u003c\/span\u003e\u003cspan size=\"2\"\u003eEd Kopp, All About Jazz.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« During an era when Big Joe Turner recordings were often surprise hits with rock \u0026amp; roll fans (particularly \"Shake, Rattle and Roll\"), he occasionally recorded no-nonsense blues-oriented jazz dates too. This reissue album matched Turner for one of the last times with the veteran boogie-woogie pianist Pete Johnson and also includes a variety of top swing players: trumpeter Joe Newman, trombonist Lawrence Brown, altoist Pete Brown, tenor saxophonist Frank Wess, guitarist Freddie Green, bassist Walter Page, and drummer Cliff Leeman. It is not surprising, considering the number of Basie-ites on the date, that the band often sounds like a Count Basie combo. Turner is in top form on remakes of some of his early tunes (including \"Cherry Red,\" \"Roll 'Em Pete,\" and \"Wee Baby Blues\"), a few traditional blues, and a couple of swing standards. This music should appeal to many listeners. » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan size=\"2\"\u003eBesides helping to invent rock 'n roll with his hit \"Shake, Rattle and Roll,\" Big Joe Turner was one of the most soulful blues shouters of all time. His best albums married the boogie-woogie piano stylings of the great Pete Johnson with a jazzy jumpin' horn section. Boss Of The Blues is arguably Joe's best recording, in part because he sang with particular gusto during these 1956 sessions.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003c\/p\u003e\n\u003cp\u003eAllmusic : 5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40533113241751,"sku":"PPAN SD1234","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/joe-turner-the-boss-of-the-blues-sings-kansas-city-jazz-mono-audiosoundmusic-1.jpg?v=1719851813"},{"product_id":"tubby-hayes-tubbys-new-groove","title":"Tubby Hayes - Tubby's New Groove (Mono)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\" lang=\"EN-US\"\u003eTubby Hayes (T\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" lang=\"EN-US\"\u003eenor saxophone), Terry Shannon (Piano), \u003cspan data-mce-fragment=\"1\" lang=\"EN-US\" id=\"yui_3_13_0_1_1384370429265_19054\"\u003eJeff Clyne (Bass), Phil Seaman (Drums).\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\" lang=\"EN-US\"\u003eWritten by \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003eCharlie Parker (A1, A2), Dizzy Gillespie (A1), Tubby Hayes (A3, B2), Alex Alstone (B1), Jack Lawrence (B1), Hugh Martin (B2), Ralph Blaine (B2), Luiz Bonfá (B3), Antônio Carlos Jobim (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Candid\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at: Decca Studios, Broadhurst Gardens,West Hampstead, London , December 1959\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal sessions produced by Tony Hall\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTape restoration by Malcolm Addey\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRe-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London U.K\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced for release by Alan Bates\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 2011\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in Nov 2013\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e Side A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Tin Tin Deo (Dizzy Gillespie, Charlie Parker)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Visa (Charlie Parker)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Supper At Phil’s (Tubby Hayes)\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Symphony (Alex Alstone, Jack Lawrence)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Hook’s Way (Tubby Hayes)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. The Trolley Song (Ralph Blane, Hugh Martin)\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Pure Pleasure Records has re-mastered this mono recording with great detail and texture. Hayes’ saxophone is fluid and balances richness of sound with raw sensibility. The overall mix is very good, and the volume levels are steady. Simon Spillett’s 2010 liner notes on these sessions and the 1950s British jazz scene are entertaining and incisive. » Audiophile Review from Robbie Gerson\u003c\/p\u003e\n\u003cp\u003e\"Today jazz is distinctly international. In the mid-twentieth century there were very few European jazz players. But they listened to records and were treated to live performances by expatriated Americans.  The transcendent bop movement with pioneers like Dizzy Gillespie, John Coltrane and Charlie Parker inspired a generation of European jazzmen. In England a new breed of former big band musicians were matriculating into this trail-blazing jazz movement. Among them were saxophonist Ronnie Scott, trumpeter Jimmy Deuchar and a young tenor saxophonist, Tubby Hayes.\u003c\/p\u003e\n\u003cp\u003eThe son of a BBC violinist, Hayes studied violin and piano before taking up the tenor saxophone. Like many British jazz musicians, he got his start in big bands.  Eventually he formed a group with Scott called\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eThe Jazz Couriers\u003c\/i\u003e. They would become the most celebrated of British Modern Jazz groups. He worked in the United States with the likes of Clark Terry, James Moody, Roland Kirk and many others. He returned to England, but struggled (as did most of the British jazz stars) to sustain commercial viability. But his prowess as a soloist was impossible to hide. Four decades after his death, Tubby Hayes recordings are being re-issued and in some case re-discovered.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eTubby’s New Groove\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ewas resurrected from the personal effects of industry veteran Alfred Lion. These tracks were recorded in 1959 as part of the debut album,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eTubby’s Groove\u003c\/i\u003e. Hidden in the relative obscurity of the U.K. in the late 1950s it is a rare look at the seminal performer of an under-appreciated British jazz scene. Playing in a quartet (Terry Shannon\/piano; Jeff Clyne\/double bass; Phil Seaman\/drums), Hayes’ tenor saxophone is brilliant. The opening cut is a re-working of the Dizzy Gillespie\/Charlie Parker romp, “Tin Tin Deo”. After a moody exotic intro, the quartet (The liner notes reference that Stan Getz called this type of instrument configuration equivalent to a classical string quartet.) morphs into fluid bop phrasing. Hayes’ bluesy swing notation is exemplary. He is capable of caressing a delicate melody or propelling the up tempo jam. Taking on another Parker composition (“Visa”), the tenor solos are exhilarating with\u003cspan\u003e \u003c\/span\u003e\u003ci\u003esyncopated\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003etime signatures (the rhythm section is cohesive and anchors the sax explorations). Shannon adds a radiant piano solo, showcasing his versatility. The band interacts with dexterity on the original number “Supper At Phil’s”. Clyne helps out with a bass groove, and drummer Seaman contributes some flashy\u003cspan\u003e \u003c\/span\u003e\u003ci\u003edrum breaks\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eand a solo. The overall vibe feels like a live performance.\u003c\/p\u003e\n\u003cp\u003eSide 2 begins with a straight ahead arrangement of a World War II opus, “Symphony”. Hayes’ playing is confident and colorful. But the highlight of this piece is the extended unaccompanied solo on tenor. It is difficult to keep up with the fast-paced improvisations. The transition to a soulful, bluesy piano solo is an attention-grabber. The second original composition (“Hook’s Way”) approximates a tougher blues vamp with modernistic time signatures. The quartet sounds edgy and tough as the Clyne\/Seaman tandem counters the “big” sax tonality. Often talented jazz artists will take a renowned vocal-driven popular song and completely re-invent it. That is the case with “The Trolley Song”. Sparked by a furious drum intro, Hayes unleashes a relentless assault on the standard. His passionate, creative soloing and\u003cspan\u003e \u003c\/span\u003e\u003ci\u003echorus extension\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis both challenging and inspired. It is essential jazz, pushing the constructs of a song to liberate melodic contexts. Despite the intensity of the instrumentation, the core of the song remains.\u003c\/p\u003e\n\u003cp\u003ePure Pleasure Records has re-mastered this mono recording with great detail and texture. Hayes’ saxophone is fluid and balances richness of sound with raw sensibility. The overall mix is very good, and the volume levels are steady. Simon Spillett’s 2010 liner notes on these sessions and the 1950s British jazz scene are entertaining and incisive.\" Audiophile Audition review by John Sunier\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" class=\"published\"\u003eMarch 13, 2014\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\" class=\"published\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\" class=\"published\"\u003eDiscogs : 4.64 \/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40538076479639,"sku":"CJS9554","price":35.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/tubby-hayes-tubby-s-new-groove-mono-audiosoundmusic-1.jpg?v=1719851860"},{"product_id":"copy-of-the-beach-boys-pet-sounds-stereo-33rpm","title":"The Beach Boys - Pet Sounds (2LP, Mono, 45RPM, 180g)","description":"\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\" title=\"vinyl featuring The Beach Boys\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring the Beach Boys]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003ePerformed by The Beach Boys : Brian Wilson (vocals, bass guitar, keyboards), Mike Love (vocals, percussion, saxophone, Electro-Theremin), Al Jardine (vocals, rhythm guitar, bass guitar), Bruce Johnston (vocals, keyboards, bass guitar), Dennis Wilson (vocals, drums, keyboards).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Brian Wilson (all tracks), Tony Asher (A1, A2, A3, A4, B1, B3, C1, C2), Mike Love (B1), Michael Ruff (A3), Terry Sachen (C2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs,  gatefold Stoughton tip-on jackets \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded July 12, 1965 - April 13, 1966 at Columbia Studios (Hollywood, CA), Gold Star Recording Studios (Hollywood, CA), Sunset Sound Studios (Los Angeles, CA), Western Studios (Los Angeles, CA)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMastered by Kevin Gray \u003cb data-mce-fragment=\"1\"\u003eat Cohearent Audio\u003c\/b\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginally issued on May 16th, 1966 in mono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eReissued in 2017\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWouldn’t It Be Nice\u003c\/li\u003e\n\u003cli\u003eYou Still Believe In Me\u003c\/li\u003e\n\u003cli\u003eThat’s Not Me\u003c\/li\u003e\n\u003cli\u003eDon’t Talk (Put Your Head On My Shoulder)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI’m Waiting For The Day\u003c\/li\u003e\n\u003cli\u003eLet’s Go Away For Awhile\u003c\/li\u003e\n\u003cli\u003eSloop John B\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGod Only Knows\u003c\/li\u003e\n\u003cli\u003eI Know There’s An Answer\u003c\/li\u003e\n\u003cli\u003eHere Today\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Just Wasn’t Made For These Times\u003c\/li\u003e\n\u003cli\u003ePet Sounds\u003c\/li\u003e\n\u003cli\u003eCaroline No\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003e\u003cspan style=\"color: #ff2a00;\"\u003eRolling Stone 500 Greatest Albums of All Time - Rated 2\/500\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003e\u003cbr\u003eRolling Stone 500 Greatest Songs of All Time - \"Sloop John B\" - Rated 278\/500\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 61\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"one of the most innovative recordings in rock\", 101 Albums that Changed Popular Music (2009)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"It was \u003cem\u003ePet Sounds\u003c\/em\u003e that blew me out of the water…I love the album so much. I've just bought my kids each a copy of it for their education in life. I figure no one is educated musically 'til they've heard that album.\" – Paul McCartney\u003c\/p\u003e\n\u003cp\u003e\"All of us, Ginger (Baker), Jack (Bruce), and I consider \u003cem\u003ePet Sounds\u003c\/em\u003e to be one of the greatest pop LPs to ever be released. It encompasses everything that's ever knocked me out and rolled it all into one.\" – Eric Clapton\u003c\/p\u003e\n\u003cp\u003e\"Produced, composed and arranged by Brian Wilson, \u003cem\u003ePet Sounds\u003c\/em\u003e stands as the Beach Boys' pinnacle. The album is brimming with beautiful ballads, exotic instrumentation, lush five-part harmonies, and aching sentimentality. Recorded largely with session players from L.A.'s fabled Wrecking Crew, \u003cem\u003ePet Sounds\u003c\/em\u003e was Wilson's chance to step away from songs about surfing and cars, instead crafting tender songs about adolescent love, both newfound and lost, as well as innocence and bewilderment. Analogue Productions' two-disc 45 RPM, 180-gram stereo album boasts exceptionally detailed separation and aptly showcases \u003cem\u003ePet Sounds\u003c\/em\u003e' shimmering sonics. Mark Linett produced this stereo mix with an assembled digital multi-track master that synched the original four-track instrumental master with the four- and eight-track vocal overdub master. It was then mixed to 15 ips 1\/4-inch analog tape with SR noise reduction. How good is it? Carol Kaye's picked Fender P-Bass is tight and punchy on the intro to \"God Only Knows,\" and the clarity reveals the swelling emotion of Carl Wilson's angelic lead vocal to announce that you've entered the Church of Rock 'n' Roll. Say amen.\" Greg Cahill, \u003cem\u003eThe Absolute Sound\u003c\/em\u003e, December 2017\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« The best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound. Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. \"Wouldn't It Be Nice,\" \"God Only Knows,\" \"Caroline No,\" and \"Sloop John B\" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as \"You Still Believe in Me,\" \"Don't Talk,\" \"I Know There's an Answer,\" and \"I Just Wasn't Made for These Times.\" It's often said that this is more of a Brian Wilson album than a Beach Boys recording (session musicians played most of the parts), but it should be noted that the harmonies are pure Beach Boys (and some of their best). Massively influential upon its release (although it was a relatively low seller compared to their previous LPs), it immediately vaulted the band into the top level of rock innovators among the intelligentsia, especially in Britain, where it was a much bigger hit. » AllMusic Review by Richie Unterberger\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 5 \/ 5 ,  Rate your Music : 4.18 \/ 5\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGreg Cahill, The Absolute Sound : Music 5\/5, Sonics 4.5\/5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40607085592727,"sku":"AAPP 067M-45","price":130.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-beach-boys-pet-sounds-2lp-mono-45rpm-180g-audiosoundmusic-1.jpg?v=1719851878"},{"product_id":"copy-of-model","title":"Chris Connor - This Is Chris (Mono)","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\" data-mce-style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eChris Connor (vocals) \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Carmen McRae\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/carmen-mcrae\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/carmen-mcrae\"\u003e[\u003c\/a\u003e\u003ca title=\"vinyl featuring Chris Connor\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/chris-connor\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/chris-connor\"\u003eclick here to see more vinyl featuring Chris Connor]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eJJ Johnson (trombone), Kai Winding (trombone), Herbie Mann, (flute), Joe Puma (guitar), Ralph Sharon (piano), Milt Hinton (bass), Osie Johnson, (drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\" data-mce-style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal analog Master tape: YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord Press: Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLabel: Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal Label : Bethlelem\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecorded in April 1955, in New York City by Tom Dowd\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eProduced by Creed Taylor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRe-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginally released in 1955\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReissued in May 2014\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003eSide A :\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\" data-mce-fragment=\"1\" data-mce-style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\" data-mce-fragment=\"1\" data-mce-style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. Blame It On My Youth\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. It's All Right With Me\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. Someone To Watch Over Me\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. Trouble Is A Man\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e5. All This And Heaven Too\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\" data-mce-fragment=\"1\" data-mce-style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. The Thrill Is Gone\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. I Concentrate On You\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. All Dressed Up With A Broken Heart\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. From This Moment On\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e5. Ridin' High\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\" data-mce-fragment=\"1\" data-mce-style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"During 1953-1955, singer Chris Connor recorded regularly for Bethlehem. This LP has her final recordings for the label (before moving to Atlantic) with such fine sidemen as Herbie Mann (doubling on flute and tenor), pianist Ralph Sharon, guitarist Joe Puma, bassist Milt Hinton, and drummer Osie Johnson. The two-trombone team of J.J. Johnson and Kai Winding (which had recently become very popular) is prominent on four of the ten selections. Connor's cool tone, subtle, emotional delivery and haunting voice were perfect for the music of the 1950s. Highlights of this superior set include \"The Thrill Is Gone,\" \"Blame It on My Youth,\" and \"I Concentrate on You,\" but all ten numbers are rewarding.\" AllMusic Review by Scott Yanow\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBy June 1953, Connor was finding the constant traveling and vocal demands of nightly performances with a big band exhausting. She abruptly left the Kenton band; and, by fall of 1953, she was back in New York. She soon hired Monte Kay to manage her impending solo career, and he found work for her at Birdland. One night after a show, the owner of Bethlehem Records, Gus Wildi, offered her a recording contract on the spot.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eShe signed with the label in 1953 and, in 1954, released dual LPs, Chris Connor Sings Lullabys Of Birdland and Chris Connor Sings Lullabys For Lovers. At age 26, she became a best-selling solo artist for Bethlehem Records; and the label rushed her into the studios to record additional songs. Bethlehem Records released the successful follow-up albums Chris and This Is Chris in 1955. When time came for Connor's contract to expire, she signed for an album deal with Atlantic Records. Connor was the first white female jazz singer to be signed by the label. Ahmet Ertegun and his brother Nesuhi Ertegun's Atlantic label was, at the time, primarily a rhythm and blues label, with artists such as Ruth Brown and Ray Charles.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAllMusic:  4 \/ 5   , Discogs :  5 \/ 5  \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40680604041367,"sku":"PPAN BCP20","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/chris-connor-this-is-chris-mono-audiosoundmusic-1.jpg?v=1719851912"},{"product_id":"copy-of-model-1","title":"Stan Levey - Grand Stan (Mono)","description":"\u003ch2 data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eStan Levey (drums), Conte Candoli (trumpet), Richie Kamuca (tenor sax), Frank Rosolino (trombone), Sonny Clark (piano), Leroy Vinnegar (bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal analog Master tape: YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord Press: Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLabel: Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal Label : Bethlelem\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecorded in Hollywood, Los Angeles, California in november 1956.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRe-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginally released in 1957\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReissued in March 2014\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003eSide A :\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. Yesterdays\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. Angel Cake\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. Why Do I Love You\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. Grand Stan\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide B :\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv data-mce-fragment=\"1\" style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. Hit That Thing\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Blues At Sunrise\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Gal In Calico\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Tiny's Tune\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"Stan Levey cut precious few sessions as a leader, none of them more engaging than Grand Stan. Cut in the middle of the drummer's five-year tenure with Howard Rumsey's Lighthouse All-Stars, the album crackles with energy and invention, capturing the West Coast bop aesthetic at its most potent. Aided by then-unknown pianist Sonny Clark, trumpeter Conte Condoli, bassist Leroy Vinnegar, and tenorist Richie Kamuca, Levey creates an expansive rhythmic canvas for his collaborators, stretching out most songs past the five-minute mark to accommodate a series of crisp, finely honed solos.\" \u003cspan data-mce-fragment=\"1\"\u003eJason Ankeny, AllMusic\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"Stan Levey was a significant bebop drummer who brought stimulation and innovation to such bands as the Gillespie\/Parker Quintet (1945-46), the Stan Kenton Band (1952-54) and the Lighthouse All-Stars ( 1954-60) where he was anchoring the rhythm section at the time of this recording.\u003c\/p\u003e\n\u003cp\u003eIn this 1957 outing called\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eGrand Stan\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003ewere three Stan Kenton Band alumni, trumpeter Conte Candoli, tenor sax stalwart Richie Kamuca, and trombone virtuoso Frank Rosolino. Joining this cohort was the still unheralded pianist Sonny Clark who later participated in a seminal release with Buddy De Franco  and another with guitarist Grant Green. Finally bassist Leroy Vinnegar who was highly sought after on the West Coast for his big toned walking bass style.\u003c\/p\u003e\n\u003cp\u003eBenefiting from arrangements by Marty Paich, Bob Cooper, Bill Holman and Sonny Clark, the band blows up a storm through a collection of popular standards and original compositions from Cooper, Holman and Clark.\u003c\/p\u003e\n\u003cp\u003eSide A opens with “Yesterdays” which was written by Jerome Kern \u0026amp; Otto Harbach in 1933 for the musical\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eRoberta.\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003eIn an arrangement by Marty Paich that stretches the construct of the original melody, the number becomes a feature for trombonist Frank Rosolino. He powers through his long solo in his well-known staccato style, with Vinnegar’s pulsing bass in noticeable support. \u003ci\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003eAnother Kern number is “Why Do I Love You” written in conjunction with Oscar Hammerstein II, and it is again arranged by Paich to feature the pianist Sonny Clark. Done at a super fast tempo, Clark demonstrates he can swing with ease and yet stay within the framework of the number. Levey’s drumming is a propulsive boost to the arrangement.\u003c\/p\u003e\n\u003cp\u003eThis side closes with the title track “Grand Stan” which was written by Bob Cooper another Kenton alumnus. Designed in a medium tempo, it has a boppish line and chord progressions that give the soloists a chance to offer several easy-going choruses. All the front line jump at the chance to be heard, which they do to perfection.\u003c\/p\u003e\n\u003cp\u003eSide B starts with a Bill Holman original “Hit That Thing”. In this up tempo gem, there are sensational opening choruses from Richie Kamuca on tenor sax, Conte Candoli on trumpet, and Rosolino on trombone. However the majority of the time on this track is taken up with a lengthy but well executed drum solo from Stan Levey. Given the fantastic stick work exhibited in his drum solo, it is hard to imagine that Levey was entirely self-taught. Not only that, he played left-handed even though he was naturally right-handed. His first drum influence was Chick Webb, but later Max Roach had the greatest impact on his development.\u003c\/p\u003e\n\u003cp\u003eA 1946 B-movie entitled\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eThe Time, The Place and The Girl\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ebecame recognized  for only one thing. That was the Leo Robin\/Arthur Schwartz song “A Gal In Calico”. The number has found a place in jazz repertoires and the Bill Holman arrangement here will help cement that reputation. Opening with tight voicing of the melody among the front line, the players use that as the jumping off point to deliver a series of choruses that demonstrate some compelling and prolific soloing. All of which is a worthy model of how a simple number can become a jazz showcase.\u003c\/p\u003e\n\u003cp\u003eBob Cooper’s original number “Tiny’s Tune” closes Side B. In this head arrangement there are a number of lengthy exciting choruses strung together starting with a single note winner from Sonny Clark. This is followed by turns from Kamuca, Candoli and Rosolino each of which shows a fierce drive and a sense of vitality they brought to the recording.\" Pierre Giroux, Audiophile Audition\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAllMusic:  4 \/ 5   , Discogs : 4.1 \/ 5  \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40680744747159,"sku":"BCP 71","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/stan-levey-grand-stan-mono-audiosoundmusic-1.jpg?v=1719851912"},{"product_id":"copy-of-model-2","title":"Howard McGhee - The Return Of Howard McGhee (Mono)","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eHoward McGhee (trumpet) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/howard-mcghee\" title=\"vinyl featuring Howard McGhee\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Howard McGhee]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePercy Heath (bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePhilly Joe Jones (drums) \u003cspan\u003e\u003ca title=\"Vinly featuring Philly Joe Jones\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/philly-joe-jones\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Philly Joe Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSahib Shihab (sax)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDuke Jordan (piano) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/fr\/collections\/duke-jordan\" title=\"vinyl featuring duke Jordan\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Duke Jordan]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape: YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press: Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel: Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Bethlelem\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in NYC, October 22, 1955 by Frank Abbey\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Frank Abbey\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRe-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1956\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in January 2014\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. Get Happy\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Tahitian Lullaby\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Lover Man\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Lullaby Of The Leaves\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. You're Teasing Me\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e6. Transpicious\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. Rifftide\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Oo-wee But I Do\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Don't Blame Me\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Tweedles\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. I'll Remember April\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN\" id=\"yui_3_13_0_ym1_1_1387800393998_8552\"\u003eRecorded after one of McGhee’s not infrequent releases from the Penitentary on narcotics charges, hence the title “The Return Of ….”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp id=\"yui_3_13_0_ym1_1_1387800393998_8562\"\u003e\u003cspan lang=\"EN\" id=\"yui_3_13_0_ym1_1_1387800393998_8561\"\u003eHoward McGhee is a wonderful agile soloist, a model for the younger Kenny Dorham. Sharing the spotlight with McGhee is Sahib Shihab on baritone sax, what more can you ask? Lots of baritone solos, and few on alto for variety, Sahib’s presence is not to be overlooked. That angry baritone rasp is so compelling - both Sahib and Pepper Adams showed what could be achieved with this weighty length of brass plumbing if you played it as though it was a tenor or indeed alto, and just ran with the changes, Charlie Parker on steroids.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp id=\"yui_3_13_0_ym1_1_1387800393998_8565\" class=\"yiv5058939013MsoNormal\"\u003e\u003cspan lang=\"EN\" id=\"yui_3_13_0_ym1_1_1387800393998_8564\"\u003eDuke Jordan ’s solid chordal foundations, embellished with glittering runs, is always pushing the tempo along, with “Philly Joe” and Percy Heath picking up any slack. Bop of a very high order from the post-swing cauldron that was 1955\u003c\/span\u003e\u003cspan lang=\"EN\" id=\"yui_3_13_0_ym1_1_1387800393998_8564\"\u003e\u003cspan face=\"Times New Roman\" id=\"yui_3_13_0_ym1_1_1387800393998_8563\"\u003e.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"yiv5058939013MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic:  4 \/ 5   , Discogs :  4.43 \/ 5  \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40680874606743,"sku":"BCP42","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/howard-mcghee-the-return-of-howard-mcghee-mono-audiosoundmusic-1.jpg?v=1719851911"},{"product_id":"copy-of-model-3","title":"Nina Simone - Little Girl Blue (Mono)","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eNina Simone (piano and vocals) \u003cspan style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/nina-simone\" title=\"Vinyl featuring Nina Simone\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/nina-simone\"\u003e[click here to see more vinyl featuring Nina Simone]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Bond (bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlbert \"Tootie\" Heath (drums)  \u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/albert-tootie-heath\" title=\"vinyl featuring Albert Tootie Heath\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/albert-tootie-heath\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Albert Tootie Heath]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eBarney Bigard (A1), Duke Ellington (A1), Irving Mills (A1), Willard Robison (A2), Arthur Hamilton (A3), Richard Rodgers (A4, B3), Walter Donaldson (A5, A6), Count Basie (B1), Tadd Dameron (B1), Earl Burroughs (B2), George Gershwin (B4), Nina Simone (B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal analog Master tape: YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord Press: Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLabel: Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal Label : Bethlelem\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecorded late fall, 1957, at Beltone Studio, New York, NY, by \u003c\/strong\u003e\u003cstrong\u003eIrv Greenbaum\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRe-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginally released in 1957\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReissued in Oct 2013\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide A :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. Mood Indigo\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Don't Smoke In Bed\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. He Needs Me\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Little Girl Blue\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. Love Me Or Leave Me\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e6. My baby Just Cares For Me\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide B :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. Good Bait\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Plain Gold Ring\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. You'll Never Walk Alone\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. I Loves You Porgy\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. Central Park Blues\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e« Little Girl Blue, released in 1957, was Nina Simone's first recording, originally issued on the Bethlehem label. Backed by bassist Jimmy Bond and Albert \"Tootie\" Heath, it showcases her ballad voice as one of mystery and sensuality and showcases her uptempo jazz style with authority and an enigmatic down-home feel that is nonetheless elegant. The album also introduced a fine jazz pianist. Simone was a solid improviser who never strayed far from the blues. Check the opener, her reading of Duke Ellington's \"Mood Indigo,\" which finger-pops and swings while keeping the phrasing deep-blue. It is contrasted immediately with one of the -- if not the -- definitive reads of Willard Robison's steamy leave-your-lover ballad \"Don't Smoke in Bed.\" The title track, written by Rodgers \u0026amp; Hart, features \"Good King Wenceslas\" as a classical prelude to one of the most beautiful pop ballads ever written. It is followed immediately by the funky swing in \"Love Me or Leave Me\" with a smoking little piano solo in the bridge where Bach meets Horace Silver and Bobby Timmons. It's also interesting to note that while this was her first recording, the record's grooves evidence an artist who arrives fully formed; many of the traits Simone displayed throughout her career as not only a vocalist and pianist but as an arranger are put on first notice here. \"My Baby Just Cares for Me\" has a stride shuffle that is extrapolated on in the piano break. Her instrumental and improvising skills are put to good use on Tadd Dameron's \"Good Bait,\" which is transformed into something classical from its original bebop intent. \"You'll Never Walk Alone\" feels more like some regal gospel song than the Rodgers \u0026amp; Hammerstein show tune it was. Of course, one of Simone's signature tunes was her version of \"I Loves You, Porgy,\" which appears here for the first time and was released as a single. Her own \"Central Park Blues\" is one of the finest jazz tunes here, and it is followed with yet another side of Simone's diversity in her beautiful take on the folk-gospel tune \"He's Got the Whole World in His Hands,\" with quiet and determined dignity and drama. Another of her instrumentals compositions, \"African Mailman,\" struts proud with deep Afro-Caribbean roots and rhythms. » AllMusic Review by Thom Jurek\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAllMusic: 4 \/ 5   , Discogs :  4.55 \/ 5  \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40680919761047,"sku":"BCP6028","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/nina-simone-little-girl-blue-mono-audiosoundmusic-1.jpg?v=1719851912"},{"product_id":"copy-of-model-4","title":"Paul Quinichette \u0026 Charlie Rouse - The Chase Is On (Mono)","description":"\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eCharlie Rouse - Tenor Saxophone \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/charlie-rouse\" title=\"Vinyl featuring Charlie Rouse\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Charlie Rouse]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003ePaul Quinichette - Tenor Saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003ePaul Rouse - Tenor Saxaphone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eWyton Kelly - Piano (A1, A3, A4, B6, B7, B8)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e Hank Jones - Piano (A2, B1) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/hank-jones\" title=\"Vinyl featuring Hank Jones\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Hank Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e Wendell Marchall - Bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e Ed Thigpen - Drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eFreddie Green - Drums (A2, B1).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal analog Master tape: YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord Press: Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLabel: Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal Label : Bethlelem\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecorded  in New York City, on August 29 (A1, A3, A4, B2, B3, B4) and September 8 (A2, B1), 1957\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRe-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginally released in 1958\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReissued in 2013\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide A :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e\u003cspan\u003e1. The Chase Is On\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. When The Blues Come On\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. This Can't Be Love\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Last Time For Love\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. You're Cheating Yourself\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. Knittin'\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. Tender Trap\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. The Things I Love\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« The twin tenor sax tradition yielded grand pairings with the likes of Wardell Gray and Dexter Gordon, Arnett Cobb and Eddie \"Lockjaw\" Davis, Gene Ammons and Sonny Stitt, and Al Cohn and Zoot Sims. This one-shot teaming of Charlie Rouse and Paul Quinichette brought forth a union of two distinctly different mannerisms within the mainstream jazz continuum. Rouse, who would go on to prolific work with Thelonious Monk and was at this time working with French horn icon Julius Watkins, developed a fluid signature sound that came out of the more strident and chatty style heard here. By this time in 1957, Quinichette, nicknamed the Vice Prez for his similar approach to Lester Young, was well established in the short term with Count Basie. His liquid, full-bodied, soulful tone became an undeniable force, albeit briefly, before he dropped out of the scene shortly after this date to be an electrical engineer. The stereo split of the saxophonists in opposite channels, a technique endemic of the time, works well whether they play solos or melody lines together. It enables you to truly hear how different they are. Working with standards, there's a tendency for them to play the head arrangements in unison, but then one of them on occasion plays an off-the-cuff short phrase that strays from the established melodic path. They also seem to do a hard bop jam, then a ballad, and back to hard swinging. The title track is simply a killer, a perfect fun romp of battling duelists, and one that you'd like to hear in any nightclub setting. Some slight harmonic inserts set \"This Can't Be Love\" apart from the original and \"The Things I Love\" displays the two tenors at their conversational best, while the lone original, \"Knittin',\" is a fundamental 12-bar swing blues, straight up and simple but with some subtle harmonic nuances. The rhythm section of pianist Wynton Kelly, bass player Wendell Marshall, and drummer Ed Thigpen do their usual yeoman job. But on two tracks, pianist Hank Jones and rhythm guitarist Freddie Green take over, and the sound of the band changes dramatically to the more sensitive side on a low-down version of \"When the Blues Come On\" and the good-old basic vintage swinger \"You're Cheating Yourself.\" An LP-length CD (under 40 minutes), it is a shame there are no extra tracks or alternate takes. The combination of Rouse and Quinichette was a very satisfactory coupling of two talented and promising post-swing to bop individualists, who played to all of their strengths and differences on this worthy -- and now legendary -- session. AllMusic Review by Michael G. Nastos\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAllMusic:  4 \/ 5   , Discogs : 4.44 \/ 5  \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40681089499287,"sku":"BCP6021","price":35.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/paul-quinichette-and-charlie-rouse-the-chase-is-on-mono-audiosoundmusic-1.jpg?v=1719851912"},{"product_id":"copy-of-model-5","title":"John Coltrane In The Winner's Circle (Mono)","description":"\u003ch2 data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eTenor Saxophone – John Coltrane (A2, A4, B2, B4) \u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-coltrane\" title=\"vinyl featuring John Coltrane\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-coltrane\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring John Coltrane]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet – Art Farmer (A1, A3, B1, B3) \u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" title=\"Vinyl featuring Art Farmer\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/art-farmer\" style=\"color: #ff8000;\" target=\"_blank\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/art-farmer\"\u003e[click here to see more vinyl featuring Art Farmer]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet – Donald Byrd (A2, A4, B2, B4)  \u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Donald Byrd\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/donald-byrd\" style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/donald-byrd\"\u003e[click here to see more vinyl featuring Donald Byrd]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Oscar Pettiford\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Philly Joe Jones (A2) \u003ca data-mce-fragment=\"1\" title=\"Vinly featuring Philly Joe Jones\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/philly-joe-jones\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/philly-joe-jones\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Philly Joe Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Kenny Burrell (A1, A3, B1, B3) \u003c\/strong\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong\u003e\u003ca title=\"vinyl featuring Kennny Burrell\" href=\"https:\/\/www.audiosoundmusic.com\/fr\/collections\/kenny-burrell\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Kenny Burrell]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Ed Thigpen (A1, A3 to B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Freddie Green (A2),\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlto Saxophone – Gene Quill (A2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBaritone Saxophone – Al Cohn (A2, A4, B2, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eClarinet – Rolf Kuhn (A1, A3, B1, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano – Eddie Costa (A2, A4, B2 to B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrombone – Frank Rehak (A2, A4, B2, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVibraphone – Eddie Costa (A1, A3, B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by Harry Tubbs\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Moross-LaTouche (A1), Mathews (A2), Douglas-Norman-Bearden (A3), Berlin (A4), Kern-Harbach (B1), Darwin-Girard (B2), Lewis (B3), Wheeler (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal analog Master tape: YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord Press: Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLabel: Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal Label : Bethlelem\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecorded September \u0026amp; October 1957 in New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eProduced by Chuck Darwin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRe-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginally released in January 1958 (under the title Winner's circle) and in 1961 (under the title John Coltrane in the Winner's circle)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReissued in Oct 2013\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide A :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. Lazy Afternoon\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Not So Sleepy\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Seabreeze\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Love and the Weather\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide B :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"padding-left: 30px;\"\u003e \u003cspan data-mce-fragment=\"1\"\u003e1. She Didn't Say Yes\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. If I'm Lucky (I'll Be the One)\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. At Home With the Blues\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. Turtle Walk\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"The bebop scene in the late forties and early fifties challenged the parameters of music. One of the offshoot movements was the hard-bop genre which exploded in the fifties and sixties. Among its stars were Miles Davis, Art Blakey (perhaps the quintessential artist of this sound), Cannonball Adderly, Donald Byrd, Kenny Burrell, Art Farmer, Dexter Gordon and John Coltrane. The list is endless and constitutes an unequalled aggregation of talent. Hard bop incorporated many stylistic influences, including blues, gospel, and rhythm and blues. More importantly, this era propelled many talented session players to stardom.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eJohn Coltrane – In The Winners Circle is not exactly a Coltrane album. The session represents a collective session of 1957 Downbeat instrumental winners performing in three different configurations. All of the tracks are arranged by Harry Tubbs, and they are excellent. Solos are set up by larger charts that flow methodically. Opening Side A is an under-appreciated off-Broadway tune, “Lazy Afternoon”. There is a melodic, wistful opening clarinet (Rolf Kuhn) \u0026amp; trumpet (Art Farmer) contrapuntal intro that moves gracefully. From there solos on vibes (Eddie Costa), clarinet, trumpet and guitar (Kenny Burrell) ensue as the arrangement returns to its context. Coltrane (tenor sax) and Donald Byrd (trumpet) take over on “Not So Sleepy”. Both offer solos in addition to Costa (piano), Al Cohn (baritone sax) and Gene Quill (alto sax). There are subtle rhythm shifts and superior full ensemble work. Carrying on some of the Latin nuances is “Seabreeze”. Costa performs another deft vibes solo, while Kuhn and Farmer (this time with a mute) add shadings of their own. Bassist Oscar Pettiford (the only player to appear on all eight cuts) contributes a solo. Along with drummer Ed Thigpen (and Philly Joe Jones on one song) and Costa (who alternates between piano and vibes), they form an all-star rhythm section with flawless timing. The Side A closer is an up-tempo swing version of Irving Berlin’s “Love And The Weather”. The ensemble charts are crisp and Coltrane (tenor), Byrd (trumpet) Costa (piano), Cohn (baritone) and Quill (alto) demonstrate artistic individual play.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide B features more of Tubbs’ impeccable arrangements. “She Didn’t Say Yes” exudes a big band “combo” resonance. Approximating a swing bop construct, a palpable accelerated pace reinvents a classic Jerome Kern number. Vibes, clarinet, bass and guitar are showcased. A compelling ballad piece (“If I’m Lucky, I’ll Be The One”) takes advantage of the full group. The initial melody line is handled by Rehak (trombone) and Coltrane proves himself to be a keenly lyrical tenor soloist. Costa anchors the ensemble with his nimble piano. In a different style, the group shines on “At Home With The Blues”. Kuhn and Farmer rotate on lead, as four different players offer solos. There is a familiarity in the thematic structure, but it is never pedestrian. The merge of leads is fresh and has a rich texture. The final opus (“Turtle Walk”) sparkles in its complexity and agility. A grouped lead (trumpet, trombone) is combined with a descant counterpoint (baritone sax). Costa, Pettiford and Thigpen execute a cool, finger-snapping groove interlude. Later, there is a tempo shift as Cohn assumes the lead. Byrd provides the last solo, and it soars.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePure Pleasure Records has done an outstanding job re-mastering this mono session to 180-gram vinyl. All of the instruments have clarity and rich tonality. There may be some confusion over the title, but John Coltrane – In The Winners Circle is large ensemble bop jazz at its finest.” John Sunnier, Audiophile Audition\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDiscogs :  4.71 \/ 5  \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40681228697751,"sku":"BCP6066","price":35.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/john-coltrane-in-the-winner-s-circle-mono-audiosoundmusic-1.jpg?v=1719851919"},{"product_id":"the-great-zoot-sims-down-home","title":"Zoot Sims - Down Home (Mono)","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eZoot Sims (Tenor Saxophone) \u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Zoot Sims\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/zoot-sims\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/zoot-sims\"\u003e[click here to see more vinyl featuring Zoot Sims]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e Dave McKenna (Piano),\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eGeorge Tucker (Bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eDannie Richmond (Drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal analog Master tape: YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord Press: Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLabel: Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal Label : Bethlelem\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecorded in New York on June 7, 1960\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eProduced by Teddy Charles\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRe-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginally released in 1960\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReissued in September 2013\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide A :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e\u003cspan\u003e1. Jive At Five\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Doggin' Around\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Avalon\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. I Cried For You\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide B :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e\u003cspan\u003e1. Bill Bailey\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Goodnight Sweetheart\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. There'll Be Some Changes Made\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. I've Heard That Blues Before\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Tenor saxophonist Zoot Sims recorded on a regular basis as a leader for most of 45 years, and virtually all of his many sessions are worth acquiring. Sims's Bethlehem date also gives one a look at the great pianist Dave McKenna in his early days, along with bassist George Tucker and drummer Dannie Richmond. Sims mostly explores standards from the swing era (including a rare version of \"Bill Bailey\") on this enjoyable and consistently swinging set. » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"Recorded in 1960 (when tenor players were adopting less structured constructs), Down Home embraces band arrangements. With a skilled rhythm section (Dave McKenna\/piano; George Tucker\/bass and Dannie Richmond\/drums), Sims breathes life into traditional songs... Pure Pleasure Records has achieved its customary, dynamic engineering on Zoot Sims – Down Home. Even in mono fidelity, the overall sound quality is vibrant and sharp. The topical liner notes (by Ira Gitler) divulge insight into the sessions. While not a groundbreaking release, this is one album that stands the test of time.\"\u003cspan data-mce-fragment=\"1\"\u003e Robbie Gerson, Audiophile Audition\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e“John Haley \"Zoot\" Sims had built a solid career by the time he recorded Down Home, although not one rife with innovation. Heavily influenced by Lester Young, Sims combined a heavy dose of West Coast cool and plenty of swing to create a style that was always accessible. None of the songs here is a Sims composition (he rarely wrote his own music), but just listen to him go on \"Bill Bailey,\" for instance, using all of his wiles to draw you in to the tune. With Dave McKenna on piano, George Tucker on bass and, taking a break from his work with Charles Mingus, Dannie Richmond on drums, the rhythm section laid down the perfect beat for Sims to glide over.” John Crossett, The Audio Beat, July 2014\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAllMusic: 4 \/ 5  ; Discogs :  '4.18 \/ 5  ; The Audio Beat : Music 4 \/ 5, Sound 4 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40682646241431,"sku":"PPAN BCP6051","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/zoot-sims-down-home-mono-audiosoundmusic-1.jpg?v=1719851925"},{"product_id":"copy-of-model-6","title":"Roland Kirk - Third Dimension (Mono)","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRoland Kirk (tenor saxophone, manzello, stritch) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/roland-kirk\" title=\"vinyl featuring Roland Kirk\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/roland-kirk\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Roland Kirk]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eJames Madison (piano)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eCarl Pruitt (bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHenry Duncan (drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal analog Master tape: YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord Press: Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLabel: Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal Label : Bethlelem\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecorded November 9th 1956\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRe-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginally released in 1957\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReissued in December 2013\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide A :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e\u003cspan\u003e1. Roland's Theme\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Slow Groove\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Stormy Weather\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide B :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. The Nearness of You\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. A La Carte\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. Easy Living\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. Triple Threat\u003c\/span\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e« When the pre-Rahsaan Roland Kirk stormed the jazz scene in the mid-'50s, certainly nobody was ready for his virtuosity, as he demonstrated ability, not gimmickry, to play the tenor sax, manzello, and stritch simultaneously. Third Dimension is his introductory foray into this arena, as he presents a program of half standards and half his basic bluesy originals taken into this upper realm of multiphonic capacity. Of the covers, the ballad \"Stormy Weather\" has Kirk playing counter-melodies rather than harmonics on his horns, and it is remarkable. \"The Nearness of You\" is a bit distant in its production values with Kirk using tentative or staggered phrasings, and \"Easy Living\" has the lead played on the manzello, with the multiple horns only on the final phrase of the melody. The originals are pretty simple, with a repeat swing groove setting off the jam \"Ronald's Tune\" and Kirk working the controlled, non-exploited harmonics of the three woodwinds on \"Slow Groove\"; using a happy shuffle R\u0026amp;B feeling on mostly tenor for \"A La Carte\"; and finishing up with the now famous 12-bar blues bopper \"Triple Threat,\" which was his signature dish. The liner notes of this recording have always been irritating bordering on condescending, implying that the tenor sax was always a more popular instrument and misidentifying the manzello and stritch as a \"straight alto\" and \"straight soprano\" when they were actually distinct instruments, exclusively played by Kirk. No matter -- this is a marvelous introduction to the greatest soloist in the history of jazz and, despite its very short running time (under 30 minutes), is a true pivot point in modern music. » AllMusic Review by Michael G. Nastos\u003c\/p\u003e\n\u003cp\u003e\"This Pure Pleasure reissue of a Bethlehem title has yet another distinction, because it’s a Bethlehem reissue of his first and extremely rare session on King Records. Kirk is the best-known multi-instrumentalist in jazz, meaning someone who plays several instruments at the same time. When Kirk removed the handful of instruments from his mouth he would toss in a rap-like commentary. He performed extensively and almost exclusively as a bandleader and did it all as a blind man.\" Hi-Fi news Jan 2015, Dennis Davis\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAllMusic:  4 \/ 5   , Discogs : 4.43 \/ 5  \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40682736746647,"sku":"BCP6064","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/roland-kirk-third-dimension-mono-audiosoundmusic-1.jpg?v=1719851924"},{"product_id":"dexter-gordon-daddy-plays-the-horn","title":"Dexter Gordon - Daddy Plays The Horn (Mono)","description":"\u003ch2\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cspan\u003eDexter Gordon - tenor saxophone \u003cspan style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca title=\"Vinyl featuring Dexter Gordon\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/dexter-gordon\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/dexter-gordon\"\u003e[click here to see more vinyl featuring Dexter Gordon]\u003c\/a\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cspan\u003eKenny Drew (piano) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/kenny-drew\" title=\"vinyl featuring Kenny Drew\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/kenny-drew\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Kenny Drew]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cspan\u003eLeroy Vinnegar (bass), Larry Marable (drum)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal analog Master tape: YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord Press: Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLabel: Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal Label : Bethlelem\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecorded in \u003cspan data-mce-fragment=\"1\"\u003eSeptember 1955 in Hollywood, California, U.S.A\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRe-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginally released in 1956\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReissued in \u003cspan data-mce-fragment=\"1\"\u003eJuly 2013\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide A :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e\u003cspan\u003e1. Daddy Plays The Horn\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Confirmation\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Darn That Dream\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide B :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Number Four\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. Autumn In New York\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. You Can Depend On Me\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Number Four\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. Autumn In New York\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. You Can Depend On Me\u003c\/span\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« During a period of Dexter Gordon's (tenor sax) life -- when he was deep in the throws of chronic drug addiction -- the artist was miraculously able to reignite his career during the latter part of 1955. After several years of being out of the spotlight, Gordon resurfaced on the Big Apple-based indie Bethlehem imprint with the half-dozen sides that comprise Daddy Plays the Horn (1956). Joining him as key constituents of the credited Dexter Gordon Quartet are Kenny Drew (piano), Leroy Vinnegar (bass), and Larry Marable (drums). While the support team provides Gordon top-notch contributions throughout, it is unquestionably Drew who offers the most in terms of active interaction and his prominence can not be overstated. Nowhere is that as noticeable as the good-natured interaction heard on the disc's opener, the Gordon-penned title composition \"Daddy Plays the Horn.\" In fact it could be argued that Drew enhances the tenor to the point of practically being a co-leader. The update of Charlie \"Bird\" Parker's bop standard \"Confirmation\" is taken at a steady mid-tempo pace, allowing plenty of room for the participants to have their say and not get in the way of the melody. Gordon seems considerably more relaxed and comfortable as he spreads line upon line of inspired improvisation. Drew is once again a real treat to hear briefly taking charge of the rhythm section. The pair of ballads on Daddy Plays the Horn are nothing short of stellar and stand as simple, emotive expressions unto themselves. \"Darn That Dream\" embraces the warmth of Gordon's tenor as his sensual phrasing leaves just enough space for Drew to sonically bridge the gap with his own unhurried and stylish chords. The generically monikered \"Number Four\" is anything but ordinary. The Gordon original jumps right from the opening and the ensemble lets loose with equally solid licks beneath his cool tone. Drew gets in the driver's seat missing nary a measure to reveal what could easily be his most tasteful contributions to date. The same can be said of bassist Vinnegar, who is briefly spotlighted on an efficient (if not somewhat sparse) solo. \"Autumn in New York\" -- the album's other essential ballad -- is proof that despite Gordon's addiction, he had retained his singular and precious sense of lyricism. Indeed, the Great American Songbook entry has rarely been permeated in such a meaningful way. The seamless transitions between Gordon and Drew are further evidence of their undeniable bond. Saving what may be the best example of the gathered instrumentalists flexing their respective be-bop muscle, \"You Can Depend on Me\" rounds out the platter with a bang. Each bandmember gets a final opportunity to shine -- which they individually take full advantage of. In 2005, the Shout! Factory label reissued Daddy Plays the Horn, placing the six selections in the correct running order, and the digital remastering by Randy Perry has the classic sounding better than ever. » AllMusic Review by Lindsay Planer \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"\u003cspan\u003eBethlehem Records was a major jazz label in the 1950's formed by Gus Wildi with an impressive roster of artists including singers Nina Simone, Carmen MacRae, Chris Conner \u0026amp; Mel Torme, to name a few; arrangers: Marty Paich, Russ Garcia, Frank Hunter; and musicians including: Dexter Gordon, Roland Kirk, Charles Mingus, Frank Rosolino, Herbie Mann, Stan Levey, Art Blakey, Milt Hinton, Errol Garner, Zoot Sims, Duke Ellington, JJ Johnson and many, many others.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe label distinguished itself by giving artists creative control of their projects and presented albums of rather cutting edge graphic design. Its legacy is a lengthy discography that freshly and ambitiously captured and preserved an era of truly amazing music including West Coast Cool Jazz, East Coast Bop, and Vocalists. For many of the artists, their first or greatest recorded work happened at Bethlehem. By trusting its staff and artists to make their own creative decisions, to experiment, and thus to flourish, Bethlehem actively helped create and not just document a whole and diverse era of Jazz music.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDuring a period of Dexter Gordon's (tenor sax) life -- when he was deep in the throws of chronic drug addiction -- the artist was miraculously able to reignite his career during the latter part of 1955. After several years of being out of the spotlight, Gordon resurfaced on the Big Apple-based indie Bethlehem imprint with the half-dozen sides that comprise Daddy Plays the Horn (1956). While the support team provides Gordon top-notch contributions throughout, it is unquestionably Drew who offers the most in terms of active interaction and his prominence can not be overstated. Nowhere is that as noticeable as the good-natured interaction heard on the disc's opener, the Gordon-penned title composition \"Daddy Plays the Horn.\" In fact it could be argued that Drew enhances the tenor to the point of practically being a co-leader. The update of Charlie \"Bird\" Parker's bop standard \"Confirmation\" is taken at a steady mid-tempo pace, allowing plenty of room for the participants to have their say and not get in the way of the melody. Gordon seems considerably more relaxed and comfortable as he spreads line upon line of inspired improvisation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDrew is once again a real treat to hear briefly taking charge of the rhythm section. The pair of ballads on Daddy Plays the Horn are nothing short of stellar and stand as simple, emotive expressions unto themselves. \"Darn That Dream\" embraces the warmth of Gordon's tenor as his sensual phrasing leaves just enough space for Drew to sonically bridge the gap with his own unhurried and stylish chords. The generically monikered \"Number Four\" is anything but ordinary. The Gordon original jumps right from the opening and the ensemble lets loose with equally solid licks beneath his cool tone.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDrew gets in the driver's seat missing nary a measure to reveal what could easily be his most tasteful contributions to date. The same can be said of bassist Vinnegar, who is briefly spotlighted on an efficient (if not somewhat sparse) solo. \"Autumn in New York\" -- the album's other essential ballad -- is proof that despite Gordon's addiction, he had retained his singular and precious sense of lyricism. Indeed, the Great American Songbook entry has rarely been permeated in such a meaningful way. The seamless transitions between Gordon and Drew are further evidence of their undeniable bond. Saving what may be the best example of the gathered instrumentalists flexing their respective be-bop muscle, \"You Can Depend on Me\" rounds out the platter with a bang.\" Audio Beat Review\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAllMusic:  4 \/ 5   , Discogs :  4.53 \/ 5  \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40693705670807,"sku":"BCP36","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/dexter-gordon-daddy-plays-the-horn-mono-audiosoundmusic-1.jpg?v=1719851965"},{"product_id":"oscar-pettiford-another-one-vol-2","title":"Oscar Pettiford - Another One Vol 2 (Mono)","description":"\u003cp\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003eOscar Pettiford (bass, cello) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/oscar-pettiford\" title=\"vinyl featuring Oscar Pettiford\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/oscar-pettiford\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Oscar Pettiford]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003eDonald Byrd (trumpet) \u003cspan style=\"color: #ff8000;\"\u003e\u003ca style=\"color: #ff8000;\" title=\"vinyl featuring Donald Byrd\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/donald-byrd\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/donald-byrd\"\u003e[click here to see more vinyl featuring Donald Byrd]\u003c\/a\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003eErnie Royal\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e (trumpet), Bob Brookmeyer (valve trombone), Gigi Gryce (alto saxophone, clarinet), Jerome Richardson (tenor saxophone, clarinet, flute), Don Abney (piano), Osie Johnson (drums)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal analog Master tape: YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord Press: Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLabel: Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal Label : Bethlelem\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecorded in \u003cspan data-mce-fragment=\"1\"\u003eNYC on August 12, 1955\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRe-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginally released in 1955\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReissued in October \u003cspan data-mce-fragment=\"1\"\u003e2013\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide A :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e\u003cspan\u003e1. Kamman's A'Comin'\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Minor Seventh Heaven\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Stardust\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Bohemia After Dark\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide B :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Oscalypso\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. Scorpio\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. Titoro\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. Don't Squawk\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e5. Another One\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eOscar Pettiford became a major influence on a number of jazz artists along with fellow bassists Jimmy Blanton and Charles Mingus. This album titles as Volume 2 or Another One, Pettiford's third album as a leader for the Bethlehem label, was recorded in 1955. This exceptional date features the horns of Donald Byrd, Ernie Royal, Bob Brookmeyer, Gigi Gryce, and Jerome Richardson.\u003c\/p\u003e\n\u003cp\u003eHighlights include the Pettiford-penned \"Bohemia After Dark,\" named after the club in Greenwich Village and acknowledged as a jazz standard, \"Stardust,\" featuring Pettiford's poetic bass faintly accompanied by pianist Don Abney, and \"Minor Seventh Heaven,\" with Pettiford switching to cello. This is not just a bebop date; Pettiford had the range to incorporate influences like Duke Ellington and calypso, creating a full, lyrical band sound that matched his bass playing. Pettiford's legacy was cut short after he passed away suddenly in 1958 in Copenhagen at the age of 37.\u003c\/p\u003e\n\u003cp\u003e\"Of the Bethlehem reissues released to date by Pure Pleasure, this may be the most rewarding yet from a musical and sound quality. It contains one of the greatest versions of the standard ‘Stardust’. It has a retro sound to the jazz setting, but hit with Willie Nelson. Yet Pettiford, like John Coltrane after him, turns in a timeless sounding rendition. The recording is among the Bethlehem’s best sounding, and Ray Staff of Air Mastering has given us what I expect is the best sounding version we can expect of this music\". Dennis Davis\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDiscogs :  4.0 \/ 5  \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40693729034391,"sku":"BCP33","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/oscar-pettiford-another-one-vol-2-mono-audiosoundmusic-1.jpg?v=1719851965"},{"product_id":"steve-lacey-the-straight-horn-of-steve-lacey","title":"Steve Lacy - The Straight Horn of Steve Lacy (Mono)","description":"\u003cp\u003e\u003cstrong\u003eSteve Lacy (soprano), Charles Davis (baritone saxophone), John Ore (bass), Roy Haynes (drums) \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Candid\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eRecorded at Nola Penthouse Studios, New York City, \u003cspan data-mce-fragment=\"1\"\u003eNovember 19, 1960\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eby \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eBob d’Orleans\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003eProduced by \u003cspan face=\"Times New Roman\"\u003eNat Hentoff\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1962\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. Louise\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Introspection\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Donna Lee\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. Played Twice\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Air\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Criss Cross\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\" face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« Some of soprano saxophonist Steve Lacy's most interesting recordings are his earliest ones. After spending periods of time playing with Dixieland groups and then with Cecil Taylor (which was quite a jump), Lacy made several recordings that displayed his love of Thelonious Monk's music plus his varied experiences. On this particular set, Lacy's soprano contrasts well with Charles Davis' baritone (they are backed by bassist John Ore and drummer Roy Haynes) on three of the most difficult Monk tunes (\"Introspection,\" \"Played Twice,\" and \"Criss Cross\") plus two Cecil Taylor compositions and Charlie Parker's \"Donna Lee.\" » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 5 \/ 5 , Discogs : 4.67 \/ 5 , \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40694023913623,"sku":"CJS9007","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/steve-lacy-the-straight-horn-of-steve-lacy-mono-audiosoundmusic-1.jpg?v=1719851974"},{"product_id":"max-roach-we-insist-freedom-now-suite","title":"Max Roach - We Insist - Freedom Now Suite (Mono)","description":"\u003cdiv\u003e\n\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN\"\u003e\u003cspan size=\"3\"\u003e\u003cspan\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eMax Roach (drums) \u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/max-roach\" title=\"Vinyl featuring Max Roach\" target=\"_blank\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Max Roach]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eAbbey Lincoln (vocal)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eColeman Hawkins (Tenor sax) \u003cspan style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" title=\"Vinyl featuring Coleman Hawkins\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/coleman-hawkins\"\u003e[click here to see more vinyl featuring Coleman Hawkins]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eWalter Benton (tenor sax)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eBooker Little (trumpet) \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Booker Little\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/booker-little\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Booker Little]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eJulian Priester (trombone)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eJames Schenk (bass)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eBabatunde Olatunji (conga)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eThomas Du Vall (percussion)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eRay Mantilla (percussion\u003c\/strong\u003e)\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003cspan lang=\"EN-US\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Candid\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Candid\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eRecorded at\u003cspan data-mce-fragment=\"1\"\u003e Nola Penthouse Studios, NYC, August 31\u003c\/span\u003e\u003csup data-mce-fragment=\"1\"\u003est\u003c\/sup\u003e\u003cspan data-mce-fragment=\"1\"\u003e, September 6\u003c\/span\u003e\u003csup data-mce-fragment=\"1\"\u003eth\u003c\/sup\u003e\u003cspan data-mce-fragment=\"1\"\u003e 1960 by Bob d’Orleans\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\" size=\"3\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003eProduced by \u003cspan data-mce-fragment=\"1\"\u003eMax Roach\u003c\/span\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan\u003eRemastered by\u003c\/span\u003e\u003cspan\u003e Graeme Durham at The Exchange\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1961\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. Driva Man\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Freedom Day\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003c\/span\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. Prayer\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Protest\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Peace\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. All Africa\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e6. Tears For Johannesburg\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Times New Roman\" size=\"3\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« We Insist! Max Roach's Freedom Now Suite, co-authored by Max Roach and Oscar Brown, Jr., was a pivotal work in the early-'60s African-American protest movement, and continues to be relevant in its message and tenacity. It represents a lesson in living as to how the hundreds of years prior were an unnecessary example of how oppression kept slaves and immigrants in general in their place. Vocalist Abbey Lincoln expresses this oppression as effectively as anyone could with her thespian-based wordless vocals, and lyrics written by Brown that tell the grim story of the struggle of African-American for far too long. Musically, Roach assembled one of the greatest bands, from his own emerging ensemble with trombonist Julian Priester and trumpeter Booker Little, to the legendary Coleman Hawkins and lesser-known, underappreciated tenor saxophonist Walter Benton. Percussionists Ray Mantilla and Michael Olatunji gave the poetic pieces sung by Lincoln enough substance and spice to also refer to Afro-Cuban and South American prejudice and urgency for change. Hawkins is particularly impressive, as his emotional range during the deep and dour, 5\/4 slave song \"Driva' Man\" clearly feeds off of Lincoln's blues singing about quittin' time. \"Triptych; Prayer\/Peace\/Protest\" is the magnum opus of the set, introduced by Roach's signature drum moves, an eerie operatic vocal or oppressed angst yelling from Lincoln, and a 5\/4 beat from the percussionist against a calmer vocal component, all written for interpretive dance. Of the modern jazz that Roach is renowned for, the horns jump into furious hard bop with solos from Little, Benton, and Priester on \"Freedom Day\" after Lincoln quietly invites you to \"whisper\/listen,\" while the obscure bassist James Schenck leads in 6\/8 and 5\/4 ostinato over Lincoln's sustained tones on \"Tears for Johannesburg,\" with the layered horns in and out of well-wrought harmonies, and another triad of instrumental solos. \"All Africa\" sports lyrics about being on the beach, or maybe the beach head in the battle for freedom, as chants of tribal names echo similar village beats. This is a pivotal work in the discography of Roach and African-American music in general, its importance growing in relevance and timely, postured, real emotional output. Every modern man, woman, and child could learn exponentially listening to this recording -- a hallmark for living life. » AllMusic Review by Michael G. Nastos \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Based upon the diversity of music, quality of product and their extraordinary rate of progress, Pure Pleasure Records is our re-issue record company of the year.\" - hi-fi+\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 5 \/ 5 , Discogs : 4.76 \/ 5 , \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003cbr\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40694244376727,"sku":"CJM 8002","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/max-roach-we-insist-freedom-now-suite-audiosoundmusic-1.jpg?v=1719851982"},{"product_id":"june-christy-the-cool-school","title":"June Christy - The Cool School (Mono)","description":"\u003cdiv\u003e\n\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan size=\"2\"\u003e\u003cspan face=\"Times New Roman\"\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan size=\"2\"\u003e\u003cspan face=\"Times New Roman\"\u003eJune Christy (vocal) with The Joe Castro Quartet, Joe Castro (piano , celeste), Howard Roberts (guitar), Leroy Vinnegar (bass), Larry Bunker (drums, vibraphone, bongos)\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eRemastered by Sean Magee \u003cspan data-mce-fragment=\"1\"\u003eat Abbey Road Studios\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1960\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued 2012\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. Give A Little Whistle\u003cbr data-mce-fragment=\"1\"\u003e2. The Magic Window\u003cbr data-mce-fragment=\"1\"\u003e3. Baby's Birthday Party\u003cbr data-mce-fragment=\"1\"\u003e4. When You Wish Upon A Star\u003cbr data-mce-fragment=\"1\"\u003e5. Baubles, Bangles And Beads\u003cbr data-mce-fragment=\"1\"\u003e6. Aren't You Glad You're You\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cp\u003e\u003cspan\u003e1. Kee-Mo Ky-Mo\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Scarlet Ribbons\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Looking For a Boy\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Small Fry\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. Ding Dong! The Witch Is Dead\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e6. Swinging On A Star\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\" size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« The Cool School remains the most complex and contradictory album in the June Christy catalog: a collection of children's music crafted without sentimentality or saccharine, it brilliantly articulates the confusion, isolation, and yearning that form the core of childhood experience. Equally surprising, the arrangements are the most direct and unadorned of Christy's career, eschewing horns and cotton-candy fluff to focus squarely on her crisp, nimble vocals and the Joe Castro Quartet's driving rhythms. Familiar songs like \"Swinging on a Star\" and \"Looking for a Boy\" are stripped of artifice to recapture their innate power and mystery. In short, The Cool School celebrates the intelligence of children, and refuses to pander to audiences of any age. » AllMusic Review by Jason Ankeny\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 4 \/ 5 , Discogs : 4.6 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40695127572631,"sku":"PPAN T1398","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/june-christy-the-cool-school-mono-audiosoundmusic-1.jpg?v=1719851994"},{"product_id":"peggy-lee-the-man-i-love","title":"Peggy Lee - The Man I Love (Mono)","description":"\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePeggy Lee (vocals) \u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/peggy-lee\" title=\"vinyl and SACD featuring Peggy Lee\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more products featuring Peggy Lee]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOrchestra Conducted by\u003c\/span\u003e\u003cspan\u003e Frank Sinatra\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/frank-sinatra\" title=\"vinyl \u0026amp; SACD featuring Frank Sinatra\"\u003e \u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more Vinyl\/SACD featuring Frank Sinatra]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eArranged by Nelson Riddle\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by \u003cspan data-mce-fragment=\"1\"\u003eRon McCaster at Capitol Studios\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1957\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued March 2012\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cp style=\"font-weight: 400;\"\u003e1.The Man I Love \u003cbr\u003e2.Please Be Kind \u003cbr\u003e3.Happiness Is a Thing Called Joe\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e4. (Just \u003c\/span\u003eOne Way\u003cspan style=\"font-weight: 400;\"\u003e to Say) I Love You \u003cbr\u003e5.That's All 6.Something Wonderful\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cp\u003e\u003cspan\u003e1.He's My Guy \u003cbr\u003e2.Then I'll Be Tired of You \u003cbr\u003e3.My Heart Stood Still\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e4.If I Should Lose You \u003cbr\u003e5.There Is No Greater Love \u003cbr\u003e6.The Folks Who Live on the Hill\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\" style=\"color: #ff2a00;\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« Around the same time that Peggy Lee decamped her longtime label home, Capitol Records, for what turned out to be a five-year sojourn at Decca Records in 1952, an apparently washed-up Frank Sinatra signed with Capitol. In 1957, when Lee returned to Capitol, Sinatra had re-established himself as a major recording artist. Meanwhile, the recording world had changed with the emergence of the 12-inch LP as an industry standard. The Man I Love, Lee's first recording for Capitol in the format after re-signing, matched her with the company's flagship artist, Sinatra, who was credited as the album's conductor, his name printed on the front cover in the same size as Lee's. A year earlier, Sinatra had conducted his Tone Poems of Color album for Capitol, and though the singer did not read music and relied on arranger Nelson Riddle, he again proved himself able to make his intentions clear in working with Lee. The Man I Love is a concept album in the manner pioneered by Sinatra at Capitol, a group of 12 songs chosen to express a single theme. That theme, as the title suggests, is a woman's unwavering devotion to a man, as expressed in songs often composed by gilt-edged songwriters (Gershwin, Arlen, Rodgers, Kern, etc.) and taken from Broadway shows. That devotion is not starry eyed, however; in several songs, Lee acknowledges the flaws in her paramour (e.g., \"Something Wonderful\"), but then explains them away and reconfirms her commitment. In fact, toward the end she worries what she would do \"If I Should Lose You\" before declaring \"There Is No Greater Love\" and finally idealizing the long-term relationship in the closing song, \"The Folks Who Live on the Hill.\" It wouldn't be surprising to find that Sinatra directed Lee to sing like one of his favorite singers, Billie Holiday, since she often does, laying back in understated vocal performances to reinforce the near-victimhood of the woman depicted in the songs. Riddle supports these interpretations with lush string charts that hint of dark feelings. The result is a superb pairing of singer, conductor, and arranger on an album that re-conceives Lee as a Capitol recording artist in the Sinatra concept album mold. » AllMusic Review by William Ruhlmann\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 3.5 \/ 5 , Discogs : 3.94 \/ 5\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003cbr\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40705720582295,"sku":"PPAN T864","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/peggy-lee-the-man-i-love-mono-audiosoundmusic-1.jpg?v=1719852017"},{"product_id":"nat-king-cole-at-the-piano-penthouse-serenade","title":"Nat King Cole - At The Piano, Penthouse Serenade (Mono)","description":"\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eNat King Cole - piano \u0026amp; vocal (B5 to B10) \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/nat-king-cole\" title=\"vinyl featuring Nat King Cole\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/nat-king-cole\"\u003e[click here to see more vinyl featuring Nat King Cole]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Collins, guitar, Charlie Harris (bass), Bunny Shawker (drums : A1, A2, A3, A4, A7, A8, A8, A9, B1), Lee Young (drums : A5, A6, B2, B3), Jack Costanzo (bongos, conga : A4, A8, B5, B7, B9, B10)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003eRemastered by \u003cspan data-mce-fragment=\"1\"\u003eSean Magee at Abbey Road Studios\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2008\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003eSide A :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cspan\u003e1. Penthouse Serenade \u003cbr\u003e2. Somebody Loves Me \u003cbr\u003e3. Laura 4. Once In A Blue Moon \u003cbr\u003e5. Don't Blame Me 6. Little Girl \u003cbr\u003e7. Polka Dots \u0026amp; Moonbeams \u003cbr\u003e8. Down By The Old Mill Stream \u003cbr\u003e9. If I Should Lose You\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cp\u003e\u003cspan\u003e1. Rose Room\u003cbr\u003e2. I Surrender Dear (take 2) \u003cbr\u003e3. It Could Happen To You \u003cbr\u003e4. I Surrender Dear (take 1) \u003cbr\u003e5. Too Marvelous For Words \u003cbr\u003e6. Unforgettable \u003cbr\u003e7. Walkin' My Baby Back Home \u003cbr\u003e8. Too Young 9. That's My Girl \u003cbr\u003e10. Paper Moon\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« The year after he had formally disbanded his trio to turn his attention to vocal pop music, Nat King Cole reversed himself and went into the studio with guitarist John Collins, bassist Charlie Harris, and drummer Bunny Shawker and recorded the eight-song 10\" LP Penthouse Serenade, a quiet, reflective set of standards like \"Somebody Loves Me\" and \"Laura\" that he performed instrumentally at the piano. The album confirmed that, whatever success he might be having as a singer, he hadn't lost his touch. » AllMusic Review by William Ruhlmann\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 4.5 \/ 5 , Discogs : 4.44 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40705870364823,"sku":"PPAN T332","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/nat-king-cole-at-the-piano-penthouse-serenade-mono-audiosoundmusic-1.jpg?v=1719852028"},{"product_id":"nat-king-cole-after-midnight","title":"Nat King Cole - After Midnight (2LP, Mono)","description":"\u003cbr\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003e\u003cbr\u003e\u003cbr\u003eTracks C3, C4, D1, D2, D3 \u0026amp; D4 are bonus material not found on original LP\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003eNat King Cole - Piano and Vocals \u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" title=\"vinyl featuring Nat King Cole\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/nat-king-cole\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/nat-king-cole\"\u003e[click here to see more vinyl featuring Nat King Cole]\u003c\/a\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003e\u003cbr\u003eJohn Collins (Guitar), Charlie Harris (Bass), Lee (Leonidas) Young (Drums), \u003c\/span\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003eWillie Smith (Alto Saxophone), Harry \"Sweets\" Edison (Trumpet), Stuff Smith (Violin), Juan Tizol (Trombone), \u003c\/span\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003eJack Costanza (Congas,Bongos)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold sleeve\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan size=\"2\"\u003eRecorded at Capitol Studios, Los Angeles, Calafornia U.S.A on \u003c\/span\u003e\u003cspan size=\"2\"\u003e\u003cspan face=\"Times New Roman\"\u003e15\u003csup\u003eth\u003c\/sup\u003e August and 24\u003csup\u003eth\u003c\/sup\u003e September 1956\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eRemastered by \u003cspan data-mce-fragment=\"1\"\u003eRon McMaster, Steve Hoffman \u0026amp; Kevin Grey\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan\u003eProduced by \u003c\/span\u003e\u003cspan\u003eLee Gillette\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003eOriginally released in 1956\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2006\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cspan\u003e1. Just You, Just Me\u003cbr\u003e2. Sweet Lorraine\u003cbr\u003e3. Sometimes I’m Happy\u003cbr\u003e4. Caravan\u003cbr\u003e5. It’s Only A Paper Moon\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cp\u003e\u003cspan\u003e1. \u003c\/span\u003e\u003cspan size=\"2\"\u003e\u003cspan face=\"Times New Roman\"\u003eYou’re Looking At Me\u003cbr\u003e2. The Lonely One\u003cbr\u003e3. Don’t Let It Go To Your Head\u003cbr\u003e4. I Know That You\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan face=\"Times New Roman\" size=\"3\"\u003e5 .Know\/ Blame It On My Youth\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide C :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cspan\u003e1. \u003c\/span\u003e\u003cspan size=\"2\"\u003e\u003cspan face=\"Times New Roman\"\u003eWhen I Grow To Old To Dream\u003cbr\u003e2. Route 66\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan size=\"2\"\u003e\u003cspan face=\"Times New Roman\"\u003e3. I Was A Little Too Lonely (And You Were A Little \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan size=\"2\"\u003e\u003cspan face=\"Times New Roman\"\u003eToo Late)\u003cbr\u003e4. You Can Depend On Me\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide D :\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cp\u003e\u003cspan\u003e1. What Is There To Say\u003cbr\u003e2. Two Loves Have I\u003cbr\u003e3. Candy\u003cbr\u003e4. You’re Looking At Me (alternate take)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eAwards\u003c\/strong\u003e:\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\" style=\"color: #ff2a00;\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003eStereophile Records To Die For - 2011\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« Nat \"King\" Cole' s music is the perfect combination of romantic charm and musical invention. Cole is renowed for his big production numbers and pop hits such hits as \"Stardust\" , but he was also an accomplished and unique jazz pianist and excelled in a small-group setting. After Midnight's album cover states that this is a \"trio\" release. However, Cole is actually paired up with his trio plus five guest soloists (saxaphone.trombone,trumpet,procussion and violin). The dubious credits don't matter that much. This is precious music and without doubt, one of Cole's best records. Included here are wonderful and intimate renditions of Cole favourites \"Sweet Lorraine\", \"(Get your kicks on) Route 66\" and many others. Trombonist Juan Tizol performs a beautiful version of his Afro-Cuban tune \"Caravan\", and Cole and violinist Stuff Smith trade some hot licks on the up-tempo \"I Know\". For anybody looking into understand the depth and breadth of Cole's jazz roots, this disc is an excellent point of departure.\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eOne of the unfortunate consequences of Nat \"King\" Cole's exquisite career as a vocalist is that many fans have forgotten what an exceptional pianist he was. Moreover, Cole influenced pianists as chronologically and geographically divergent as Oscar\u003cstrong style=\"font-weight: 600;\"\u003e\u003cspan\u003e \u003c\/span\u003eP\u003c\/strong\u003e\u003cstrong style=\"font-weight: 600;\"\u003eeterson\u003c\/strong\u003e,\u003cspan\u003e \u003c\/span\u003eBrazil's\u003cspan\u003e \u003c\/span\u003e\u003cstrong style=\"font-weight: 600;\"\u003eTan\u003c\/strong\u003e\u003cstrong style=\"font-weight: 600;\"\u003eia Maria\u003c\/strong\u003e, and\u003cspan\u003e \u003c\/span\u003e\u003cstrong style=\"font-weight: 600;\"\u003eDiana Krall\u003c\/strong\u003e. After Midnight serves up equal doses of\u003cspan\u003e \u003c\/span\u003e\u003cstrong style=\"font-weight: 600;\"\u003eCole\u003c\/strong\u003e's vocals and piano playing. From the lush beauty of \"What Is There To Say\" to the mid-tempo swing of \"When I Grow Too Old To Dream\" to the lightening quick \"I Know That You Know\",\u003cspan\u003e \u003c\/span\u003e\u003cstrong style=\"font-weight: 600;\"\u003eCole\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003econfirms his place in both Popular Vocalist history and Jazz Piano history as well. In a recording featuring such luminaries as\u003cspan\u003e \u003c\/span\u003e\u003cstrong style=\"font-weight: 600;\"\u003eHarry\u003c\/strong\u003e\u003cstrong style=\"font-weight: 600;\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong style=\"font-weight: 600;\"\u003e\"Sweets\"\u003cspan\u003e \u003c\/span\u003eEdison\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eon trumpet, and the often forgotten violinist\u003cspan\u003e \u003c\/span\u003e\u003cstrong style=\"font-weight: 600;\"\u003eStuff Smith\u003c\/strong\u003e, After Midnight is the perfect offering for any fan of the\u003cspan\u003e \u003c\/span\u003e\u003cstrong style=\"font-weight: 600;\"\u003eNat \"King\u003c\/strong\u003e\"\u003cspan\u003e \u003c\/span\u003e\u003cstrong style=\"font-weight: 600;\"\u003eCole\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eTrio as well as those fans who are more familiar with Cole as a vocalist. A perfect blend is found here.\"\u003cspan\u003e \u003c\/span\u003eL. J. Allen\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDiscogs : 4.67 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40706087780503,"sku":"PPAN W782","price":52.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/nat-king-cole-after-midnight-2lp-mono-audiosoundmusic-1.jpg?v=1719852028"},{"product_id":"sarah-vaugha-after-hours-with-sarah-vaughan","title":"Sarah Vaughan - After Hours With Sarah Vaughan (Mono)","description":"\u003cdiv\u003e\n\u003cdiv\u003e\n\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eCOMPILATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSarah Vaughan - vocals \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/sarah-vaughan\" title=\"vinyl featuring Sarah Vaughan\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/sarah-vaughan\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Sarah Vaughan]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cstrong\u003e\u003cspan size=\"2\"\u003eRecorded in \u003cspan data-mce-fragment=\"1\"\u003eNew York City (\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003eA1, A5 on June 1, 1951 ; A2 on March 19, 1952 ; A3 on July 7, 1949 ; A4, A6 on December 21, 1949 ; B1 on January 10, 1949 ; B2 on July 27, 1950 ; B3 on September 28, 1949 ; B4 on September 5, 1950 ; B5 on April 4, 1951 ; \u003c\/strong\u003e\u003cstrong\u003eB6 on July 7, 1949)\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan size=\"2\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eRemastered by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003eOriginally released in 1955\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cp\u003e1. After Hours \u003cbr\u003e2. Street Of Dreams \u003cbr\u003e3. You Taught Me To Love Again\u003cbr\u003e4. You’re Mine You \u003cbr\u003e5. My Reverie \u003cbr\u003e6. Summertime\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cp\u003e1. Black Coffee \u003cbr\u003e2. Thinking Of You \u003cbr\u003e3. I Cried For You \u003cbr\u003e4. Perdido\u003cbr\u003e5. Deep Purple \u003cbr\u003e6. Just Friends\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\"Sarah Vaughan signed for Columbia in 1949 and her chart successes continued with the charting of \"Black Coffee\" in the summer of 1949. During her tenure at Columbia through 1953, Vaughan was steered almost exclusively to commercial pop ballads, a number of which had chart success.\u003c\/p\u003e\n\u003cp\u003eNo matter what she's singing you can't help but notice her amazing control and range. She's able to float effortlessly from the lowest end of the scale to the highest without effort. Her singing is as much second nature as breathing is to most of us.\u003c\/p\u003e\n\u003cp\u003eI don't know if you've ever heard the term phrasing applied to singing, it's not something you hear often anymore. To be honest it’s not something I'm sure I can define. The closest I can come to is it refers to a singer's ability to associate the lyrics of a song with the music. However, it means more than just being able to carry a tune. It's how you sing the words and music together. It's the ability to turn your voice into a lead instrument in a band and take one word and extend it over a whole series of notes. However it doesn't just mean the ability to sustain a note, it's continuing to sing the melody but with only one or a few words without them losing meaning or throwing the continuity of the song out of whack.\u003c\/p\u003e\n\u003cp\u003eListen to Vaughan wrap her voice around a word and you begin to understand what is meant by the term. You also realize why you don't hear the term used very often anymore as very few modern singers have this ability. To be fair the music of today doesn't really lend itself to that style of singing either. However hearing a singer of the quality of Vaughan you begin to regret its passing. I'm sure there are jazz singers around who have the ability, but we don't hear them on a regular basis.\u003c\/p\u003e\n\u003cp\u003eOf course it's this ability which allowed her to be equally comfortable with any style of music she wished to sing. On this LP we hear her sail through a series of smoothly orchestrated pop tunes. Even the version of Gershwin's \"Summertime\" is given the uptempo treatment. This might have been a collection of rather commercial standards, but she gives them a soulfulness that raises them above the level of just another pop song. She might not be as emotionally raw as Billie Holliday, but that doesn't stop her from being able to imbue even the simplest of songs with the heart necessary to make them soar. \" Richard Marcus\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDiscogs : 4 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40706350940311,"sku":"PPAN CL660","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/sarah-vaughan-after-hours-with-sarah-vaughan-mono-audiosoundmusic-1.jpg?v=1719852027"},{"product_id":"duke-ellington-masterpieces","title":"Duke Ellington - Masterpieces (1LP, 33 RPM, Mono, Pure Pleasure)","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eDuke Ellington, piano \u003cspan data-mce-fragment=\"1\"\u003e\u003cspan lang=\"EN-US\" data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/duke-ellington\" title=\"Vinyl featuring Duke Ellington\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/duke-ellington\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Duke Ellington]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Strayhorn (piano). Russell Procope, Paul Gonzalves, Johnnie Hodges, Jimmy Hamilton (saxophone). Nelson Williams, Andrew Ford, Harold Baker, Ray Nance, William Anderson (trumpet). Quentin Jackson, Lawrence Brown, Tyree Glenn (trombone). Mercer Ellington (horn). Sonny Greer (drums). Wendell Marshall (bass). Yvonne Lanauze (vocals).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Duke Ellington (A1, A2, B1, B2), Albany Bigard (A1), Irving Mills (A1, A2, B2), Eddie Delange (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in New York on December 18, 1950\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Ryan K. Smith at Sterling Sound\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1951\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eMood Indigo\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eSophisticated Lady\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eThe Tattooed Bride\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eSolitude\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e“Amazingly, it took Columbia Records until the very end of 1950, two years into the LP era and the transition from disc to magnetic tape recording, to get Duke Ellington and His Orchestra into the studio to cut a long-playing record. For the first time in his recording career, Ellington was able to forego the three-minutes-and-change restrictions in running time of the 78 rpm disc -- he and the band rose to the occasion with extended (11-minute-plus) \"uncut concert arrangements\" of \"Mood Indigo,\" \"Sophisticated Lady,\" and \"Solitude,\" augmented with one splendid newer work, \"The Tattooed Bride.\" And it's taken 15 years into the CD boom before Masterpieces By Ellington has been given the treatment that it deserves. Sony Music of Japan reissued this classic recording in 1998, remastered using the company's 20-bit-based Super Bit Mapping digital system, and results are astonishing -- the band sounds like it's in the same room with the listener, and that goes double for the piano and the soloists (including singer Yvonne Lanauze) on \"Mood Indigo.\" Even in this august company, \"The Tattooed Bride\" is a swinging virtuoso piece that, as everyone present must have known, couldn't possibly have been captured in this manner in any era before this session -- this was also one of the last sessions to feature the classic Ellington lineup with Johnny Hodges, Lawrence Brown, and Sonny Greer, before their exodus altered the band's sound, and so it's a doubly precious piece (as is the whole album), among the last written specifically for this lineup.” AllMusic Review by Bruce Eder\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e:\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5 ; Discogs : 4.83\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40706807988375,"sku":"PPAN ML4418","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/duke-ellington-masterpieces-1lp-33-rpm-mono-pure-pleasure-audiosoundmusic-1.jpg?v=1719852040"},{"product_id":"sidney-bechet-the-grand-master-of-the-soprano-saxophone","title":"Sidney Bechet - The Grand Master Of The Soprano Saxophone (Mono)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN\" mce-data-marked=\"1\"\u003e\u003cspan size=\"3\" mce-data-marked=\"1\"\u003e\u003cspan mce-data-marked=\"1\"\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSidney Bechet - soprano saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eErnie Caceras (bs), Bob Mielke (tb), Bob Wilber (cl), Lloyd Phillips (p), Dave Bowman (p), Leonard Ware (el-g), Henry Turner (b), George „Pops“ Foster (b), Zutty Singleton (dr), Arthur Herbert (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in New York in \u003cspan data-mce-fragment=\"1\"\u003eNovember 1938 and July 1947\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by \u003cb data-mce-fragment=\"1\"\u003eRay Staff at Air Mastering\u003c\/b\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1956\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2016\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. Love For Sale\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. I Had It, But It's All Gone Now\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Jungle Drums\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Buddy Bolden Stomp\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. My Woman's Blues\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e6. Polka Dot Stomp\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. Laura\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Just One Of Those Things\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Kansas City Man Blues\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Shake 'Em Up\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. Chant In the Night\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e6. The Song of Songs\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e7. What A Dream\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e:\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« Sidney Bechet's historic recordings for Blue Note and RCA Victor tend to overshadow some of his other work because they have been reissued more frequently, though there are lesser-known dates worth acquiring as well. This Columbia LP compiles three separate recording sessions made between 1938 and 1947. Bechet sticks almost exclusively to soprano sax throughout each of them and has ample space for his solos, full of his trademark heavy vibrato. The earliest set matches him with drummer Zutty Singleton, bassist Henry Turner, and guitarist Leonard Ware (all members of his working band at the time), along with pianist Dave Bowman and baritone saxophonist Ernie Caceres. The Bechet-Singleton collaboration \"Jungle Drums\" has delightful solos by the two reeds, along with Singleton's exotic tom-toms. Six tracks come from a 1947 quartet with pianist Lloyd Phillips, bassist Pops Foster, and either Freddie Moore or Arthur Herbert on drums. Bechet's swinging tribute to a legendary jazzman, \"Buddy Bolden Stomp,\" a romp through \"Just One of Those Things,\" and a heartfelt arrangement of \"Laura\" are the highlights of this session. Another 1947 session gives a preview of the future of classic jazz, featuring a sextet led by Bechet's star pupil, a young Bob Wilber, along with Dick Wellstood, who would rise to fame as a master stride interpreter. Bechet plays soprano sax and Wilber sticks to clarinet on two numbers, though they switch roles on \"Kansas City Man Blues.\" While Wilber doesn't have Bechet's strong vibrato on soprano sax, they are harder to tell apart on clarinet. Since this material has only been sporadically available during the LP era (and evidently not all on CD), fans of traditional jazz will want to keep an eye out for this hard to find album. » AllMusic Review by Ken Dryden\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 4.17 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40706952331415,"sku":"PPAN CL836","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/sidney-bechet-the-grand-master-of-the-soprano-saxophone-mono-audiosoundmusic-1.jpg?v=1719852040"},{"product_id":"duke-ellington-his-orchestra-feat-mahalia-jackson-black-brown-and-beige","title":"Duke Ellington \u0026 His Orchestra feat. Mahalia Jackson - Black, Brown And Beige (2LP, Mono)","description":"\u003cp\u003e\u003cstrong\u003eDuke Ellington, piano \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/duke-ellington\" title=\"Vinyl featuring Duke Ellington\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/duke-ellington\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Duke Ellington]\u003c\/span\u003e\u003c\/a\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCat Anderson, Harold Baker, Clark Terry (trumpets), Ray Nance (trumpet \u0026amp; violin), Quentin Jackson, John Sanders, Britt Woodman (trombones), Harry Carney (baritone saxophone), Paul Gonsalves (tenor saxophone), Bill Graham (alto saxophone), Jimmy Hamilton (clarinet), Russell Procope (clarinet \u0026amp; alto saxophone), Jimmy Woode (bass), Sam Woodyard (drums), Mahalia Jackson (vocals)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eFebruary 4–5 and 11-12 of 1958.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003eProduced by Irving Townsend\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by \u003cspan data-mce-fragment=\"1\"\u003eRay Staff at Air Mastering, Lyndhurst Hall, London\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1958\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2016\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. Part 1\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Part 11\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Part 111 (aka Light)\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. Part 1V (aka Come Sunday)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Part V (aka Come Sunday)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Part V1 (23rd Psalm)\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. Track 360 (aka Trains)(alt. take)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Blues In Orbit (aka Tender)(alt. take)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Part 1 (alt. take)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Part 11 (alt. take)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. Part 111 (aka Light) (alt. take)\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. Part 1V (aka Come Sunday)(alt. take)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Part V (aka Come Sunday)(alt. take)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Part V1 (23rd Psalm)(alt. take)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Studio Conversation (Mahalia swears)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. Come Sunday (a capella)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e:\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« Duke Ellington originally wrote the 50-minute Black, Brown and Beige in 1943 for a Carnegie Hall concert, where critics dismissed it as overreaching for a jazz composer. Over the next 15 years, he periodically resurrected it for performances of excerpts or, as in the case of his 1958 Columbia album, transmuting it into what was essentially a new work. Columbia's Black, Brown and Beige was one of the most extraordinary products of Ellington's second stay with the label, growing out of his 1956 Newport triumph, and it was received somewhat more readily than the original 1943 \"Black, Brown and Beige.\" The main problem for those who knew the piece and its history lay in the absence of Johnny Hodges, who was hardly ever with the Ellington band during 1958, and on whose talents \"Come Sunday,\" the centerpiece of the original work and even more the core of the revamped Black, Brown and Beige, was built. Instead, Mahalia Jackson sings a version of \"Come Sunday\" that is, if anything, equally affecting, backed by the orchestra led by Ray Nance's violin. The result on the original album was a piece that started off in big band-style blues and led to one of Ellington's most moving, wrenching pieces of work, and music that, had it been better known, might also have done more to raise people's consciousness about Civil Rights than 100 folk songs of the period. » AllMusic Review by Bruce Eder\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5 , Discogs : 4.12 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40707050242199,"sku":"PPAN CL1162","price":52.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/duke-ellington-and-his-orchestra-feat-mahalia-jackson-black-brown-and-beige-2lp-mono-audiosoundmusic-1.jpg?v=1719852040"},{"product_id":"lambert-hendricks-ross-with-ike-isaacs-trio-feat-harry-edison-the-hottest-new-group-in","title":"Lambert, Hendricks \u0026 Ross with Ike Isaacs Trio, feat. Harry Edison - The Hottest New Group in Jazz (Mono)","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eVocals : Dave Lambert, \u003c\/span\u003e\u003cspan\u003eJon Hendricks, \u003c\/span\u003e\u003cspan\u003eAnnie Ross\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet: Harry Edison \u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/harry-sweets-edison\" title=\"Vinyl featuring Harry Sweets Edison\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/harry-sweets-edison\"\u003e[click here to see more vinyl featuring Harry Sweets Edison]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums: Jimmy Wormworth,\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass: Ike Isaacs\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano: Gildo Mahones\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in 1959\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by \u003cb data-mce-fragment=\"1\"\u003eRay Staff at Air Mastering\u003c\/b\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1959\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2012\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. Charleston Alley\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. Moanin'\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. Twisted\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. Bijou\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e5. Cloudburst\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. Centerpiece\u003cbr\u003e2. Gimme That Wine\u003cbr\u003e3. Sermonette\u003cbr\u003e4. Summertime\u003cbr\u003e5. Everybody's Boppin'\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e:\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe premier jazz vocal act of all time, Lambert, Hendricks \u0026amp; Ross revolutionized vocal music during the late '50s and early '60s by turning away from the increasingly crossover slant of the pop world to embrace the sheer musicianship inherent in vocal jazz. Applying the concepts of bop harmonies to swinging vocal music, the trio transformed dozens of instrumental jazz classics into their own songs, taking scat solos and trading off licks and riffs in precisely the same fashion as their favorite improvising musicians.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eVocal arranger Dave Lambert wrote dense clusters of vocal lines for each voice that, while only distantly related, came together splendidly. Jon Hendricks wrote clever, witty lyrics to jazz standards like \"Summertime,\" \"Moanin',\" and \"Twisted,\" and Annie Ross proved to be one of the strongest, most dexterous female voices in the history of jazz vocals. Together Lambert, Hendricks \u0026amp; Ross paved the way for vocal groups like Manhattan Transfer while earning respect from vocalists and jazz musicians alike.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eDiscogs : 3.65 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40707736535191,"sku":"CL 1403","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/lambert-hendricks-and-ross-with-ike-isaacs-trio-feat-harry-edison-the-hottest-new-group-in-jazz-mono-audiosoundmusic-1.jpg?v=1719852052"},{"product_id":"chet-baker-strings","title":"Chet Baker \u0026 Strings (Mono)","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eChet Baker (trumpet) \u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/chet-baker\" title=\"Vinyl featuring Chet Baker\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/chet-baker\"\u003e[click here to see more vinyl featuring Chet Baker]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eZoot Sims (tenor saxophone) \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Zoot Sims\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/zoot-sims\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/zoot-sims\"\u003e[click here to see more vinyl featuring Zoot Sims]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eJack Montrose (tenor saxophone)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eJoe Mondragon (bass)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eShelly Manne (drums) \u003ca title=\"Vinyl featuring shelly manne\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/shelly-manne\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/shelly-manne\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Shelly Manne]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eBud Shank (alto saxophone)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRuss Freeman (piano), \u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eArrangements by\u003c\/strong\u003e \u003cstrong\u003eJohnny Mandel, \u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eMarty Paich, Jack Montrose, and Shorty Rogers\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded on \u003cspan data-mce-fragment=\"1\"\u003eDec 30, 1953 - Dec 31, 1953\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduced by \u003c\/span\u003e\u003cspan\u003eRichard Bock\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by \u003cspan data-mce-fragment=\"1\"\u003eRay Staff at \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eAir Mastering, Lyndhurst Hall, London\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1959\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in July 2011\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003eYou Don't Know What Love Is\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. I'm Thru With Love\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. Love Walked In\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. You Better Go Now\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e5. I Married An Angel\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e6. Love\u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e7. You Don't Know What Love Is (alternate take)\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e8. You Better Go Now (alternate take)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. I Love You\u003cbr data-mce-fragment=\"1\"\u003e2. What A Diff'rence A Day Made\u003cbr data-mce-fragment=\"1\"\u003e3. Why Shouldn't I\u003cbr data-mce-fragment=\"1\"\u003e4. A Little Duet\u003cbr data-mce-fragment=\"1\"\u003e5. The Wind\u003cbr data-mce-fragment=\"1\"\u003e6. Trickeydiddlier\u003cbr data-mce-fragment=\"1\"\u003e7. A Little Duet (alternate take)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« This release offers a unique glimpse of a young Chet Baker in a quintet setting, complemented by a nine-piece string section. Utilizing the uniquely modern arrangements of Johnny Mandel, Marty Paich, Jack Montrose, and Shorty Rogers, this interaction of \"West Coast cool\" with primordial elevator music escapes many -- if not indeed all -- of the potential sonic pitfalls such a marriage might suggest. In the truest sense of the word augmentation, the string arrangements provide the desired opulence sans the heavy-handed or syrupy residual effects. Perhaps most inspiring about this outing is the success with which Baker and crew are able to thrive in this environment, providing subtle insight into the quintet's ability to simultaneously adapt and explore. Chet Baker and Strings was recorded over three days in late 1953 and early 1954. Joining Baker (trumpet) on these sessions are Jack \"Zoot\" Sims (tenor sax), Jack Montrose (tenor sax), Russ Freeman (piano), Joe Mondragon (bass), Shelly Manne (drums), and Clifford \"Bud\" Shank (alto sax), who steps in for Sims on the 1954 date. \"Love Walked In\" incorporates a trademark volley of interaction between Baker and Sims. \"Love\" contains what is arguably the most successful implementation of the string section, as well as some stellar soloing by Freeman. In fact, his contributions to this particular recording rank among his finest with Baker and company. The same enthusiasm can likewise be applied to \"A Little Duet for Zoot and Chet.\" Not only are Sims and Baker in top flight, but the string arrangement swings irresistibly as well. The easygoing and otherwise winding strings support the cool bop like a kite in a March breeze -- light, airy, and conspicuous only in altitude.“Tree of Life” is a step up in lyrics with a hopeful theme. Written by producer McDaniels, it was covered as well by Aretha Franklin. A gospel choir adds class and emotion. George Duke’s Moog synthesizer adds spacey effects to “Now” while Steve Gadd makes his presence felt on drums. The title track follows as Wilson preaches to the next generation of women including her daughter, born on July 4, 1975. The theme is helping to prepare our children for the future. » AllMusic Review by Lindsay Planer\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 3 \/ 5 , Discogs : 4.09 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40707873898647,"sku":"PPAN CL549","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/chet-baker-and-strings-mono-audiosoundmusic-1.jpg?v=1719852052"},{"product_id":"duke-ellington-his-orchestra-ellington-uptown","title":"Duke Ellington \u0026 his Orchestra - Ellington Uptown (Mono)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003ePiano: Billy Strayhorn and Duke Ellington \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/duke-ellington\" title=\"Vinyl featuring Duke Ellington\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/duke-ellington\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Duke Ellington]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSaxophones: Paul Gonsalves, Harry Carney, Jimmy Hamilton, Russell Procope, Hilton Jefferson\u003cbr\u003e\u003cspan lang=\"EN-US\"\u003eTrumpets: William Anderson, Clark Terry, Willie Cook, Ray Nance\u003cbr\u003e\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003eTrombones: Juan Tizol, Quentin Jackson, Britt Woodman\u003cbr\u003e\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003eDrums: Louis Bellson Bass: Wendell Marshall\u003cbr\u003e\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003eVocal on “Take the “A” Train” by Betty Roche\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by \u003cspan data-mce-fragment=\"1\"\u003eRay Staff\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1953\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in August 2008\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. Skin Deep\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. The Mooche\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. Take The 'A' Train\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. A Tone Parallel To Harlem\u003cbr data-mce-fragment=\"1\"\u003e2. Perdido\u003cbr\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e:\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« Even back in the early '50s, Columbia Records took Duke Ellington seriously enough to place this album on its prestigious Masterworks label, heretofore reserved mostly for highbrow classical music and Broadway shows (later in the decade, though, it was retitled Hi-Fi Ellington Uptown and reissued on the pop series with an additional piece, \"The Controversial Suite\"). Also, this LP explodes the critical line that the early '50s was a relatively fallow period for the Duke; any of these smoking, concert-length tracks will torpedo that notion. The young Louie Bellson was powering the Ellington band at that time, and his revolutionary double-bass drum technique and rare ability to build coherent drum solos are put to astounding use on his self-penned leadoff track, \"Skin Deep,\" which was quite a demonstration piece for audiophiles at the time. Old favorites from the Ellington hit parade are given extended treatments, with singer Betty Roche taking the A-train for a bebop-flavored ride, \"The Mooche\" spotlighting clarinetists Jimmy Hamilton and Russell Procope, and Ellington's boogie-woogie piano kicking off a super-charged \"Perdido\" for trumpeter Clark Terry. The centerpiece of the disc is a sharply drawn, idiomatically swinging, probably unbeatable performance of \"A Tone Parallel to Harlem\" that lays waste to any of the \"symphonic\" versions that turn up frequently at pop concerts. Another feature of this record is the great sound quality, a benefit of being entrusted to Columbia's best engineers. » AllMusic Review by Richard S. Ginell\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5 , Discogs : 4.26 \/ 5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40710749651095,"sku":"ML 4639","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/duke-ellington-and-his-orchestra-ellington-uptown-mono-audiosoundmusic-1.jpg?v=1719852078"},{"product_id":"sarah-vaughan-sarah-vaughan-in-hi-fi","title":"Sarah Vaughan - Sarah Vaughan In Hi-Fi (2LP, Mono)","description":"\u003cp\u003e\u003cstrong\u003eSarah Vaughan - vocals \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/sarah-vaughan\" title=\"vinyl featuring Sarah Vaughan\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/sarah-vaughan\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Sarah Vaughan]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded 21\u003csup\u003est\u003c\/sup\u003e December 1949 : The Nearness Of You – take 5 (master), take 1(alt.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cstrong\u003eBilly Butterfield, Taft Jordan : trumpet \/ Will Bradley : trombone \/ Toots Mondello, Hymie Schertzer : alto saxophone \/ Artie Drelinger, George Kelly : tenor saxophone \/ Stan Webb : baritone saxophone \/ Jimmy Jones, Al Caiola : guitar \/ Eddie Safranski : bass \/ Cozy Cole : drums.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded 18\u003csup\u003eth\u003c\/sup\u003e May 1950 : Ain’t Misbehavin’ – take 2 (master), take 1 (alt.)\/ Goodnight My Love – take 5 (master), take 3 (alt.) \/ Can’t Get Out Of this Mood – take 6(master), take 4 (alt.)\/ It Might As Well Be Spring – take 4 (master), take 1 (alt.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cstrong\u003eMiles Davis - trumpet \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\" title=\"vinyl featuring Miles Davis\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Miles Davis]\u003c\/span\u003e\u003c\/a\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cstrong\u003eBenny Green : trombone \/ Budd Johnson : tenor saxophone \/ Tony Scott : clarinet \/ Jimmy Jones : piano \/ Freddie Green : guitar \/ Jr. Billy “Pickels” Taylor : bass \/ J C Heard : drums. Budd Johnson, Benny Green \u0026amp; Freddie Green do not play on “It Might As Well Be Spring”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded 19\u003csup\u003eth\u003c\/sup\u003e May 1950 : Mean To Me – take 2(master), take 1(alt)\/ Come Rain Or Come Shine – take 1(master), take 4(alt)\/ Nice Work If You Can Get It – take 4(master)\/ East Of The Sun (And West Of The Moon) – take 5(master), take 3(alt)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cstrong\u003eMiles Davis - trumpet \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\" title=\"vinyl featuring Miles Davis\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Miles Davis]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cstrong\u003eBenny Green : trombone \/ Budd Johnson : tenor saxophone \/ Tony Scott : clarinet \/ Jimmy Jones : piano \/ Mundell Lowe : electric guitar \/ Jr. Billy “Pickels” Taylor : bass \/ J C Heard : drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded 30\u003csup\u003eth\u003c\/sup\u003e December 1952 : It’s All In The Mind\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cstrong\u003eP.Cincillo, Red Solomon, J. Milazzo, Jimmy Maxwell : trumpets\/ Will Bradley, Al G., Jack Sattersfield : trombone\/ Jim Abto, Russ Bazer, Harold Feldman, Bernie Kaufman, Bill Vercazi : saxophones\/ Lou Stein : piano\/ Art Ryerson : guitar\/ Frank Carroll : bass\/ Terry Snyder : drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded 19\u003csup\u003eth\u003c\/sup\u003e September 1951 : Pinky – unknown personnel\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded 5th January 1952 : “Spring Will Be A Little Late This Year” and “Ooh, What ‘Cha Doin’ To Me” - unknown personnel\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, Gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003eRemastered by Ray Staff\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1955\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in Oct 2006\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. East of the Sun\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. Nice Work If You Can Get It\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. Pinky\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. The Nearness of You\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e5. Come Rain or Come Shine\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e6. Mean To Me\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. It Might As Well Be Spring\u003cbr\u003e2\u003c\/span\u003e\u003cspan\u003e. Can't Get Out of This Mood\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Spring Will Be a Little Late This Year\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Ooh, What-cha Doin' To Me\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. Goodnight My Love\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e6. Ain't Misbehavin'\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. It's All In the Mind\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. The Nearness of You (alternate take)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Ain't Misbehavin (alternate take)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Goodnight My Love (alternate take)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. Can't Get Out of This Mood (alternate take)\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. It Might As Well Be Spring (alternate take)\u003cbr data-mce-fragment=\"1\"\u003e2. Mean To Me (alternate take)\u003cbr data-mce-fragment=\"1\"\u003e3. Come Rain or Come Shine (alternate take)\u003cbr data-mce-fragment=\"1\"\u003e4. East of the Sun (alternate take)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« Even though Sarah Vaughan recorded for Columbia between 1949 and 1952, only two LPs were culled from the many tracks she produced during this period: the guitar-bass-vocal-only After Hours, and Sarah Vaughan in Hi-Fi, a more jazz-oriented collection featuring a young Miles Davis and tenor player Budd Johnson, among others. These are among Vaughan's finest recordings, and the stellar accompaniment is reminiscent of the Teddy Wilson's small groups backing Billie Holiday on her Columbia recordings of the '30s. Here the still youthful Vaughan applies her technical mastery to jazz classics like \"East of the Sun,\" \"Come Rain or Come Shine,\" and \"The Nearness of You,\" complete with startlingly elastic phrasing and sheer loveliness of voice. » AllMusic Review by Rovi Staff\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 4.86 \/ 5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40711164919959,"sku":"CL745","price":52.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/sarah-vaughan-sarah-vaughan-in-hi-fi-2lp-mono-audiosoundmusic-1.jpg?v=1719852078"},{"product_id":"louis-armstrong-his-all-stars-louis-armstrong-plays-w-c-handy","title":"Louis Armstrong \u0026 His All Stars - Louis Armstrong Plays W. C. Handy (2LP, Mono)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLouis Armstrong: trumpet, vocal \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca title=\"vinyl featuring Louis Armstrong\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/louis-armstrong\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Louis Armstrong]\u003c\/a\u003e\u003c\/span\u003e\u003cbr\u003eTrummy Young: trombone\u003cbr\u003eBarney Bigard: clarinet\u003cbr\u003eBilly Kyle: piano\u003cbr\u003eArvell Shaw: bass\u003cbr\u003eBarrett Deems: drums\u003cbr\u003eVelma Middleton: vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e\u003cspan lang=\"EN-US\"\u003eRecorded \u003c\/span\u003e\u003c\/span\u003e on 12, \u003cspan data-mce-fragment=\"1\"\u003e13, 14\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e July 1954 \u0026amp; \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e 19\u003c\/span\u003e\u003csup data-mce-fragment=\"1\"\u003eth\u003c\/sup\u003e\u003cspan data-mce-fragment=\"1\"\u003e October 1956 \u003c\/span\u003eby \u003cspan data-mce-fragment=\"1\"\u003eMason Coppinger\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003e\u003cspan\u003eProduced by \u003c\/span\u003e\u003c\/span\u003eGeorge Avakian\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv class=\"product-details-module product-details__general-info\"\u003e\n\u003cdiv class=\"product-details-module__content\"\u003e\n\u003cdiv id=\"productDescription\" class=\"product-details__product-description\"\u003e\n\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1954\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2006\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. 1. St Louis Blues\u003cbr data-mce-fragment=\"1\"\u003e2. Yellow Dog Blues\u003cbr data-mce-fragment=\"1\"\u003e3. Loveless Love\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. Aunt Hagar's Blues\u003cbr data-mce-fragment=\"1\"\u003e2. Long Gone (From Bowling Green)\u003cbr data-mce-fragment=\"1\"\u003e3. Memphis Blues\u003cbr data-mce-fragment=\"1\"\u003e4. Beale Street Blues\u003cbr data-mce-fragment=\"1\"\u003e5. Ole Miss Blues\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. Chantez Les Bas (Sing 'Em Low)\u003cbr data-mce-fragment=\"1\"\u003e2. Hesitating Blues\u003cbr data-mce-fragment=\"1\"\u003e3. Atlanta Blues (Make Me One Pallet On Your Floor)\u003cbr data-mce-fragment=\"1\"\u003e4. George Avakian’s Interview With W.C. Handy\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. Loveless Love (rehearsal sequence)\u003cbr data-mce-fragment=\"1\"\u003e2. Hesitating Blues (rehearsal sequence)\u003cbr data-mce-fragment=\"1\"\u003e3. Alligator Story\u003cbr data-mce-fragment=\"1\"\u003e4. Long Gone (From Bowling Green) (rehearsal sequence)\u003c\/span\u003e\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« This recording was not only Louis Armstrong's finest record of the 1950s but one of the truly classic jazz sets. Armstrong and his All-Stars (trombonist Trummy Young, clarinetist Barney Bigard, pianist Billy Kyle, bassist Arvell Shaw, drummer Barrett Deems, and singer Velma Middleton) were clearly inspired by the fresh repertoire, 11 songs written by W.C. Handy. Their nearly nine-minute version of \"St. Louis Blues\" -- with witty vocals, roaring Young trombone, and a couple of long majestic trumpet solos -- is arguably the greatest version of the oft-recorded song. Other highlights include \"Loveless Love,\" \"Beale Street Blues,\" and a romping version of \"Ole Miss Blues.\" Essential music for all serious jazz collections. [Some reissues also include rehearsal versions of three songs, Louis Armstrong telling a joke, and a brief George Avakian interview with W.C. Handy.“ AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4.88 \/ 5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40711434403991,"sku":"PPAN CL591","price":52.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/louis-armstrong-and-his-all-stars-louis-armstrong-plays-w-c-handy-2lp-mono-audiosoundmusic-1.png?v=1719852094"},{"product_id":"rosemary-clooney-duke-ellington-blue-rose","title":"Rosemary Clooney \u0026 Duke Ellington - Blue Rose (Mono)","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eVocals : Rosemary Clooney\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano : Duke Ellington \u003ca title=\"Vinyl featuring Duke Ellington\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/duke-ellington\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/duke-ellington\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Duke Ellington]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpets : Willie Cook, Ray Nance, Clark Terry, and Cat Anderson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrombones : Gordon Jackson, Britt Woodman, and John Sanders\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReeds : Johnny Hodges, Russell Procope, Harry Carney, Jimmy Hamilton, and Paul Gonsalves\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums : Sam Woodyard\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass : Jimmy Woode\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArrangements : Duke Ellington and Billy Strayhorn.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e\u003cspan lang=\"EN-US\"\u003eRecorded \u003c\/span\u003e\u003c\/span\u003e in New York : \u003cspan data-mce-fragment=\"1\"\u003eDuke Ellington's band recorded the orchestral parts on January 23 and 27, 1956, while Rosemary Clooney's vocals were recorded February 8 and 11, 1956.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003e\u003cspan\u003eRemastered by \u003cb data-mce-fragment=\"1\"\u003eRay Staff\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv class=\"product-details-module product-details__general-info\"\u003e\n\u003cdiv class=\"product-details-module__content\"\u003e\n\u003cdiv id=\"productDescription\" class=\"product-details__product-description\" itemprop=\"description\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1956\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Hey Baby\u003cbr\u003e2. Sophisticated Lady\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e4. Me And You\/ Passion Flower\u003cbr\u003e5. I Let A Song Go Out Of My Heart\u003cbr\u003e6. It Don’t Mean A Thing (If It Ain’t got That Swing)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. Grievin’\u003cbr\u003e2. Blue Rose\u003cbr\u003e3. I’m Checkin’ Out—Goombye\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. I Got It Bad\/ Mood Indigo\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e \u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e:\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« Rosemary Clooney may have seemed to be a surprising choice to be featured with Duke Ellington \u0026amp; His Orchestra, but this collaboration is extremely successful in spite of the fact that Clooney was unable to join the band in the studio due to complications of a very difficult pregnancy. The solution was for the band to record the music (after Billy Strayhorn made the first of several trips to Los Angeles to consult with her). The results are stunning and not in the least bit canned, due to the professionalism of all parties involved and a stellar engineering of the separately recorded tracks. Clooney swings throughout \"Me and You\" and \"It Don't Mean a Thing\" without excess, her wordless vocal on \"Blue Rose,\" and a captivating \"Mood Indigo\" are among the many highlights. The sound on this Legacy series reissue is greatly improved over the earlier Mobile Fidelity CD, plus there are two tracks added, the obscure but appealing \"If You Were in My Place (What Would You Do?)\" and \"Just a-Sittin' and a-Rockin',\" that were only issued as a single and omitted from the original release. It's a pity that the collaboration of Rosemary Clooney and Duke Ellington was only a one-shot deal, as she easily ranks as one of the greatest vocalists to appear on record with the maestro. » AllMusic Review by Ken Dryden\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5 , Discogs : 4.09 \/ 5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40711558529175,"sku":"CL 872","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/rosemary-clooney-and-duke-ellington-blue-rose-mono-audiosoundmusic-1.jpg?v=1719852093"},{"product_id":"duke-ellingtons-the-spacemen-the-cosmic-scene","title":"Duke Ellington's The Spacemen - The Cosmic Scene (Mono)","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDuke Ellington, piano \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/duke-ellington\" title=\"Vinyl featuring Duke Ellington\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/duke-ellington\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Duke Ellington]\u003c\/span\u003e\u003c\/a\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eClark Terry, trumpet, flugelhorn\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eSam Woodyard, drums\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eJimmy Wood, bass\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eJimmy Hamilton, clarinet\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003ePaul Gonsalves, tenor saxophone\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eBritt Woodman, trombone\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eJohn Sanders, trombone\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eQuentin Jackson, trombone\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN\"\u003e\u003cstrong\u003e\u003cspan\u003eRecorded at\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eColumbia 30th Street Studio, \u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan lang=\"EN\"\u003eNew York\u003c\/span\u003e\u003cspan lang=\"EN\"\u003e on April 2 \u0026amp; 3, 1958\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003e\u003cspan\u003eRemastered by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv class=\"product-details-module product-details__general-info\"\u003e\n\u003cdiv class=\"product-details-module__content\"\u003e\n\u003cdiv class=\"product-details__product-description\" id=\"productDescription\" itemprop=\"description\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1958\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. Avalon\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Body And Soul\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Bass-ment\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Early Autumn\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. Jones\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. Perdido\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. St. Louis Blues\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Spacemen\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Midnight Sun\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. Take The \"A\" Train\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e \u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e:\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« Still riding the success of his triumphant concert at the 1956 Newport Jazz Festival, Duke Ellington in 1958 decided to reduce his touring orchestra to a nonet dubbed \"the Spacemen\" in 1958, and recorded this lone project with them for the Columbia label. Perhaps inspired by the first orbiting satellites, Ellington is not taking cues from George Russell or Sun Ra, whose extraterrestrial inspirations led them down even more progressive paths. This large ensemble is playing mostly standards, but the arrangements and solos carve an integrated yet elasticized concept that allows for a more expanded role for the ensemble's trombonists Quentin \"Butter\" Jackson, John Sanders, and Britt Woodman, and select soloists. One in the solo spotlight is Clark Terry on flugelhorn exclusively, putting his fabled trumpet aside. The classic material presented includes clarinetist Jimmy Hamilton's features \"Avalon\" and \"Early Autumn,\" the slinky stripper pole blues version of \"St. Louis Blues\" with Ellington's piano taking the lead, and two versions of \"Body \u0026amp; Soul,\" with tenor saxophonist Paul Gonsalves completely extrapolating and re-harmonizing the main take, while faithfully playing the original melody on the alternate selection. There's a modified \"Perdido,\" an animated and perky \"Midnight Sun\" that deviates from any other slow and lugubrious version of the ballad, and two attempts of \"Jones\" -- the first a real good swinger, the second with a more unified horn chart accented by a New Orleans shuffle provided by drummer Sam Woodyard. There are two originals; the blues bass of Jimmy Woode and the 'bones with plentiful piano from Duke infusing \"Bass-Ment,\" and one of the more delightful of all of Ellington's book, the poppin' and boppin' \"Spacemen,\" a bright happy horn chart led by Terry that is one of the more distinctive Ellington numbers of this time period. » AllMusic Review by Michael G. Nastos\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003eRatings :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.23 \/ 5 , Discogs : 4.38 \/ 5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40711660372119,"sku":"PPAN CL1198","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/duke-ellington-s-the-spacemen-the-cosmic-scene-mono-audiosoundmusic-1.jpg?v=1719852106"},{"product_id":"smiley-lewis-i-hear-you-knocking","title":"Smiley Lewis - I Hear You Knocking (Mono)","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eSmiley Lewis: vocal, guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDave Bartholemew: trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLee Allen, Herb Hardesty, Alvin “Red” Tyler: tenor saxophones\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eClarence Ford: baritone saxophone \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSalvador Doucette, Edward Frank, Joe Robichaux, Huey Smith: piano \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJustin Adams, Edgar Blanchard, Ernest McLean: guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrank Fields: bass \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGeorge French: bass guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRobert French, Earl Palmer, Charles “Hungry” Williams: drums.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Imperial\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRecorded at\u003c\/strong\u003e \u003cstrong\u003eJ\u0026amp;M Studios, North Ramprt Street and Cosimo’s Studios, 523\/5 Gov. Nicholls Street, New Orleans, Louisiana\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eProduced by \u003c\/strong\u003e\u003cstrong\u003eDave Bartholomew\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRe-mastering by Sean Magee at Abbey Road Studios\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv class=\"product-details-module product-details__general-info\"\u003e\n\u003cdiv class=\"product-details-module__content\"\u003e\n\u003cdiv class=\"product-details__product-description\" id=\"productDescription\" itemprop=\"description\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1961\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in \u003cspan\u003eNovember 2008\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1.The Bells Are Ringing \u003cbr\u003e2. Standing On The Corner \u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e3. Blue Monday \u003cbr\u003e4. Down The Road\u003cbr\u003e5. Lost Weekend 6. Real Gone Lover\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSide B :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. Bumpity Bump \u003cbr\u003e2. I Hear You Knocking \u003cbr\u003e3. I Can't Believe It \u003cbr\u003e4.Hey Girl \u003cbr\u003e5.One Night \u003cbr\u003e6.Nothing But The Blues\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e« Smiley Lewis made several fabulous singles, had a booming, terrific voice, and received the same great backing and support that defined the city's R\u0026amp;B sound. But Lewis' records seldom made it outside New Orleans, even though they were frequently brilliant. This great 24-track anthology contains the four that did make it to the charts, among them the signature song \"I Hear You Knocking.\" It shows Lewis doing first-rate novelty tracks, ballads, weepers, up-tempo wailers, and blues, and making wonderful recordings. The set also includes a thorough discography and good notes, and is superbly mastered. It's magnificent, exuberant R\u0026amp;B, and deserved a much better national fate than it enjoyed. » AllMusic Review by Ron Wynn\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40720259121303,"sku":"PPAN LP9141","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/smiley-lewis-i-hear-you-knocking-mono-audiosoundmusic-1.jpg?v=1719852159"},{"product_id":"the-crickets-buddy-holly-the-chirping-crickets-mono","title":"The Crickets \u0026 Buddy Holly - The Chirping Crickets (Mono, 200g)","description":"\u003cp\u003e\u003cstrong\u003eBuddy Holly – lead vocals, lead guitar, acoustic guitar on A5, backing vocals on A2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJerry Allison – drums, card-box percussion and backing vocals on A2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe B. Mauldin – contrabass, except on B1 and B2, backing vocals on A2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNiki Sullivan – rhythm guitar, except on A1, A2, A5, B1, B2 and B5, backing vocals on A2, B1 and B2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLarry Welborn – contrabass on B1 and B2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Picks (Bill Pickering, John Pickering and Bob Lapham) - backing vocals, except on A2, B1 and B2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRamona and Gary Tollett – backing vocals on B1 and B2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP,  Gatefold, tip-on jackets from Stoughton Printing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Brunswick\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded February 25 – September 28, 1957\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Norman Petty\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1957\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2017\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Oh, Boy!\u003cbr\u003e2. Not Fade Away\u003cbr\u003e3. You've Got Love\u003cbr\u003e4. Maybe Baby\u003cbr\u003e5. It's Too Late\u003cbr\u003e6. Tell Me How\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. That'll Be the Day\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. I'm Lookin' For Someone To Love\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. An Empty Cup (And A Broken Date)\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. Send Me Some Lovin'\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e5. Last Night\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e6. Rock Me My Baby\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cem\u003eRolling Stone\u003c\/em\u003e's 500 Greatest Albums of All time — No. 420\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\"...even if you've previously heard these tracks, you've not before heard them with the clarity, transparency and punch that you'll hear on this remarkable reissue...\" — Music = 10\/11; Sound = 8\/11 - Michael Fremer, AnalogPlanet.com\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« The debut album by the Crickets and the only one featuring Buddy Holly released during his lifetime, The \"Chirping\" Crickets contains the group's number one single \"That'll Be the Day\" and its Top Ten hit \"Oh, Boy!.\" Other Crickets classics include \"Not Fade Away,\" \"Maybe Baby,\" and \"I'm Looking for Someone to Love.\" The rest of the 12 tracks are not up to the standard set by those five, but those five are among the best rock \u0026amp; roll songs of the 1950s or ever, making this one of the most significant album debuts in rock \u0026amp; roll history, ranking with Elvis Presley and Meet the Beatles. » AllMusic Review by William Ruhlmann\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\"An equally impressive, classics-laden album to pair with Buddy Holly's eponymous LP, this included 'Oh Boy!,' 'Not Fade Away,' 'That'll Be The Day,' and nine others which inspired The Beatles, The Hollies, The Rolling Stones, The Searchers and every other British Invasion band. Sixty years after it appeared, this still sounds fresh and innovative, while Analogue Productions' superlative transfer is one of the best sounding I've heard yet - and I have been collecting Holly LPs for 52 years. Apparently this and its sibling will be issued as 45 RPM doubles — how can they possibly sound even better? This ranks as one of the greatest debut LPs ever.\"  Ken Kessler,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHi Fi New\u003c\/em\u003es, February 2018.\u003c\/p\u003e\n\u003cp\u003e\"...the choice to purchase these Analogue Productions reissues boils down two considerations: whether you want the music configured as it was first released and whether these LPs sufficiently improve on the sound of earlier releases. ... Analogue Productions presents the original running order and artwork, and the covers, from Stoughton Printing, are first-rate. If all of that doesn't have you reaching for your wallet, then the improvement in sound should. Kevin Gray's remastering breathes new life into the music, enhancing tonality, dynamics and retrieval of inner detail. The sound of these reissues easily outstrips that of any prior releases.\" Dennis Davis,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Audio Beat\u003c\/em\u003e, April 28, 2017\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 5 \/ 5 , Discogs : 4.5 \/ 5 , \u003cem data-mce-fragment=\"1\"\u003eHi Fi New\u003c\/em\u003es : Sound Quality: 90% , \u003cem data-mce-fragment=\"1\"\u003eThe Audio Beat : \u003c\/em\u003eSound = 4\/5; Music = 5\/5\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003cbr\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40729937870999,"sku":"AAPP 109","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-crickets-and-buddy-holly-the-chirping-crickets-mono-200g-audiosoundmusic-1.jpg?v=1719852203"},{"product_id":"the-beach-boys-all-summer-long","title":"The Beach Boys - All Summer Long (Mono, 200g)","description":"\u003cp\u003e\u003cstrong\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\" title=\"vinyl featuring The Beach Boys\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring the Beach Boys]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAl Jardine – harmony and backing vocals; bass guitar; electric rhythm guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMike Love – lead and bass vocal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBrian Wilson – lead, harmony and backing vocals; piano; electric piano, harpsichord; Hammond B3 organ; xylophones or marimba\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCarl Wilson – harmony and backing vocals, lead and rhythm guitars\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDennis Wilson – lead, harmony and backing vocals; drums; brushed drums; percussion; opening voice on \"Little Honda\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHal Blaine – timbales with brush, rim with thin stick, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlen Campbell – 6-string electric bass guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSteve Douglas – tenor saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJay Migliori – baritone saxophone; piccolo or fife\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRay Pohlman – 6-string electric bass guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP,  \u003cspan data-mce-fragment=\"1\"\u003eStoughton tip-on jackets\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded on October 10, 1963, February 4 – May 19, 1964 at Western, Hollywood\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduced by Brian Wilson\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1964\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2015\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. I Get Around\u003cbr data-mce-fragment=\"1\"\u003e2. All Summer Long\u003cbr data-mce-fragment=\"1\"\u003e3. Hushabye\u003cbr data-mce-fragment=\"1\"\u003e4. Little Honda\u003cbr data-mce-fragment=\"1\"\u003e5. We'll Run Away\u003cbr data-mce-fragment=\"1\"\u003e6. Carl's Big Chance\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Wendy\u003cbr\u003e2. Do You Remember?\u003cbr\u003e3. Girls On The Beach\u003cbr\u003e4. Drive-In\u003cbr\u003e5. Our Favorite Recording Sessions\u003cbr\u003e6. Don't Back Down\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cbr\u003eReviews :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« The best pre-1965 Beach Boys album featured their brilliant number one single \"I Get Around,\" as well as other standout cuts in the beautifully sad \"Wendy,\" \"Little Honda\" (one of their best hot rod tunes, covered by the Hondells for a hit), and their remake of the late-'50s doo wop classic \"Hushabye.\" The nostalgic \"All Summer Long,\" another great production, seemed (whether intentionally or not) like a sort of farewell to the frivolous California beach culture that had supplied the lyrical grist for most of their music up to this point, with a longing, regretful chorus that was totally at odds with the bouncy arrangement. Other relatively little-known treasures are the sumptuous ballad \"Girls on the Beach,\" with some of their best early harmonizing, and \"Don't Back Down,\" with uncommonly anxious lyrics. You can't give an unqualified high rating, however, to an album that also contained such disposable filler as the \"Our Favorite Recording Sessions\" comedy bit and \"Do You Remember?,\" a \"let's-pay-tribute-to-rock's-early-days\" number with a sh*t-eating grin wide enough to qualify as an oldies radio ID jingle. [Little Deuce Coupe\/All Summer Long, a Capitol two-fer CD, combines this and Little Deuce Coupe onto one disc, adding the 45 version of \"Be True to Your School,\" alternate takes of \"Little Honda\" and \"Don't Back Down,\" and the previously unreleased \"All Dressed Up for School.\" » AllMusic Review by Richie Unterberger\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003eRatings : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 4 \/ 5 , Discogs : 3.99 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40733960405143,"sku":"AAPP 063M","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-beach-boys-all-summer-long-mono-200g-audiosoundmusic-1.jpg?v=1719852214"},{"product_id":"the-beach-boys-surfer-girl","title":"The Beach Boys - Surfer Girl (Mono, 200g)","description":"\u003cp\u003e\u003cstrong\u003e\u003ca title=\"vinyl featuring The Beach Boys\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring the Beach Boys]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePerformed by The Beach Boys : Brian Wilson (vocals, bass guitar, keyboards), Mike Love (vocals, percussion, saxophone, Electro-Theremin), Al Jardine (vocals, rhythm guitar, bass guitar), Bruce Johnston (vocals, keyboards, bass guitar), Dennis Wilson (vocals, drums, keyboards).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP,  \u003cspan data-mce-fragment=\"1\"\u003eStoughton tip-on jackets\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded May–July 1963 at United Western Recorders, Hollywood\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1963\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2014\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Surfer Girl\u003cbr data-mce-fragment=\"1\"\u003e2. Catch A Wave\u003cbr data-mce-fragment=\"1\"\u003e3. The Surfer Moon\u003cbr data-mce-fragment=\"1\"\u003e4. South Bay Surfer\u003cbr data-mce-fragment=\"1\"\u003e5. The Rocking Surfer\u003cbr data-mce-fragment=\"1\"\u003e6. Little Deuce Coupe\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. In My Room\u003cbr data-mce-fragment=\"1\"\u003e2. Hawaii\u003cbr data-mce-fragment=\"1\"\u003e3. Surfer's Rule\u003cbr data-mce-fragment=\"1\"\u003e4. Our Car Club\u003cbr data-mce-fragment=\"1\"\u003e5. Your Summer Dream\u003cbr data-mce-fragment=\"1\"\u003e6. Boogie Woogie\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eAwards\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 56\/100!\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\" color=\"#B12704\"\u003e\u003cb\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan style=\"color: #ff2a00;\" color=\"#B12704\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eIn 2017, Surfer Girl was ranked the 193rd greatest album of the 1960s by Pitchfork.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003e\"Another step forward in terms of both overall sound and production finesse, with drums well-focused center stage and solid, three-dimensional vocals effectively spread across the soundstage and hovering transparently on cushions of air, makes a strong case for supremacy of the stereo mix. I've digitized at 96\/24 \"In My Room\" from a stereo test pressing Analogue Productions sent me late last year and when I play it for people at store events and at shows, it never fails to leave people almost paralyzed with pleasure-particularly among those for whom the A.M. radio is their only reference.\" \u003c\/span\u003e\u003cspan class=\"blurb\"\u003eMichael Fremer,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAnalogPlanet.com\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« Capitol pushed the Beach Boys for too much material in too short a time for the group to maintain as much quality control as would have been desirable. Consequently, most of their pre-1965 albums contain a high degree of filler, and thus stack up poorly next to those of such contemporaries as the Beatles, who were able to maintain high standards on almost all of their tracks. Surfer Girl does have some great tunes, including the title song, the hot rod ditty \"Little Deuce Coupe,\" and \"Catch a Wave\" (which could have been a substantial hit single on its own merits). Most significant of all is the gorgeous ballad \"In My Room,\" which anticipated future Beach Boys releases both in its sophisticated production (strings, organ, dense harmonies) and its personal, solipsistic lyrics. The rest is surprisingly mediocre filler, especially as at this point they were restricting their lyrical themes to beach culture almost exclusively; \"Your Summer Dream,\" with its unusual harmonies, is about the most interesting of the obscure tracks. If you're not a dedicated Beach Boys fan, though, you should pass, as you can find the first-rate tracks on best-of anthologies. » AllMusic Review by Richie Unterberger\u003c\/p\u003e\n\u003cp\u003e\"The sound is rich in detail, yet one of its key strengths is how \"mellow and romantic\" it sounds. While listening to these records, I was never fatigued. ... the AP Beach Boys significantly betters the original U.S. Capitol pressings that I've heard, with considerably more separation, detail, fullness and presence.\" — Jeff Wilson,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Absolute Sound\u003c\/em\u003e, October 2015\u003c\/p\u003e\n\u003cp\u003e\"What I can say is that Kevin Gray has been able to extract every last bit of information from whatever tape is in the box, and present it in a way that is pleasing and natural to the ear. ... in my opinion, the Analogue Productions pressings are now THE definitive issue of each Beach Boys album, and will be my reference copies until if and when something better comes along — which may be never.\" — Lee Dempsey,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eEndless Summer Quarterly\u003c\/em\u003e, Summer 2015 Edition\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 3 \/ 5 , Discogs : 4.09 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40735584878743,"sku":"AAPP 060M","price":99.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-beach-boys-surfer-girl-mono-200g-audiosoundmusic-1.jpg?v=1719852223"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/collections\/mono-vinyl-audiosoundmusic.jpg?v=1719851060","url":"https:\/\/www.audiosoundmusic.com\/collections\/mono.oembed?page=9","provider":"AudioSoundMusic","version":"1.0","type":"link"}