{"title":"Tous les vinyles audiophiles par genre","description":"","products":[{"product_id":"nina-simone-sings-the-blues","title":"\u003ctranscy\u003eNina Simone - Nina Simone sings the Blues\u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNina Simone - piano, vocals \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"Vinyl featuring Nina Simone\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/nina-simone\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\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\u003eRudy Stevenson, Eric Gale (g); Ernest Hayes (org); Bob Bushnell (b); Bernard Purdie (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eNina Simone (A1, A4, A6, B1, B5), Rudy Stevenson (A2), Lil Green (A3), DuBose Heyward (A5), George Gershwin (A5), Langston Hughes (A6), Andy Stroud (B2), Buddy Johnson (B3), Alan Price (B4), Abbey Lincoln (B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e1LP, standard sleeve\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal  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\u003eStereo\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\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLabel: Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal label: RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecording: \u003cspan data-mce-fragment=\"1\"\u003eDecember 19, 1966\u003c\/span\u003e by Ray Hall and Mickey Crofford at RCA Victor’s Studio, New York\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eProduction: Danny Davis\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released March 20th 1967\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in May 2003\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\u003col\u003e\n\u003cli\u003eDo I Move You?\u003c\/li\u003e\n\u003cli\u003eDay And Night\u003c\/li\u003e\n\u003cli\u003eIn The Dark\u003c\/li\u003e\n\u003cli\u003eReal Real\u003c\/li\u003e\n\u003cli\u003eMy Man's Gone Now\u003c\/li\u003e\n\u003cli\u003eBacklash Blues\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Want A Little Sugar In My Bowl\u003c\/li\u003e\n\u003cli\u003eBuck\u003c\/li\u003e\n\u003cli\u003eSince I Fell For You\u003c\/li\u003e\n\u003cli\u003eThe House Of The Rising Sun\u003c\/li\u003e\n\u003cli\u003e11. Blues For Mama\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« Nina Simone Sings the Blues, issued in 1967, was her RCA label debut, and was a brave departure from the material she had been recording for Phillips. Indeed, her final album for that label, High Priestess of Soul, featured the singer, pianist, and songwriter fronting a virtual orchestra. Here, Simone is backed by a pair of guitarists (Eric Gale and Rudy Stevenson), bassist (Bob Bushnell), drummer (Bernard \"Pretty\" Purdie), organist (Ernie Hayes), and harmonica player who doubled on saxophone (Buddy Lucas). Simone handled the piano chores. The song selection is key here. Because for all intents and purposes this is perhaps the rawest record Simone ever cut. It opens with the sultry, nocturnal, slow-burning original \"Do I Move You,\" which doesn't beg the question but demands an answer: \"Do I move you?\/Are you willin'?\/Do I groove you?\/Is it thrillin'?\/Do I soothe you?\/Tell the truth now?\/Do I move you?\/Are you loose now?\/The answer better be yeah...It pleases me....\" As the guitarists slip and slide around her husky vocal, a harmonica wails in the space between, and Simone's piano is the authority, hard and purposely slow. The other tune in that vein, \"In the Dark,\" is equally tense and unnerving; the band sounds as if it's literally sitting around as she plays and sings. There are a number of Simone signature tunes on this set, including \"I Want a Little Sugar in My Bowl,\" \"Backlash Blues,\" and her singular, hallmark, definitive reading of \"My Man's Gone Now\" from Porgy and Bess. Other notable tracks are the raucous, sexual roadhouse blues of \"Buck,\" written by Simone's then husband Andy Stroud, and the woolly gospel blues of \"Real Real,\" with the Hammond B-3 soaring around her vocal. The cover of Buddy Johnson's \"Since I Fell for You\" literally drips with ache and want. Simone also reprised her earlier performance of \"House of the Rising Sun\" (released on a 1962 Colpix live platter called At the Village Gate). It has more authority in this setting as a barrelhouse blues; it's fast, loud, proud, and wailing with harmonica and B-3 leading the charge. The original set closes with the slow yet sassy \"Blues for Mama,\" ending with the same sexy strut the album began with, giving it the feel of a Möbius strip. Nina Simone Sings the Blues is a hallmark recording that endures; it deserves to be called a classic. » AllMusic Review by Thom Jurek\u003c\/p\u003e\n\u003cp\u003eIn both her public and private life, Nina Simone was adamant about one thing, namely, what she simply would not tolerate. She sometimes complained about the miserable erotic prowess of her lovers, while at other times her audience were a target for her tongue. Sometimes she cancelled her performances at short notice and held a tirade against show business as such. In her music, rooted in gospel, she sought a path which took her down a middle course between jazz and pop, thus earning her the title of High Priestess Of Soul (as in the LP title) with her rock fans in the Sixties..\u003c\/p\u003e\n\u003cp\u003eThe present blues album was recorded during what was undisputedly her most productive phase. It is a recording which does not swim with the tide of the times in that it does not employ massive forces or seek the twang of electrification. Instead Nina Simone’s wonderfully sleek contralto voice bathes in the gentle timbre of an organ and a pithy, pulsating – but by no means stomping – rhythm. The cool, unemotional number “Sings The Blues“ guarantees riveting tension and the authenticity of the genre which is, of course, the be all and end all of music for every black artist. Surely no compilation, no matter how carefully conceived, could possibly mark the diva’s 70th birthday in February and sudden death in April 2003 better than this re-release.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRatings\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eAllmusic :   5 \/ 5               Discogs :  4.40 \/ 5        Rate your Music : 3.93 \/ 5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40347396702359,"sku":"LSP-3789","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/nina-simone-nina-simone-sings-the-blues-audiosoundmusic-1.png?v=1719851370"},{"product_id":"i-put-a-spell-on-you","title":"Nina Simone - I put a spell on you","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eNina Simone - vocals, piano \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\u003eRudy Stevenson (Guitar),\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by \u0026amp; Conductor : Hal Mooney (A1, A3-5, B1-2, B4), Horace Ott (A2, A6, B5-6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eWritten by Jalacy Hawkins (A1), Screamin' Jay Hawkins (A1), Charles Aznavour (A2, B5), Marcel Stellman (A2), Yves Stephane (A2), Jacques Brel (A3), Leon Carr (A4), Earl Shulman (A4), Irma Jurist (A5), Eve Merriam (A5), Andy Stroud (A6, B6), Leslie Bricusse (B1), Anthony Newley (B1), Rudy Stevenson (B2), udy Stevenson (B3), Leslie Bricusse (B4), Anthony Newley (B4), Marcel Stellman (B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cbr\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, Stoughton Printing gatefold old-style tip-on jackets\u003c\/strong\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 data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\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\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRecord Press : Quality \u003cspan data-mce-fragment=\"1\"\u003eRecord Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLabel : Acoustic Sounds Series\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label : Philips\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRecorded January 1965\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMastered by Ryan K. Smith at Sterling Sound, Nashville\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\u003cstrong\u003eProduced by Hal Mooney (Reissue Supervision, Chad Kassem)\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\u003cstrong\u003eOriginally issued in March 1965\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\u003cstrong\u003e\u003cbr\u003eReissued in Nov 2020\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eTracks\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Put A Spell On You\u003c\/li\u003e\n\u003cli\u003eTomorrow Is My Turn\u003c\/li\u003e\n\u003cli\u003eNe Me Quitte Pas\u003c\/li\u003e\n\u003cli\u003eMarriage Is For Old Folks\u003c\/li\u003e\n\u003cli\u003eJuly Tree\u003c\/li\u003e\n\u003cli\u003eGimme Some\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFeeling Good\u003c\/li\u003e\n\u003cli\u003eOne September Day\u003c\/li\u003e\n\u003cli\u003eBlues On Purpose\u003c\/li\u003e\n\u003cli\u003eBeautiful Land\u003c\/li\u003e\n\u003cli\u003eYou've Got To Learn\u003c\/li\u003e\n\u003cli\u003eTake Care Of Business\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ci\u003e\"I Put a Spell On You\u003c\/i\u003e\u003cspan\u003e is a thoughtful, often joyful sophisticated set of well-chosen, popular songs (pop of that era is unlike today’s pop) that Nina Simone delivers with unerring charm and warmth. It’s her most consistently excellent Philips era album and it and \u003c\/span\u003e\u003ci\u003ePastel Blues\u003c\/i\u003e\u003cspan\u003e, both released in 1965, are ideal showcases for both Simone’s enduring artistry and for what made her Philips era records special. The sound of both of these records is the best that’s been produced from these tapes and both records are well worth owning.\" Michael Fremer, \u003cem data-mce-fragment=\"1\"\u003eAnalogPlanet.com\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« One of her most pop-oriented albums, but also one of her best and most consistent. Most of the songs feature dramatic, swinging large-band orchestration, with the accent on the brass and strings. Simone didn't write any of the material, turning to popular European songsmiths Charles Aznavour, Jacques Brel, and Anthony Newley, as well as her husband, Andy Stroud, and her guitarist, Rudy Stevenson, for bluesier fare. There are really fine tunes and interpretations, on which Simone gives an edge to the potentially fey pop songs, taking a sudden (but not uncharacteristic) break for a straight jazz instrumental with \"Blues on Purpose.\" The title track, a jazzy string ballad version of the Screamin' Jay Hawkins classic, gave the Beatles the inspiration for the phrasing on the bridge of \"Michelle.\" » AllMusic Review by Richie Unterberger\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eI Put a Spell on You\u003c\/em\u003e is the 1965 album by Nina Simone, and features some of her best known songs. \"I Put a Spell on You\" is a song originally by Screamin' Jay Hawkins. The original version gave the song an ironic theme, but Simone transformed it into a thrilling love song, complete with horns and strings. It had become one of her most well-known songs. She used the title for her autobiography \u003cem\u003eI Put A Spell On\u003c\/em\u003e \u003cem data-mce-fragment=\"1\"\u003eYou\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e (1992).\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\"\u003e\u003cspan\u003eAllMusic : 3 \/ 5 , Discogs :  4.45 \/ 5 , Rate your Music : 3.8 \/ 5\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003eMichael Fremer : \u003c\/span\u003eMusic = 9\/11; Sound = 9\/11\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40347620835479,"sku":"APHI 33201","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/nina-simone-i-put-a-spell-on-you-audiosoundmusic-1.jpg?v=1719851369"},{"product_id":"time-out-the-dave-brubeck-quartet","title":"\u003ctranscy\u003eThe Dave Brubeck Quartet - Time Out (2LP, 45 tours)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eDave Brubeck - piano \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/dave-brubeck\" title=\"Vinyl featuring Dave Brubeck\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/dave-brubeck\"\u003e[click here to see more vinyl featuring Dave Brubeck]\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Desmond - alto saxophone \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Paul Desmond\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-desmond\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-desmond\"\u003e[click here to see more vinyl featuring Paul Desmond]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe Morell (drums), Gene Wright (bass)\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2LPs, 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\u003eStereo\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 : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded June 25, July 1, and August 18, 1959 in Columbia's 30th Street Studio in New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Teo Macero\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 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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\u003eBlue Rondo A La Turk\u003c\/li\u003e\n\u003cli\u003eStrange Meadow Lark\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTake Five\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThree To Get Ready\u003c\/li\u003e\n\u003cli\u003eKathy's Waltz\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEverybody's Jumpin'\u003c\/li\u003e\n\u003cli\u003ePick Up Sticks\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 style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 14\/100!\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\" color=\"#B12704\"\u003e\u003cb\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\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; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eThe album was inducted in the Grammy Hall of Fame in 2009\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 23\u003c\/strong\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; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003ci\u003eTime Out\u003c\/i\u003e was the first jazz album to sell more than a million copies.\u003c\/strong\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; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eThe album was certified platinum in 1997 and double platinum in 2011\u003c\/strong\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; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\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; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e« Dave Brubeck's defining masterpiece, Time Out is one of the most rhythmically innovative albums in jazz history, the first to consciously explore time signatures outside of the standard 4\/4 beat or 3\/4 waltz time. It was a risky move -- Brubeck's record company wasn't keen on releasing such an arty project, and many critics initially roasted him for tampering with jazz's rhythmic foundation. But for once, public taste was more advanced than that of the critics. Buoyed by a hit single in altoist Paul Desmond's ubiquitous \"Take Five,\" Time Out became an unexpectedly huge success, and still ranks as one of the most popular jazz albums ever. That's a testament to Brubeck and Desmond's abilities as composers, because Time Out is full of challenges both subtle and overt -- it's just that they're not jarring. Brubeck's classic \"Blue Rondo à la Turk\" blends jazz with classical form and Turkish folk rhythms, while \"Take Five,\" despite its overexposure, really is a masterpiece; listen to how well Desmond's solo phrasing fits the 5\/4 meter, and how much Joe Morello's drum solo bends time without getting lost. The other selections are richly melodic as well, and even when the meters are even, the group sets up shifting polyrhythmic counterpoints that nod to African and Eastern musics. Some have come to disdain Time Out as its become increasingly synonymous with upscale coffeehouse ambience, but as someone once said of Shakespeare, it's really very good in spite of the people who like it. It doesn't just sound sophisticated -- it really is sophisticated music, which lends itself to cerebral appreciation, yet never stops swinging. Countless other musicians built on its pioneering experiments, yet it's amazingly accessible for all its advanced thinking, a rare feat in any art form. This belongs in even the most rudimentary jazz collection. » AllMusic Review by Steve Huey\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"The results speak for themselves: the platters from QRP are in my experience the most consistently flat and quiet being pressed today ... at least for the foreseeable here and now, Analogue Productions' newly mastered 45 RPM (Brubeck) is the edition to own. You'll hear it right from the familiar piano intro to \"Blue Rondo a la Turk,\" where Brubeck's playing seems richer, more lyrical, more rhythmically alive. It seems to me that as our gear gets ever more quiet, these QRP LPs continue to wring more musical nuance from the finest recordings.\" Wayne Garcia, \u003c\/span\u003e\u003cem\u003eThe Absolute Sound\u003c\/em\u003e\u003cspan\u003e, January 2013.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“I've now heard a number of LPs from Quality Record Pressings (QRP), Chad Kassem's year-and-a-half-old record-pressing plant. Before \u003c\/span\u003e\u003cem\u003eTime Out\u003c\/em\u003e\u003cspan\u003e, I would have said that some positive trends were apparent from the earlier LPs I've heard. However, this current pressing is so much better than those that came before it, which were certainly very good, that it's obvious things have improved considerably over the past year. \u003c\/span\u003eIt's a positive sign when the noise floor is defined by the hiss of the master tape, not the quality of the pressing or vinyl, and that's the case here.\u003cspan\u003e Having heard many, many Pallas and RTI pressings, the main competition for QRP, I would say that \u003c\/span\u003eQRP pressings combine the strengths of both its competitors: the very low surface noise and bottom-of-the-groove quiet of Pallas LPs and the sharp delineation of musical detail of RTI.\" \u003cspan\u003eMarc Mickelson, \u003c\/span\u003e\u003cem\u003eThe Audio Beat\u003c\/em\u003e\u003cspan\u003e, August 2012\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\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; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Dave Brubeck Quartet’s “Take Five” is arguably the most familiar and beloved jazz composition of all time. Written primarily by alto saxophonist Paul Desmond and recorded by the “classic” Quartet lineup (Brubeck, Desmond, drummer Joe Morello, and bassist Eugene Wright), it was the first jazz single to sell over a million copies, and remains the most recognized track on their iconic “Time Out” LP, which reached Double Platinum status in 2011. During live performances, audience members would request it with mid-concert shouts, and halls would erupt with recognition as Joe and Dave would swing into the distinctive 5\/4 drum-and-piano intro.\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; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\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; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRatings :\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; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003eAllMusic : 5 \/5  ,  \u003cspan data-mce-fragment=\"1\"\u003eWayne Garcia : \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMusic = 5\/5; Sound = 5\/5 ,  \u003cem data-mce-fragment=\"1\"\u003eThe Audio Beat : \u003c\/em\u003eSound = 4.5\/5; Music = 5\/5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40374011560087,"sku":"AAPJ8192-45","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-dave-brubeck-quartet-time-out-2lp-45rpm-audiosoundmusic-1.jpg?v=1719851398"},{"product_id":"pet-sounds-the-beach-boys","title":"\u003ctranscy\u003eThe Beach Boys - Pet Sounds (1LP, Mono, 33 tours, 200g)\u003c\/transcy\u003e","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":"\u003ctranscy\u003eDuke Ellington - Masterpieces (2LP, 45 tours, Mono)\u003c\/transcy\u003e","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":"ella-and-louis-ella-fitzgerald-louis-armstrong","title":"\u003ctc\u003e\u003ctranscy\u003eElla Fitzgerald, Louis Armstrong - Ella and Louis (2LP, 45 tours)\u003c\/transcy\u003e\u003c\/tc\u003e","description":"\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLouis Armstrong - trumpet, vocals \u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/louis-armstrong\" title=\"vinyl featuring Louis Armstrong\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Louis Armstrong]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eElla Fitzgerald - vocals \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/ella-fitzgerald\" title=\"vinyl featuring Ella Fitzgerald\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Ella Fitzgerald]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOscar Peterson - piano \u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/oscar-peterson\" title=\"vinyl featuring Oscar Peterson\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Oscar Peterson]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLouie Bellson (drums), Ray Brown (bass), Barrett Deems (drums), Herb Ellis (guitar), Ed Hall (clarinet), Dale Jones (bass), Billy Kyle (piano), Buddy Rich (drums), Trummy Young (trombone)\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Paul James (A1), Kay Swift (A1), Irving Berlin (A2, C3), John Blackburn (A3), Karl Suessdorf (A3), George \u0026amp; Ira Gershwin (B1, C1), Jerry Livingston (B2), Al J. Neiburg (B2), Marty Symes (B2), Walter Gross (B3), Jack Lawrence (B3), Mitchell Parish (C2), Frank Perkins (C2), Hoagy Carmichael (D1), Ned Washington (D1), Vernon Duke (D2), E.Y. \"Yip\" Harburg (D2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, 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 : 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 : Verve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded August 16, 1956 in Capitol Studios, Hollywood, CA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by George Marino at Sterling Sound\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProducer : Norman Granz\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 2011\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\u003col\u003e\n\u003cli\u003eCan't We Be Friends\u003c\/li\u003e\n\u003cli\u003eIsn't This a Lovely Day\u003c\/li\u003e\n\u003cli\u003eMoonlight in Vermont\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThey can't take that away from Me\u003c\/li\u003e\n\u003cli\u003eUnder a Blanket of Blue\u003c\/li\u003e\n\u003cli\u003eTenderly\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eA Foggy Day\u003c\/li\u003e\n\u003cli\u003eStars Fell on Alabama\u003c\/li\u003e\n\u003cli\u003eCheek to Cheek\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Nearness of You\u003c\/li\u003e\n\u003cli\u003eApril In Paris\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cheader\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/header\u003e\u003cheader\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e2013 Stereophile Magazine Record to Die For\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/header\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"All hail Analogue Productions, the audiophile record company in Salina, Kansas, for hiring the best engineers to invent a new formula for pressing vinyl. The results are simply staggering. Check out the 45rpm remaster of the 1956 Ella \u0026amp; Louis (Fitzgerald \u0026amp; Armstrong). If you have a good stereo, you'll swear they're in the room!\" — Fred Kaplan, Slate, December 2011\u003c\/p\u003e\n\u003cp\u003e« Ella and Louis is an inspired collaboration, masterminded by producer Norman Granz. Both artists were riding high at this stage in their careers, and Granz assembled a stellar quartet of Oscar Peterson (piano), Buddy Rich (drums), Herb Ellis (guitar) and Ray Brown (bass). Equally inspired was the choice of material, with the gruffness of Armstrong's voice blending like magic with Fitzgerald's stunningly silky delivery. Outstanding are Irving Berlin's \"Cheek to Cheek\" and \"Isn't This a Lovely Day,\" and everything else works like a dream, with the golden star going to the Gershwin brothers' \"They Can't Take That Away from Me.\" Gentle and sincere, this is deserving of a place in every home. » AllMusic Review by Rovi Staff\u003c\/p\u003e\n\u003cp\u003e\"\u003cspan data-mce-fragment=\"1\"\u003eElla was the most popular female jazz singer in the U.S. for over a half century, selling over 40 million albums. Louis was considered one of the founders of jazz, and was known around the world as Satchmo. He had toned down his earlier whooping and shoveling sort of delivery a bit, but it’s still the same old Satchmo. The two perform 30 of their favorite songs together on this Blu-ray, in a musical match made in heaven. The Great American Songbook is the source of most of the tunes, and their delivery shows the world just how these songs should be sung.\" John Sunier, Audiophile Audition, \u003cspan class=\"published\" data-mce-fragment=\"1\"\u003eDec 29, 2013\u003c\/span\u003e\u003c\/span\u003e\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 \/ 5 , Discogs : 4.6 \/ 5  , Rate your Music : 3.81 \/ 5\u003c\/p\u003e\n\u003cp\u003eMichael Fremer : 8 \/ 10 for Music, 9 \/ 10 for Sound\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40375825006743,"sku":"AVRJ4003-45","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/ella-fitzgerald-and-louis-armstrong-ella-and-louis-2lp-45rpm-180g-audiosoundmusic-1.jpg?v=1719851398"},{"product_id":"come-away-with-me-norah-jone","title":"\u003ctc\u003eNorah Jones - Come away with me (non scellé, Analogue Productions)\u003c\/tc\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\" data-mce-style=\"color: #ff2a00;\"\u003eRARITY - Uns\u003c\/span\u003e\u003cspan style=\"color: #ff2a00;\" data-mce-style=\"color: #ff2a00;\"\u003eealed \u003cmeta charset=\"utf-8\"\u003e(mint conditions)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eNorah Jones - Piano, vocals \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/norah-jones\" title=\"vinyl featuring Norah Jones\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/norah-jones\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Norah Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLee Alexander (Bass), Brian Blade (Drums, Percussion), Kevin Breit (Guitar, Acoustic, Electric, National Steel Guitar), Rob Burger (Accordion, Pump Organ), Bill Frisell (Electric guitar), Jesse Harris \u0026amp; the Ferdinandos Guitar (Acoustic Guitar), Adam Levy (Acoustic Guitar, Electric Guitar), Dan Rieser (Drums), Adam Rogers (Guitar), Jenny Scheinman (violin), Tony Scherr (Acoustic Guitar, Slide Guitar), Kenny Wollesen (Drums), Sam Yahel (Hammond Organ).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by \u003c\/strong\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;\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003eNorah Jones (A5, B5, B6), Jesse Harris (A1, A5, A6, B2, B4, B6), Lee Alexander (A2, A4, B1, B3), Hank Williams (A3), John D. Loudermilk (A7), J.C. Hopkins (B3), Hoagy Carmichael (B7), Ned Washington (B7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1LP, Gatefold, tip-on jackets on heavy cardboard stock\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\u003eStereo\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 : Blue Note\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecording : September 2000 – December 2001 at Sorcerer Sound Studio, New York City and Allaire Studios, Shokan, New York\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-fragment=\"1\" 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;\"\u003e\u003cstrong\u003eMastered by Kevin Gray at Cohearent Audio\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-fragment=\"1\" 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;\"\u003e\u003cstrong\u003e\u003cspan\u003eEngineered by: Jay Newland, Tom Schick\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Arif Mardin, Jay Newland, Norah Jones, Craig Street\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 2002\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\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\u003eTracks:\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;\"\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDon't Know Why\u003c\/li\u003e\n\u003cli\u003eSeven Years\u003c\/li\u003e\n\u003cli\u003eCold Cold Heart\u003c\/li\u003e\n\u003cli\u003eFeelin' The Same Way\u003c\/li\u003e\n\u003cli\u003eCome Away With Me\u003c\/li\u003e\n\u003cli\u003eShoot The Moon\u003c\/li\u003e\n\u003cli\u003eTurn Me On\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLonestar\u003c\/li\u003e\n\u003cli\u003eI've Got To See You Again\u003c\/li\u003e\n\u003cli\u003ePainter Song\u003c\/li\u003e\n\u003cli\u003eOne Flight Down\u003c\/li\u003e\n\u003cli\u003eNightingale\u003c\/li\u003e\n\u003cli\u003eThe Long Day Is Over\u003c\/li\u003e\n\u003cli\u003eThe Nearness Of You\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\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\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/span\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\u003cspan style=\"color: #ff2a00;\"\u003e\u003cspan style=\"font-size: 10.5pt;\"\u003e\u003cstrong\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;\"\u003e2003 Grammy Award Winner :\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\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;\"\u003e~ Record of the Year, \u003cem\u003eDon't Know Why\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 10.5pt;\"\u003e\u003cstrong\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;\"\u003e~ Album of the Year, \u003cem\u003eCome Away With Me\u003c\/em\u003e\u003cbr\u003e~ Song of the Year, \u003cem\u003eDon't Know Why\u003c\/em\u003e\u003cbr\u003e~ Best New Artist, \u003cem\u003eNorah Jones\u003c\/em\u003e\u003cbr\u003e~ Best Female Pop Vocal Performance, \u003cem\u003eDon't Know Why\u003c\/em\u003e\u003cbr\u003e~ Best Pop Vocal Album, \u003cem\u003eCome Away With Me\u003c\/em\u003e\u003cbr\u003e~ Best Engineered Album, Non-Classical, \u003cem\u003eS. Husky Höskulds \u0026amp; Jay Newland, engineers\u003c\/em\u003e\u003cbr\u003e~ Producer of the Year, Non-Classical, \u003cem\u003eArif Mardin, producer\u003c\/em\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\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\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings You Must Hear Before You Die - Ranked 933\u003c\/strong\u003e\u003c\/span\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 \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"The entire project from the songs to the superb recorded sound and packaging just reeks of good taste. And it couldn't have come cheaply. The label or someone made a major financial investment in an unknown's debut album. The investment paid off, as the album sold more than 26 million copies and won numerous awards. It wasn't that much of a risk, really. Jones' amalgam of jazz, country, folk and a touch of rock produced something new and highly attractive to a wide demographic. ... The records coming out of QRP are definitely living up to the pressing plant's early promise. This kind of drop dead black quiet is precisely what's required for Jones' music and QRP delivers it. Kevin Gray's mastering is equally superb.\" — Michael Fremer, AnalogPlanet.com, January 24, 2013\u003c\/p\u003e\n\u003cp\u003e\" Norah Jones' debut on Blue Note is a mellow, acoustic pop affair with soul and country overtones, immaculately produced by the great Arif Mardin. (It's pretty much an open secret that the 22-year-old vocalist and pianist is the daughter of Ravi Shankar.) Jones is not quite a jazz singer, but she is joined by some highly regarded jazz talent: guitarists Adam Levy, Adam Rogers, Tony Scherr, Bill Frisell, and Kevin Breit; drummers Brian Blade, Dan Rieser, and Kenny Wollesen; organist Sam Yahel; accordionist Rob Burger; and violinist Jenny Scheinman. Her regular guitarist and bassist, Jesse Harris and Lee Alexander, respectively, play on every track and also serve as the chief songwriters. Both have a gift for melody, simple yet elegant progressions, and evocative lyrics. (Harris made an intriguing guest appearance on Seamus Blake's Stranger Things Have Happened.) Jones, for her part, wrote the title track and the pretty but slightly restless \"Nightingale.\" She also includes convincing readings of Hank Williams' \"Cold Cold Heart,\" J.D. Loudermilk's \"Turn Me On,\" and Hoagy Carmichael's \"The Nearness of You.\" There's a touch of Rickie Lee Jones in Jones' voice, a touch of Bonnie Raitt in the arrangements; her youth and her piano skills could lead one to call her an Alicia Keys for grown-ups. While the mood of this record stagnates after a few songs, it does give a strong indication of Jones' alluring talents. » AllMusic Review by David R. Adler\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  , Rate your music : 4.02 \/ 5 ,  Michael Fremer :  Music 9 \/ 11, Sound 9 \/ 11\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 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40375976263831,"sku":"AAPP 042 clear","price":90.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/norah-jones-come-away-with-me-unsealed-analogue-production-audiosoundmusic-1.jpg?v=1719851398"},{"product_id":"zappa-88-the-last-u-s-show-frank-zappa","title":"\u003ctranscy\u003eFranck Zappa - The Last U.S. Show (4LP, Coffret)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eFrank Zappa (lead guitar, vocals, Synclavier), Mike Keneally (guitar, synthesizer, vocals), Ike Willis (rhythm guitar, synthesizer, vocals), Scott Thunes (electric bass, Minimoog), Bobby Martin (keyboards, vocals), Ed Mann (vibraphone, marimba, electronic percussion), Chad Wackerman (drums, electronic percussion, liner notes), Walt Fowler (trumpet, flugelhorn, synthesizer), Bruce Fowler (trombone, Paul Carman (alto saxophone, soprano saxophone, baritone saxophone), Albert Wing (tenor saxophone), Kurt McGettrick (baritone saxophone, bass saxophone, contrabass clarinet).\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eWritten by Franck Zappa (A2, A3, A4, B1, B2, B3, C1, C2, C3, C4, C5, D2, D5), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eJohn Lennon (F2, G2), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003ePaul McCartney (F2, G2), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eIgor Stravinsky (D3), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eBela Bartok (D4), Maurice Ravel (H2), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eDouglass Cross (B4), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eGeorge C. Cory Junior (B4), \u003c\/span\u003eRay Evans (D7), Jerry Livingston (D7), Jimmy Page (G1), Robert Plant (G1), Gregg Allman (H1), Katharine Lee \u003cspan data-mce-fragment=\"1\"\u003eBates (H3), Samuel A. Ward (H3).\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e4 LPs, box set\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eOriginal analog Master tape : YES\u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003eRecord Press : Optimal Media\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" 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;\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eLabel : Zappa Records\u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" 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;\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eOriginal Label : Zappa Records\u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" 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;\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003eAll tracks recorded on March 25, 1988 at Nassau Coliseum, Uniondale, New York, except track G1, recorded March 23, 1988 at Tonson Center, Towson, Maryland, \u0026amp; track H1, recorded March 16, 1988 at Civic Center, Providence Rhode Island.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003eReleased in June 2021\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSide A\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eWe Are Doing Voter Registration Here\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eThe Black Page (New Age Version)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eI Ain’t Got No Heart\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eLove Of My Life\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSide B\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eInca Roads\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSharleena\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eWho Needs The Peace Corps?\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eI Left My Heart In San Francisco (Cory\/Cross)\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSide C\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eDickie’s Such An Asshole\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eWhen The Lie’s So Big\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eJesus Thinks You’re A Jerk\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSofa #1\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eOne Man, One Vote\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSide D\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eHappy Birthday, Chad!\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003ePackard Goose Pt. I\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eRoyal March From “L’Histoire Du Soldat” (Stravinsky)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eTheme From The Bartok Piano Concerto #3 (Bartok)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003ePackard Goose Pt. II\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eThe Torture Never Stops Pt. I\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eTheme From “Bonanza” (Evans \u0026amp; Livingston)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eLonesome Cowboy Burt\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSide E\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eThe Torture Never Stops Pt. II\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eCity Of Tiny Lites\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003ePound For A Brown PT. I\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSide F\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003ePound For A Brown PT. II\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eThe Beatles Medley (Lennon\/McCartney)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003ePeaches En Regalia\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSide G\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eStairway To Heaven (Page\/Plant)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eI Am The Walrus (Lennon\/McCartney)\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSide H\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eWhipping Post (Allman)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eBolero (Ravel)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eAmerica The Beautiful (\u003cspan data-mce-fragment=\"1\"\u003eBates\/Ward\u003c\/span\u003e)\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eAs Travers writes in the liner notes, “Start with the fulcrum of the 1981-1984 touring bands (Robert, Scott \u0026amp; Chad), bring back Ike Willis, add the Synclavier digital workstation, a 5-piece horn section with multi-instrumentalist Mike Keneally and you have what FZ famously described as “The Best Band You Never Heard In Your Life.” While saying “never heard” might have been a bit of hyperbole, it wasn’t far off as the short-lived band (four months of rehearsal in 1987\/1988, followed by a tour from February through June 1988) only played a few dozen shows on the East Coast and Europe before disbanding. Nonetheless, the shows they did play together were electrifying and a masterclass in musicianship.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eWith Zappa on lead guitar, vocals, and wielding his new obsession the Synclavier, he led the proceedings through a career-spanning set, backed by a stellar cast of veteran band members and newly added members: Mike Keneally (guitar, synth, vocals), Scott Thunes (electric bass, Minimoog), Ike Willis (rhythm guitar, synth, vocals), Chad Wackerman (drums, electronic percussion), Ed Mann (vibes, marimba, electronic percussion), Robert Martin (keyboards, vocals) and the cracking horn section of Walt Fowler (trumpet, flugel horn, synth), Bruce Fowler (trombone), Paul Carman (alto, soprano and baritone sax), Albert Wing (tenor sax) and Kurt McGettrick (baritone and bass sax, contrabass clarinet). The band prepped nearly 100 songs and the sets were wide ranging, spanning tunes from the first Mothers of Invention albums, but with characteristically updated and often times ever-evolving arrangements (“I Ain’t Got No Heart,” “Love Of My Life,” “Who Needs The Peace Corps?”), to new compositions created for the ‘88 tour (“Jesus Thinks You’re A Jerk” and “When The Lie’s So Big”) as well as classical compositions (Bartók, Ravel, Stravinsky) that Zappa liked to play to expose his audiences to music he appreciated. In addition to the inclusion of the 5-piece horn section and it being Keneally’s only tour, the concerts also included extensive use of sampling through the then current machine, the Synclavier, which Zappa took on the road for the first time, as well as percussionists Mann and Wackerman’s use of electronic sounds in their set ups.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eZappa ’88: The Last U.S. Show includes all of this and many more highlights such as fan favorites, “Peaches En Regalia,” “The Black Page” “Inca Roads,” “Sharleena” “Sofa #1” and “Pound For A Brown.” It also includes a horn-laden cover of The Beatles’ “I Am The Walrus,” and the first official release of the highly sought after “The Beatles Medley,” which features the band performing the music of The Beatles’ “Norwegian Wood,” “Lucy In The Sky With Diamonds” and “Strawberry Fields Forever” with the lyrics completely changed to reflect the then-recent sex scandal of televangelist Jimmy Swaggart. The bawdy lyrics poke fun at the hypocritical minister and was part of Zappa’s agenda to demystify televangelists.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eJust how Zappa felt it was important to rail against toxically prude self-appointed culture protectors and whatever hypocrisy or hypocrite rankled him that day, he was also a motivator of positive action, passionate about causes, especially voting rights, making it his mission to get his audiences to register to vote. With a presidential election looming, Zappa offered voter registration on the tour, aided by The League of Women Voters. Fans were encouraged to vote before the show or during a special 20-minute intermission in the middle of the two-hour plus concert, which would start with Zappa triggering the Synclavier to play a piece of music. In Uniondale it was “One Man, One Vote.” Notably, the version here is a different mix than the studio version released on Frank Zappa Meets The Mothers Of Prevention. Zappa 88: The Last U.S. Show kicks off with Zappa extolling the importance of voting and encouraging the unregistered to sign up at the show by registering someone live on stage. It was followed by a representative from Governor Mario Cuomo’s office reading a message congratulating “Mr. Zappa for the important work you are doing encouraging your audiences and others to register and vote.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e“Sadly after the European run was over,” as Travers pens in the liners, “Frank Zappa chose to disband the group and cancel the rest of the tour, reportedly forfeiting $400,000.00 in revenue and depriving additional audiences the opportunity to witness how special this group really was. With all of the time and money spent to prepare and promote the tour, not to mention the potential within the talented band and crew, now in 2021, it’s an even more historic loss considering FZ was to never tour again.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eDiscogs : 4.85 \/ 5  ,  Rate your music : 4.0 \/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40376226054295,"sku":"ZR20036-1","price":70.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/franck-zappa-the-last-u-s-show-4lp-box-set-audiosoundmusic-1.jpg?v=1719851418"},{"product_id":"the-best-of-wilson-pickett-vol-ii-wilson-pickett","title":"\u003ctranscy\u003eThe Best Of Wilson Pickett Volume II\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eCOMPILATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWilson Pickett – vocals\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/wilson-pickett\" title=\"vinyl featuring Wilson Pickett\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/wilson-pickett\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Wilson Pickett]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFeatured Musicians: Issac Hayes, Duane Allman, Steve Cropper, Al Jackson, Donald \"Duck\" Dunn, Spooner Oldham, Jimmy Johnson, Roger Hawkins \u0026amp; Tommy Cogbill.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by John Lennon (B5), Paul McCartney (B5), Bobby Womack (A4, B2, B7), Wilson Pickett (A4), Akines (A1), Bellmon (A1), Drayton (A1), Turner (A1), Andy Kim (A2), Jeff Barry (A2), Kenneth Gamble (A3), Leon Huff (A3), Jackson (A5), Moore (A5), Chambers (A5),  Lookes (A5), Mars Bonfire (A6), Roger Collins (B1), Billy Roberts (B3), Dick Holler (B4), Holland-Dozier-Holland (B6), Reggie Young (B7)\u003c\/strong\u003e\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\"\u003e1 LP, original LP cover, standard sleeve\u003c\/strong\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 data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\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\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRecord Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLabel : Friday Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label : \u003cspan data-mce-fragment=\"1\"\u003eAtlantic Records\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRemastered by Friday Music's Joe Reagoso\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eProducers :\u003c\/strong\u003e \u003cstrong\u003eDave Crawford (B4, B6, B7), Jerry Wexler (A2), Rick Hall (A6, B3, B5), Tom Dowd (A2, A4, A5, B1, B2, B7), Tommy Cogbill (B1, B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1971\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReissued in 2017\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDon't Let The Green Grass Fool You\u003c\/li\u003e\n\u003cli\u003eSugar Sugar\u003c\/li\u003e\n\u003cli\u003eGet Me Back On Time, Engine Number 9\u003c\/li\u003e\n\u003cli\u003eI'm A Midnight Mover\u003c\/li\u003e\n\u003cli\u003eA Man And A Half\u003c\/li\u003e\n\u003cli\u003eBorn To Be Wild\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eShe's Lookin' Good\u003c\/li\u003e\n\u003cli\u003eI'm In Love\u003c\/li\u003e\n\u003cli\u003eHey Joe\u003c\/li\u003e\n\u003cli\u003eCole, Cooke \u0026amp; Redding\u003c\/li\u003e\n\u003cli\u003eHey Jude\u003c\/li\u003e\n\u003cli\u003eYou Keep Me Hangin' On\u003c\/li\u003e\n\u003cli\u003eI Found a True Love\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eRatings :\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eDiscogs : 4,2 \/ 5 , Rate your Music : 4.09 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40376450121879,"sku":"FRIM8290.1","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-best-of-wilson-pickett-volume-ii-audiosoundmusic-1.jpg?v=1719851419"},{"product_id":"ole-coltrane-john-coltrane","title":"\u003ctranscy\u003eJohn Coltrane - Ole Coltrane (45 tours, Mono)\u003c\/transcy\u003e","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":"jazz-at-the-philharmonic-in-europe","title":"\u003ctranscy\u003eJazz At the Philharmonic in Europe (4LP, Coffret)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eLalo Schifrin (Piano) \u003ca data-mce-fragment=\"1\" title=\"vinyl composed by or featuring Lalo Schifrin\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/lalo-schifrin\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/lalo-schifrin\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click to see more vinyl composed by or featuring Lalo Schifrin]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBenny Carter (Alto Saxophone) : A1, A2, E1, E2, F1, F2, F3, F4, F5, G1, H1, H2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCannonball Adderley (Alto Saxophone) : A1, A2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLeo Wright (Alto Saxophone, Flute) : G1, H1, H2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArt Davis (Bass) : A1, A2, B1, E1, E2, F1, F2, F3, F4, F5, G1, H1, H2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSam Jones (Bass) : C1, C2, D1, D2, D3\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCandido (Congas) : H1, H2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChuck Lampkin (Drums) : A1, A2, G1, H1, H2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJo Jones (Drums) : B1, E1, E2, F1, F2, F3, F4, F5\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLouis Hayes (Drums) : C1, C2, D1, D2, D3\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eColeman Hawkins (Tenor Saxophone) : B, E1 to F5 \u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/coleman-hawkins\" title=\"Vinyl featuring Coleman Hawkins\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/coleman-hawkins\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Coleman Hawkins]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDon Byas (Tenor Saxophone) : B1, E1, E2, F1, F2, F3, F4, F5\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStan Getz (Tenor Saxophone) B1, C1, C2, D1, D2 D3, G1, H1, H2 \u003ca title=\"vinyl featuring Stan Getz\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/stan-getz\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Stan Getz]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJ.J. Johnson (Trombone) : : A1, A2, C1 ; C2, D1, D2 D3\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDizzy Gillespie (Trumpet) : A1, A2, C1, C2, D1, D2, D3, G1, H1, H2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRoy Eldridge (Trumpet) : B1, E1, E2, F1, F2, F3, F4, F5\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVictor Feldman (Vibraphone, Piano) : C1, C2, D1, D2, D3\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Miller (A1), Leiber (A1), Stoller (A1), Carter (A2), Adderley (A2), Gillespie (A2), Johnson (A2), Kern-Hammerstein, II (B, D2), Bernie (C1), Casey (C1), Pinkard (C1), Dizzy Gillespie (C2), Frank Paparelli (C2), Dameron (D1), Harbach (D2), Zoot Sims (D3), Billy Strayhorn (E1), McDonals (E2), Henley (E2), Harry Link (F1), Holt Marvell (F1), Jack Strachey (F1), Kern (F2), Harbach (F2), Carmichael (F3), Ned Washington (F3), Gillespie (F4), Coots (F4), Benny Carter (F5), Coleman Hawkins (F5), Don Byas (F5), Roy Eldridge (F5), Dizzy Gillespie (G, H2), Duke Ellington (H1), Irving Mills (H1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e4 LPs, Box set\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003cbr\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\u003eStereo\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 data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label : Verve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRecording : Live at the \u003cspan data-mce-fragment=\"1\"\u003eJazz At The Philharmonic In Europe tour, in the Konserthuset, Stockholm on November 21, 1960 by \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003eVal Valentine\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProducer : Norman Granz\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReleased in 2009\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks\u003c\/strong\u003e : \u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBernie's Tune\u003c\/li\u003e\n\u003cli\u003eSwedish Jam\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAll The Things You Are\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e1. Sweet Georgia Brown\u003cbr\u003e2. Bop 'n Boogie\u003c\/p\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e1. I Waited For You\u003cbr\u003e2. Yesterdays\u003cbr\u003e3. Trotting\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide E :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Take The \"A\" Train\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Indiana (Back Home Again)\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide F :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. These Foolish Things (Remind Me Of You)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Yesterdays\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. The Nearness Of You\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. You Got To My Head\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. A Jazz Portrait of Brigitte Bardot\u003c\/div\u003e\n\u003cp\u003e\u003cbr\u003eSide G :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Kush\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eSide H :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. The Mooch\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Wheatleigh Hall\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003eRatings :\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003eDiscogs : 4.18 \/ 5\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\u003cbr\u003e\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 style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40376677925015,"sku":"V 8539-V8542","price":350.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/jazz-at-the-philharmonic-in-europe-4lp-box-set-audiosoundmusic-1.jpg?v=1719851418"},{"product_id":"sonny-stitt-the-top-brass","title":"\u003ctranscy\u003eSonny Stitt \u0026 The Top Brass\u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSonny Stitt (alto sax), Reunald Jones, Blue Mitchell, Dick Vance (trumpets), Matthew Gee and Jimmy Cleveland (trombones), Willie Ruff (French horn), Duke Jordan (piano),  Perri Lee (organ), Joe Benjamin (bass), Philly Joe Jones or Frank Brown (drums).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eSonny Stitt (A4, B3, B5), Richard Carpenter (A1), Carmen Lombardo (A2), Gus Kahn (A2), Johnny Green (A2), Tadd Dameron (A3), Buddy Bernier (B1), Nat Simon (B1), Jimmy Mundy (B2), Tadd Dameron (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1LP, 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\u003eStereo\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\u003eRecorded in July 1962 in New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Ahmet Ertegun\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1962\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2020\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\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\u003col\u003e\n\u003cli\u003eSouls Valley\u003c\/li\u003e\n\u003cli\u003eCoquette\u003c\/li\u003e\n\u003cli\u003eOn A Misty Night\u003c\/li\u003e\n\u003cli\u003eStittsie           \u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePoinciana\u003c\/li\u003e\n\u003cli\u003eBoom-boom\u003c\/li\u003e\n\u003cli\u003eSea Sea Rider\u003c\/li\u003e\n\u003cli\u003eThe Four Ninety\u003c\/li\u003e\n\u003cli\u003eHey Pam\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« Sonny Stitt was equally proficient on both the alto, and tenor saxophone. He was known as a “take no prisoners” saxophonist, who could outplay most anyone in a “cutting” session. He has been compared to Charlie Parker, for his speed and fluency on the horn. Stitt’s improvisations were heavily influenced by the blues, and he could also be very lyrical and expressive on ballads. For a period of time, he played the Varitone electrified sax, for which he had an equal amount of fans as detractors.\u003c\/p\u003e\n\u003cp\u003eIn 1962, Stitt had a chance to record with a dream brass section, utilizing two of the most accomplished arrangers of the day, Jimmy Mundy and the iconic, Tadd Dameron. This session, recorded over a two day period in mid-July, required a discipline that Stitt did not usually need to display on his previous record dates. He had to be more “economical” with his solos, and more tempered in his presentation, sharing his formidable skills with a veteran brass section, providing colors and commentary, whereas in the past he could free blow to his heart’s content.\u003c\/p\u003e\n\u003cp\u003eStitt passes the test with ease. Even on the three tracks that he penned, of the nine tracks here, Sonny fits right in. The brass section is composed of three trumpets, two trombones, and a french horn. The rhythm section is made up of either the veteran, Duke Jordan on piano, or Perri Lee on organ. Joe Benjamin is on bass on all tracks, while Philly Joe Jones, or Frank Brown, handle the drum set.\u003c\/p\u003e\n\u003cp\u003e“Souls Valley opens side one with Lee on organ setting the blues in motion, before Stitt takes over. (Unfortunately, the liner notes do not specify which of the trumpet players take solos, so it is difficult to make comments on their involvement). “Coquette” is next with its familiar theme, and Sonny effectively plays off of the horns.\u003c\/p\u003e\n\u003cp\u003e“On a Misty Night,” has Dameron arranging with a polished sheen. Stitt has some very high register choruses, and goes out on the tune with notes that could be a hearing test challenge. Sonny’s own “Stittsie” gives him a rare chance in this setting to really stretch out. I’m not sure, but I think it is my favorite trumpeter, Blue Mitchell, who gets the trumpet solo.\u003c\/p\u003e\n\u003cp\u003eSide two opens with a classic big band version of “Poinciana.” Sonny is relatively restrained as he glides over the chord changes. Jimmy Mundy’s “Boom-Boom” has a real Basie feel, both boisterous, yet polished. “Sea Sea Rider” is a blues ballad, and it is a real treat to hear trombonists, Matthew Gee and Jimmy Cleveland, trade choruses. Duke Jordan gets a bit of time to work his magic.\u003c\/p\u003e\n\u003cp\u003e“The Four Ninety” is another Tadd Dameron arrangement that just feels right. “Hey Pam,” from Stitt, closes out the album on a sweet note, with Stitt again a strong team player, content to let the tune come to him, rather than dominate.\u003c\/p\u003e\n\u003cp\u003eAll in all, this is a winning effort for Stitt, and a chance to appreciate his talents, even in a restrained setting. The remastered sound is an extra bonus… » Jeff Krow, Audiophile Audition, December 2020\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eGeneral opinion has it that Sonny Stitt always stood in Charlie Parker’s shadow. That, however, is unjustifiable. The legendary jazz critic Nat Hentoff wrote, for example: »Sonny has been one of the wholly involved players, well known and admired for his soul and the earthiness of his message only by musicians who feel and play like he does and by that part of the jazz audience that is most moved by naked, open emotion. He has made his mark with them as an honest yea-sayer who can’t help but play what he knows and feels.\u003c\/p\u003e\n\u003cp\u003e« The present recording is proof of this – a session which shouldn’t really have worked out so well. Sonny Stitt’s alto saxophone presides over a seven-man-strong brass group, and although the prospect of a Sonny Stitt big band does not sound too promising initially, this rendezvous is really enjoyable, thanks in part to Stitt’s superb solos. At this time he was on the top of his form and he plays freely over the basis provided by the brass section consisting of Blue Mitchell, Jimmy Cleveland and Willie Ruff. The arrangements by Tadd Dameron and Jimmy Mundy are closely-knit yet offer enough room for swing and a generous pinch of soul. Special highlights are contributed by the unknown, female organist Perri Lee –, little groovy additions that are really successful and infuse the arrangements with a slender sound and sparkle. Although \"Sonny Stitt \u0026amp; The Top Brass\" may not stand in the limelight like \"Boss Tenors\" or \"Salt And Pepper\", it is certainly on a par with these from an artistic point of view.\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 \u003c\/span\u003e: 4.5 \/ 5 ; D\u003cspan\u003eiscogs \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4.11\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 ; \u003c\/span\u003eAudiophile Audition : 4 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40399118172311,"sku":"SD1395","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/sonny-stitt-and-the-top-brass-audiosoundmusic-1.jpg?v=1719851438"},{"product_id":"the-art-farmer-quartet-featuring-jim-hall-live-at-the-half-note","title":"\u003ctranscy\u003eThe Art Farmer Quartet - Live At The Half-Note\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003eArt Farmer (flugelhorn) \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca style=\"color: #ff8000;\" title=\"Vinyl featuring Art Farmer\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/art-farmer\" data-mce-fragment=\"1\" 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\u003eJim Hall (guitar) \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jim-hall\" title=\"vinyl featuring Jim Hall\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/jim-hall\"\u003e[click here to see more vinyl featuring Jim Hall]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSteve Swallow (double bass), Walter Perkins (drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten \u003c\/strong\u003e\u003cstrong\u003eAndy Razaf (A1), Benny Goodman (A1), Chick Webb (A1), Edgar Sampson (A1), iles Davis (A2), Bob Haggart (B1), Johnny Burke (B1), Irving Caesar (B2), Vincent Youmans (B2), George Bassman (B3), Ned Washington (B3)\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\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\u003eStereo\u003c\/strong\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 : Atlantic\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecording : December 1963 live at the Half Note, New York City, by Joe Atkinson, Phil Iehle and Tom Dowd\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eProduction : Arif Mardin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1964\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2020\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\u003col\u003e\n\u003cli\u003eStompin' At The Savoy\u003c\/li\u003e\n\u003cli\u003eSwing Spring     \u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWhat's New\u003c\/li\u003e\n\u003cli\u003eI Want To Be Happy\u003c\/li\u003e\n\u003cli\u003eI'm Getting Sentimental Over You\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«Like many emerging trumpet players in the post WW II music scene, Art Farmer was inspired by bebop. By his own admission, he was not entirely geared toward instrumental virtuosity and speed. Farmer’s vision for his trumpet play was tonality and sound. His first big break came with Lionel Hampton’s orchestra in 1952. He shared trumpet duties with Clifford Brown, Quincy Jones and Benny Bailey. His first recording as a band leader was the 1954 LP, Art Farmer Septet (featuring arrangements by Quincy Jones and Gigi Gryce). As a sideman, Farmer collaborated with Horace Silver, Gerry Mulligan, Thelonious Monk and Charles Mingus. His versatility and improvisational skills were enhanced by “experimental” work with composer Edgar Varese (1957). He formed an iconic sextet with Benny Golson that included McCoy Tyner. Additionally, he put together a trio and quartet that featured guitarist Jim Hall. in pursuit of his aesthetic musical vision, Farmer began exploring the flugelhorn. He was uniquely responsible for its ascension in the jazz world. Additionally, he pioneered the hybrid “flumpet”. The dedication to lyricism and warmth defined Farmer for the rest of his career.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner Records has released a 180-gram re-mastered vinyl of The Art Farmer Quartet – Live At The Half Note. Jazz artists have been inspired by live performance, and this album is no exception. Recorded with Jim Hall (guitar), Steve Swallow (double bass) and Walter Perkins (drums), five accessible numbers are explored with unique Art Farmer musical aesthetics. Side One opens with the perennial standard “Stompin’ At The Savoy”. The tribute to the Harlem club has been recorded by Chick Webb, Benny Goodman and Art Tatum among many. Hall, Swallow and Perkins implement a small ensemble resonant tempo. Farmer enters with his customary lyrical translation and glowing tonality. As the main theme is established, Farmer and Hall communicate in adroit counterpoint. Swallow’s skipping double bass lines are propulsive and he and Perkins are very cohesive. Hall’s extended solo is wildly improvisational, but with restrained precision. He straddles hot licks and trio interaction like a pianist. It is an inventive take on the vintage jazz touchstone. Up next, dual flugelhorn\/guitar lead kicks off Miles Davis’ “Swing Spring”. Farmer percolates in a near bebop frenzy with the rhythm section in tight support. Hall delivers a solo with nuanced phrasing and descending runs. Perkins executes a gritty, syncopated drum solo. Art returns with stylish trills and sustained momentum.\u003c\/p\u003e\n\u003cp\u003eSide Two boasts three reinvented popular standards. “What’s New” began as a big band piece for Bob Crosby. It was subsequently recorded by Bing Crosby, Frank Sinatra, John Coltrane and Dexter Gordon, and ultimately as a centerpiece to Linda Ronstadt’s first album with Nelson Riddle. Here, Farmer plays with a sultry resonance that distills the melancholy. His runs are articulate and expressive. Another pop ditty “I Want To Be Happy” (from the 1925 play, No No Nanette) was captured with jazzy intonation by Ella Fitzgerald (with Chick Webb) in 1937. Farmer and the quartet flat out swing with chord modulations and catchy, halting rhythm patterns. His fluidity is showcased with vibrato-infused technique. Hall excels with a racing solo before Framer joins in the big finish. In a surprise, Farmer sits out the finale, “I’m Getting Sentimental Over You”. This beloved song was Tommy Dorsey’s band signature. After a moody introduction, Hall hits a mid-tempo groove with an eloquent flow of chords and notation. He is able to reign in distortion from his amplified guitar. A deft, bluesy tempo shift at the end is artful.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner Records has done a superb job in re-mastering The Art Farmer Quartet – Live At The Half Note to 180-gram vinyl. The stereo separation (and it is highly recommended to listen with a good pair of stereo headphones) is flawless. The integrity of the original Atlantic Records sound engineering mix is intact (including audience chatter). For a live session, there is an exceptional amount of finely tuned auditory detail. The flugelhorn is mellow and expansive. » Robbie Gerson, Audiophile Audition, Apr 21, 2020\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhen \"The Jazztet\" broke up, a sextet that he co-founded together with the tenor saxophonist Benny Golson, the flugelhornist Art Farmer became the leader of a pianoless quartet with the guitarist Jim Hall from 1963-1964. Farmer said in an interview that the quartet didn’t need a pianist because Hall could provide all the necessary chords and counterpoints. Actually a multi-instrumentalist, Farmer gave up playing the trumpet and performed in this quartet exclusively on the flugelhorn.\u003cbr\u003eTogether with the bassist Steve Swallow and the drummer Walter Perkins he appeared in New York’s \"Half Note\" jazz club, which became their base and location of their best recordings. The repertoire in this session from December 1963 is something of a surprise – five standard swing numbers plus the little-known \"Swing Spring\" by Miles Davis. Hall, who made a special appearance with \"I’m Getting’ Sentimental Over You\", was the ideal musical partner for Farmer, since both musicians were in command of a similar gentle and pensive style of improvisation, which was more complex than one expected. From the 22 tracks recorded, only these five have survived. The others were destroyed in a fire. Furthermore, the group only remained together long enough to make three LP releases. All this goes to make this album even more important, and at long last available in an appropriate 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 : 4.5 \/ 5  ,  Discogs : 4.38 \/ 5 \u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40399207858327,"sku":"SD 1421","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-art-farmer-quartet-live-at-the-half-note-audiosoundmusic-1.jpg?v=1719851438"},{"product_id":"phineas-newborn-jr-here-is-phineas-the-piano-history-of-phineas-newborn-jr","title":"\u003ctranscy\u003ePhineas Newborn Jr. - Here Is Phineas: The Piano History Of Phineas Newborn Jr.\u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePhineas Newborn Jr. - piano \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/phineas-newborn-junior\" title=\"vinyl featuring Phileas Newborn Jr.\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Phineas Newborn Jr.]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOscar Pettiford - bass \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/oscar-pettiford\" title=\"vinyl featuring Oscar Pettiford\"\u003e\u003cspan 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\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/kenny-clarke\" title=\"vinyl featuring Kenny Clarke\"\u003e\u003cspan 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\u003eCalvin Newborn - guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Charlie Parker (A1), Oscar Hammerstein II (A2), Jerome Kern (A3), Mack Gordon (A4), Harry Warren (A4), Bud Powell (A4), Clifford Brown (B1), Phineas Newborn, Jr. (B2, B3), Duke Ellington (B3), Don George (B3), Johnny Hodges (B3), Harry James (B3), John Lewis (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\u003eStereo\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\u003eRecorded in May 1956 at Rudy Van Gelder Studio in Hackensack, New Jersey, \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded by Rudy Van Gelder\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduced by 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\u003col\u003e\n\u003cli\u003eBarbados\u003c\/li\u003e\n\u003cli\u003eAll The Things You Are\u003c\/li\u003e\n\u003cli\u003eThe More I See You\u003c\/li\u003e\n\u003cli\u003eCelia\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDahoud\u003c\/li\u003e\n\u003cli\u003eNewport Blues\u003c\/li\u003e\n\u003cli\u003eI'm Beginning To See The Light\u003c\/li\u003e\n\u003cli\u003eAfternoon in Paris\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReviews :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e« Other than two numbers cut for the Progressive label in Houston a couple years earlier (and thus far never reissued), this Atlantic session (put out as a Koch CD in 1999) was the recording debut for the remarkable Phineas Newborn. The 24-year-old pianist's playing on this trio\/quartet date with bassist Oscar Pettiford and drummer Kenny Clarke (and occasionally guitarist Calvin Newborn) is virtuosic to say the least, on Oscar Peterson's level if not Art Tatum's. Newborn rips through the repertoire (which is highlighted by \"Barbados,\" \"Celia,\" \"Daahoud,\" and \"Afternoon in Paris\"); try to tap your foot to \"Celia\" without breaking your ankle! In the liner notes, George Wein faults Newborn's tendency to double time the ballads, and some listeners may shake their heads at his constant outpouring of technically impossible runs (those speedy octaves are ridiculous) -- but if one has chops on this level, one should feel free to display them. This is a dazzling debut from an ill-fated but classic pianist, and this CD is a gem. » AllMusic Review by Scott Yanow\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAt long last! Three years after his début as a bandleader, Phineas Newborn found a courageous producer who was willing to allot him time in the studio to record an LP. The man from Tennessee brought with him his guitarist brother Calvin and a rhythm group made up of super stars Oscar Pettiford and Kenny 'Klook' Clark. What resulted was an outstanding, dazzling piano album full of fire.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHow these musicians dash through \"Celia\" makes one forget Bud Powell, its composer and demigod on the piano. The tempo and the breaks would lead you to break your ankle if you tried to tap your foot to the music. \"Dahoud\" from the repertoire of the Clifford Brown Quintet is similarly fast-paced. Just listen to Kenny Clarke and you will be astounded by his precision and swing. In addition there are little gems such as \"The More I See You\" and the \"Newport Blues\" that is dedicated to the legendary Jazz Festival held on Rhode Island, where Phineas was often to be heard. All in all, this LP is a real treasure, which sees the light of day once again after sixty years.\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, Discogs \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,38\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\u003e3,98\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40399305867415,"sku":"SD 1235","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/phineas-newborn-jr-here-is-phineas-the-piano-history-of-phineas-newborn-jr-audiosoundmusic-1.jpg?v=1719851438"},{"product_id":"ornette-coleman-the-shape-of-jazz-to-come","title":"\u003ctranscy\u003eOrnette Coleman - The Shape Of Jazz To Come\u003c\/transcy\u003e","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 \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOrnette Coleman - alto saxophone \u003cspan style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ornette-coleman\" title=\"Vinyl featuring Ornette Coleman\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ornette-coleman\"\u003e[click here to see more vinyl featuring Ornette Coleman]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDon Cherry (cornet), Charlie Haden (bass), Billy Higgins (drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Ornette Coleman\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\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\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\u003eStereo\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 : Speaker corners\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label :  Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecording: May 1959 at Radio Recorders, Hollywood, CA, by Bones Howe\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eProduction: Nesuhi Ertegun\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 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\u003cp\u003e                1. Lonely Woman\u003c\/p\u003e\n\u003cp\u003e                2. Eventually\u003c\/p\u003e\n\u003cp\u003e                3. Peace\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp\u003e                1. Focus on Sanity\u003c\/p\u003e\n\u003cp\u003e                2. Congeniality\u003c\/p\u003e\n\u003cp\u003e                3. Chronology\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Rated 248\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\" mce-data-marked=\"1\"\u003e\u003cstrong\u003eStereophile Records To Die For - 2012\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e« Ornette Coleman's Atlantic debut, The Shape of Jazz to Come, was a watershed event in the genesis of avant-garde jazz, profoundly steering its future course and throwing down a gauntlet that some still haven't come to grips with. The record shattered traditional concepts of harmony in jazz, getting rid of not only the piano player but the whole idea of concretely outlined chord changes. The pieces here follow almost no predetermined harmonic structure, which allows Coleman and partner Don Cherry an unprecedented freedom to take the melodies of their solo lines wherever they felt like going in the moment, regardless of what the piece's tonal center had seemed to be. Plus, this was the first time Coleman recorded with a rhythm section -- bassist Charlie Haden and drummer Billy Higgins -- that was loose and open-eared enough to follow his already controversial conception. Coleman's ideals of freedom in jazz made him a feared radical in some quarters; there was much carping about his music flying off in all directions, with little direct relation to the original theme statements. If only those critics could have known how far out things would get in just a few short years; in hindsight, it's hard to see just what the fuss was about, since this is an accessible, frequently swinging record. It's true that Coleman's piercing, wailing alto squeals and vocalized effects weren't much beholden to conventional technique, and that his themes often followed unpredictable courses, and that the group's improvisations were very free-associative. But at this point, Coleman's desire for freedom was directly related to his sense of melody -- which was free-flowing, yes, but still very melodic. Of the individual pieces, the haunting \"Lonely Woman\" is a stone-cold classic, and \"Congeniality\" and \"Peace\" aren't far behind. Any understanding of jazz's avant-garde should begin here. » AllMusic Review by Steve Huey\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIt was John Lewis, pianist of the Modern Jazz Quartet, who brought Ornette Coleman to the renowned Atlantic label, having heard him play in Los Angeles. »Ornette Coleman is doing the only really new thing in jazz …« he reportedly said. The present initial Atlantic album was released just in time to coincide with the New York debut of the Coleman Quartet in November 1959. Lewis was sure that Coleman would open up new paths for jazz, and his opinion is reflected in the title of the album – \"The Shape Of Jazz To Come\". After the rather worn-out hard bop routine of the past years, this music was like a breath of fresh air. The fast numbers (\"Eventuality\", \"Chronology\") remind one of wildly hyped-up bebop. Other numbers (\"Congeniality\", \"Focus On Sanity\") juggle with catchy, almost folk like short motifs. This album contains two of Coleman’s most beautiful compositions: \"Peace\" and \"Lonely Woman\", which was later given lyrics and often heard in its vocal version. The Mulligan-Baker Quartet provided the model for the pianoless quartet – and when the band swings along once in a while with a moderato tempo, it is truly reminiscent of cool jazz. Be that as it may, the two wind instrumentalists just love the frenetic 'cry' and the intentionally 'imprecise' interplay. Clearly defined stanzas or traditional harmonic forms were not for them. The jazz musicologist Peter N. Wilson wrote: \"A record, which is not unjustifiably so entitled\" about this LP which was given 5 stars by the magazine Rolling Stone.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cbr\u003eRatings :\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003eAllmusic : 5\/5, Discogs \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,49\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\u003e4,06\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40399363932311,"sku":"SD 1317","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/ornette-coleman-the-shape-of-jazz-to-come-audiosoundmusic-1.jpg?v=1743329138"},{"product_id":"yusef-lateef-the-blue-yusef-lateef","title":"\u003ctranscy\u003eYusef Lateef - The Blue Yusef Lateef\u003c\/transcy\u003e","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTenor Saxophone, Flute, Shanai, Tambura, Koto, Percussion, Vocal (A4) – Yusef Lateef \u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/yusef-lateef\" title=\"vinyl featuring Yusef Lateef\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/yusef-lateef\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Yusef Lateef]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBacking Vocals – The Sweet Inspirations (A1, B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Kenny Burrell \u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/fr\/collections\/kenny-burrell\" title=\"vinyl featuring Kennny Burrell\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/fr\/collections\/kenny-burrell\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Kenny Burrell]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlto Saxophone – Sonny Red\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Cecil McBee  \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Cecil McBee\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/cecil-mcbee\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/cecil-mcbee\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Cecil McBee]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Roy Brooks\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eElectric Bass – Bob Cranshaw\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHarmonica – Buddy Lucas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano – Hugh Lawson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet – Blue Mitchell \u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/blue-mitchell\" title=\"vinyl featuring Blue Mitchell\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/blue-mitchell\"\u003e[click here to see more vinyl featuring Blue Mitchell]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eViola (String Quartet) – Alfred Brown (A2), James Tryon (A2), Selwart Clarke (A2), Kermit Moore (A2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eString Quartet conducted by William Fischer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eString arrangement by Yusef Lateef (A2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Yusef Lateef (A1 to B1, B3-4), Hugh Lawson (B2)\u003c\/strong\u003e\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\"\u003e1 LP, standard sleeve\u003c\/strong\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\u003eStereo\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 data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label :  Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan\u003eRecorded April 1968 at RCA Studios, New York City\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003eEngineered by Ray Hall\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan\u003eProduced by Joel Dorn\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1968\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2020\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp\u003e                1. Juba Juba\u003c\/p\u003e\n\u003cp\u003e                2. Like It Is\u003c\/p\u003e\n\u003cp\u003e                3. Othelia\u003c\/p\u003e\n\u003cp\u003e                4. Moon Cup\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp\u003e                1. Back Home\u003c\/p\u003e\n\u003cp\u003e                2. Get Over, Get Off And Get On\u003c\/p\u003e\n\u003cp\u003e                3. Six Miles Next Door\u003c\/p\u003e\n\u003cp\u003e                4. Sun Dog\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\u003eThough there is some confusion about what happened to the 32 Jazz label, producer Joel Dorn's other project, his label M, is following closely in its footsteps; unique packaging and a wealth of fine material licensed from Dorn's years as a jazz producer at Atlantic Records seems its sole M.O.. On The Blue Yusef Lateef, listeners get an amazing chapter from the late '60s, an amazing period when everything in the world of jazz was changing. Lateef was big on concept recordings. He and Dorn did no less than ten during their tenure together at Atlantic. This one examines, in a painterly way, all the different ranges of emotion contained within the blues genre. With a band that included Detroit jazz gods Roy Brooks on drums and Kenny Burrell on guitar, Blue Mitchell on trumpet, Hugh Lawson on piano, Sonny Red on alto, Bob Cranshaw on electric bass, and a very young Cecil McBee on acoustic bass, you get the idea that Lateef was after something different. Lateef performs on not only his tenor and flute, but bamboo and pneumatic flutes, tamboura, koto, and others; Lateef was exploring the outer reaches of the blues as they might appear and appeal to Eastern as well as Western cultures. From the opening moments in \"Juba Juba,\" everything comes in one package -- the slow, snaky groove only the blues can provide, with the Eastern scale modalities and polyphony attached via Lateef's flute and Brook's percussion. But before becoming too ethereal, Mitchell chimes in with a barrelhouse muted trumpet and Buddy Lucas wails a shuffle on harmonica. There is also an unidentified female gospel chorus humming in the background -- reminiscent of the Staples at their spookiest. Next up is the even-more Eastern-tinged \"Like It Is,\" sounding like it was left off \"Blues from the Orient.\" Lawson's minor key explorations and Brooks' spontaneous actions with a variety of percussion instruments usher in a groove that only Lateef could create. It is very slow, harmonically complex, and lush in a manner that suggests exotica sans the corniness of Les Baxter. It quietly roars with a melodic polytonality courtesy of Lateef's tenor, joined by Lawson's striking mode changes in his solo. Then comes the barrelhouse romp of \"Othelia,\" the Japanese psychedelia of \"Moon Cup,\" and the samba-fied bluesiana of \"Back Home,\" citing Afro-Cuban pop Machito arrangements inside a Brazilian carnival-chant created of vocal overtones and greasy rhythms. You get the picture. The Blue Yusef Lateef is one wild album. In sound, it is the very best the '60s had to offer in terms of experimentation and accessibility. This is blues you can dance to, but also meditate to and marvel at; a pearl worthy of the price. » AllMusic Review by Thom Jurek\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eYusuf Lateef was a leading representative of world music, long before world music was known as such in the jazz, pop and rock community. He integrated all kinds of oriental instruments in his jazz music, such as the koto, bamboo flute and tambura and also – as in this case – in his blues compositions. His saxophone playing is also flawless too and full of wonderful textures, hard and impulsive at one moment, cool and exotic at the next.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOn this album Lateef explores, in a painterly way, the border areas of the blues, in all their various guises and addresses both eastern and western cultures. \"Juba Juba\" begins with a drumbeat on a slave ship, the tempo builds up slowly and agonizingly, and is only penetrated by Lateef’s plaintive flute and background voices singing »freedom, freedom, freedom«. After such a gloomy beginning the classical blues number \"Like It Is\" comes over like a breath of fresh air, with its superb string quartet as the foundation. The R\u0026amp;B contributions on the other tracks testify to Lateef’s skilled excursions into the realm of the blues, while the truly adventurous tracks such as \"Back Home\" and the mystic, Chinese odyssey \"Moon Cup\" weave a magical net of sheer pleasure. \"The Blue Yusef Lateef\" is in every possible way absolutely breathtaking. It is a milestone as a jazz album. As a blues album it is quite unique. But as a musical work of art it is a glorious and genial masterpiece.\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, \u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,39\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5, \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,69\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40399449194647,"sku":"SD 1508","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/yusef-lateef-the-blue-yusef-lateef-audiosoundmusic-1.jpg?v=1719851457"},{"product_id":"ry-cooder-jazz","title":"Ry Cooder - Jazz","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRy Cooder (guitar, bottleneck guitar, mandolin, tiple, vocals) \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Ry Cooder\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ry-cooder\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ry-cooder\"\u003e[click here to see more vinyl featuring Ry Cooder]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMario Guarneri (cornet), Randy Aldcroft (trombone), Harvey Pittel (alto saxophone), Pat Rizzo (alto saxophone),  Bill Hood (bass saxophone), l John Rodby (piano), Mark Stevens (drums), Stuart Brotman (cymbalum), David Lindley (mandobanjo, mandolin), Barbara Starkey (pump organ), Red Callender (tuba), George Bohanon (baritone horn), Oscar Brashear (cornet), Earl Hines (piano), Chuck Domanico (bass), Tom Collier (marimba), David Sherr (bass clarinet, clarinet), Tom Pedrini (bass), Willie Schwartz (clarinet), Chuck Berghoffer (bass), \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eVocals : Jimmy Adams, Bill Johnson, Simon Pico Payne, Cliff Givens, \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eJoseph Byrd (arrangements, conductor)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eWritten by Milton Ager (A1), Jack Yellen (A1), Jelly Roll Morton (A3), Jack the Bear (A4), Bix Beiderbecke (B1, B2, B3), Lew Brown (B4), Ford Dabney (B4), Cecil Mack (B4), Bert Williams (B5). A2, A5, B6 are traditional songs\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e1 LP, standard sleeve, insert\u003c\/strong\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\u003eStereo\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 data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label :  Warner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan\u003eRecording : 1977 at Amigo Studios, North Hollywood, by Lee Herschberg \u0026amp; Douglas Decker\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction : Ry Cooder \u0026amp; Joseph Byrd\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1978\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2019\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTracks : \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBig Bad Bill Is Sweet William Now\u003c\/li\u003e\n\u003cli\u003eFace To Face That I Shall Meet Him\u003c\/li\u003e\n\u003cli\u003eThe Pearls\/Tia Juana\u003c\/li\u003e\n\u003cli\u003eThe Dream\u003c\/li\u003e\n\u003cli\u003eHappy Meeting In Glory\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIn A Mist\u003c\/li\u003e\n\u003cli\u003eFlashes\u003c\/li\u003e\n\u003cli\u003eDavenport Blues\u003c\/li\u003e\n\u003cli\u003eShine\u003c\/li\u003e\n\u003cli\u003eNobody\u003c\/li\u003e\n\u003cli\u003eWe Shall Be Happy\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp data-mce-fragment=\"1\"\u003eReviews :\u003c\/p\u003e\n\u003cp\u003e« Beginning with his self-titled debut in 1970, Ry Cooder's records seemed to be as much history lesson as they were entertainment. Not because Cooder was trying to club you over the head with this stuff; he simply gravitated to great songs, no matter what the era or genre. Released in 1978, Jazz seems to be his first conscious attempt at a concept album, in the historical sense. Here he pays homage to some of the early tunes and masters of jazz, ranging from the late 1800s through the \"coon songs\" of the early part of the next century, to the ragtime and \"Spanish\" music of Jelly Roll Morton, and the sophistication of cornetist Bix Beiderbecke. The only living artist (at the time of release) who's represented here is the great Bahamian guitarist Joseph Spence, who recorded from the '50s through the '80s, and whose syncopated style was extremely influential in Cooder's own development as a guitarist. Spence's sacred songs are presented here in string and brass band arrangements that emphasize the Caribbean connection between his music and Morton's habaniera pieces. The complexity of the material on Jazz, as well as the arrangements by Joseph Byrd, dictate that this is Cooder's most polished and orchestrated effort to date. Whereas in the past, even at their most removed, Cooder's records usually kept at least one foot in rock \u0026amp; roll or blues, Jazz can, at times, lack some of that fire and be almost bookish in its approach. Still, there is enough excitement in the music's intricacies and Cooder's beautiful, fluid playing to forgive the politeness of some of the performances. From the informative liner notes by Ry Cooder himself to the brilliant compositions, Jazz is, at the very least, educational. But, a little time spent with this music and you'll see why it was and continues to be relevant, as well as beloved. » AllMusic Review by Brett Hartenbach \u003cbr\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« Ry Cooder is renowned for a variety of musical influences and styles. He gained some critical attention for playing guitar with Captain Beefheart on Safe As Milk. In the late 60’s and 70’s he became a vital session musician for prominent artists. This included Randy Newman (12 Songs), The Rolling Stones (Let It Bleed, Sticky Fingers) and Little Feat (“Willin’). The list is voluminous and includes John Lee Hooker, Maria Muldaur, Neil Young, Arlo Guthrie, Linda Ronstadt, James Taylor, Warren Zevon and The Doobie Brothers among many others.  He was part of the historic Jamming With Edward, joining Mick Jagger, Charlie Watts and Nicky Hopkins. Beginning with the 1970 film, Performance, Cooder worked on 18 film scores and notably collaborated on Buena Vista Social Club. His solo career has spanned five decades and consists of a wide variety of roots-based music in various formats.\u003c\/p\u003e\n\u003cp\u003eIt certainly came as no surprise in 1978 that Ry Cooder would take an excursion into jazz. With a powerhouse, eclectic group of musicians, Ry Cooder – Jazz embraced vintage jazz and traditional music. Speakers Corner Records has released a re-mastered 180-gram vinyl. Cooder’s uncompromising distillation of vintage Americana jazz is inspiring in its ambition and scope. Joseph Byrd’s arrangements are precise and showcase the impeccable musicianship. Side I opens with the 1924 Milton Yager\/Jack Yellen social musing, “Big Bad Bill Is Sweet William Now”. This number has been recorded by a wide array of artists including Peggy Lee, Merle Haggard and even Van Halen. Cooder’s distinctive acoustic guitar initiates a Dixieland swing. The formidable horn section blends in seamlessly. A saucy trombone (Randy Aldcroft) precedes a bottleneck run, cornet (Mario Guarneri) and stride-like piano (John Rodby). Jazz is connected to many other American musical genres. “Face To Face” is pure country-infused gospel. There are tonal shades with a baritone horn (George Bohannon) and tuba (Red Callender) that lead a processional flow. David Lindley (on mandobanjo) complements Cooder’s outstanding guitar work as the song ends in an aspirational tempo shift. It’s all Ry Cooder on “The Pearls\/Tia Juana” medley which interprets Jelly Roll Morton with guitar and mandolin. The timing and phrasing is flawless. A transition to Mexican folk-infused jazz is accentuated with harp. It is texture on texture in a virtuosic performance. An early ragtime song, “Dream” was closely associated with a very young Eubie Blake. Here jazz icon Earl Hines lends his deft talents to this easy shuffle. Tom Collier adds a vampy marimba. When Cooder injects bottleneck, it gently sways with an Island-ish rhythm. Hines finishes up with a dose of mood and soul. Revisiting traditional music, “Happy Meeting In Glory” is a song that inspired Bahamian guitarist Joseph Spence. Originally a hymnal, here it is re-arranged in 3\/4 time. Cooder (guitar) and Lindley (mandolin) are a perfect match. Bohannon’s gliding trombone is atmospheric and the horns chorus embraces the religious context.\u003c\/p\u003e\n\u003cp\u003eSide II covers 3 Bix Beiderbecke tunes. “In A Mist” was first recorded in 1927 with Paul Whiteman. Here Cooder is backed by alto (Harvey Pittel), and bass clarinet (David Sherr) with vibraphone (Tom Collier) and bass (Tom Pedrini). Tempo adjustments and punctuation are compelling. A second composition that Beiderbecke recorded on piano, “Flashes”, is performed on solo guitar. Cooder’s erudite technique embraces the melody with intimacy. “Davenport Blues” is classic Beiderbecke with a jaunty, rolling presence. Collier adds some rhythmic backbone on vibraphone. This has a shimmering quintet arrangement. Cooder revisits Tin Pan Alley on the Ford Dabney\/Cecil Mack number, “Shine”. The vocal standard has been recorded by The Mills Brothers and Bing Crosby. Cooder’s winsome vocals kick off this one before an adroit swing break. A terrific vocal quartet (reminiscent of Paul Whiteman’s Rhythm Boys) adds nuanced feeling. A certain highlight is Bert Williams’ “Nobody”. First released as vaudeville in 1906, this cover begins with a Sunday morning chant. Cooder returns with the vocal quartet in an internal “talking\/singing” dialogue. The harmonies are riveting. The finale, “We Shall be Happy” is another spiritual rendered in acoustic splendor.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has done a superlative job in re-mastering Ry Cooder – Jazz to 180-gram vinyl. The sound mix is excellent. All of the acoustic stringed instruments are vibrant and precise. Horn tonality is mellow without any overt shrillness. Byrd’s arrangements are concise and envelop the conceptual vision of the album. The hi-gloss album packaging is top-notch, as is the reproduction of the bright red graphics and lettering centered in black. » Robbie Gerson, Audiophile Audition, Jan 13, 2020\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWhen someone such as Ry Cooder, who delved deeply into traditional sources, just names his LP \"Jazz\", it is unlikely that one will hear avant-garde music. Actually, in the numbers gathered together here the investigative guitar man dedicated himself more or less to almost forgotten music. Historically informed, yet not adhering to the original instrumental ensemble, this ostensibly antiquated music enjoys a brilliant renaissance. Just like in an album of charming black and white photographs, the old-fashioned style shines out brightly, such as in \"Big Band Bill\", which (hardly by accident) is modelled on the jaunty swing of Django Reinhard, but does not imitate him. Cooder’s slightly acidic-sounding guitar mixes homogeneously with the delightfully rustic sound of the tuba and a bluegrass mandolin (\"Face To Face…\").\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe typical Caribbean rattle of the marimba enters into a pleasant dialogue with the warped sound of the slide guitar. Folksy bliss in three-four time (\"Happy Meeting In Glory\") stands confidently on a par with the merry, self-willed saxophone (\"In A Mist\") and with the poetic, dreamy and meditative guitar (\"Flashes\"). And just listen to how the classic number \"Davenport Blues\" – with its emphasis on the woodwinds – grooves along with the vibraphone and tingly inner parts. This sound is both filled with the spirit of Bix Beiderbecke and, based loosely on Mingus, will sooth the Jelly Roll Morton-soul of its fans.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eRatings : \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAllMusic : 3 \/ 5, \u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,95\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\u003e3,57\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40399515451543,"sku":"BSK 3197","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/ry-cooder-jazz-audiosoundmusic-1.jpg?v=1719851457"},{"product_id":"charles-mingus-mingus-at-antibes","title":"Charles Mingus - Mingus At Antibes (2LP)","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003eCharles Mingus (b,p) \u003ca style=\"color: #ff8000;\" title=\"All vinyl featuring Charles Mingus\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/charles-mingus\" 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 featuring Charles Mingus]\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eEric Dolphy (as, cl) \u003ca title=\"vinyl featuring Eric Dolphy\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/eric-dolphy\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/eric-dolphy\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Eric Dolphy]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBooker Ervin (tenor saxophone) \u003ca style=\"color: #ff8000;\" title=\"vinyl featuring Booker Ervin\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/booker-erwin\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/booker-erwin\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Booker Ervin]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTed Curson (tp); Bud Powell (p); Dannie Richmond (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Charles Mingus, except C1 written by \u003c\/strong\u003e\u003cstrong\u003eGene DePaul, Patricia Johnston, Don Raye\u003c\/strong\u003e\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\"\u003e2 LPs, gatefold sleeve\u003c\/strong\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\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label :  Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecording: July 1960 live at the Antibes Jazz Festival, Juan-les-Pins, France, by Dannie Richmond\u003cbr\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eProduction: Neshui Ertegun\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1976\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 data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTracks : \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003cp\u003e                1 Wednesday Night Prayer Meeting\u003c\/p\u003e\n\u003cp\u003e                2. Prayer For Passive Resistance\u003c\/p\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003cp\u003e                1. What Love?\u003c\/p\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003cp\u003e                1. I'll Remember April\u003c\/p\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003cp\u003e                1. Folk Forms I\u003c\/p\u003e\n\u003cp\u003e                1. Better Git Hit In Your Soul\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« During 1960, bassist Charles Mingus led one of his finest bands, a pianoless quartet with Eric Dolphy (on alto, flute, and bass clarinet), trumpeter Ted Curson, and drummer Dannie Richmond. For this live concert, the band is augmented by the great tenor Booker Ervin for some stirring music. All of the music is memorable: \"Wednesday Night Prayer Meeting,\" \"Prayer for Passive Resistance,\" \"What Love,\" \"Folk Forms No. 1,\" and \"Better Get Hit in Yo' Soul.\" The immortal pianist Bud Powell sits in on a fine version of \"I'll Remember April\" and Dolphy and Ervin in particular generate a great deal of heat during some of their solos. » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eYou can be sure that jazz fans in the year 1960 were unfamiliar with Charles Mingus’s LPs \"Blues And Roots\" or \"Mingus Ah-Um\" when they poured into the Pinède Gould Arena at the Antibes Jazz Festival held in Juan-les-Pins, France on 13 July. At any rate, as can be seen in a short video clip, all the seats were occupied. In addition, a really good trumpeter was there, whose name would later resound throughout Europe: Ted Curson. What is more, the legendary Bud Powell, who lived in France, was invited as a special guest for one number that required a pianist.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe Jazz Workshop – which was how Mingus called his working ensemble – presented repertoire that was familiar to all the musicians: \"Better Git It In Your Soul\", \"Wednesday Night Prayer Meeting\" and Dolphy’s wonderful solo on the bass clarinet in \"What Love?\". Besides this there was \"Cry For Freedom\" as \"Prayer For Passive Resistance\" was also named, and \"Folk Forms\", also known as \"Ummh\". As a mark of respect towards the guest musician, it was decided to perform the evergreen \"I’ll Remember April\", with Powell’s improvisation being applauded enthusiastically by the audience.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCharles Mingus was to play in numerous concerts in the 60s and 70s; he recorded more than two-dozen official LPs, accused several concert organizers and tour managers of extortionate robbery, and trampled on illegal recording tapes. But the present live recording was made by the ORTF and released officially later by Atlantic Records. It is now re-released after many years and is a rare document in the annals of music history.\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 : 5 \/ 5, \u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,35\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\u003e4,13\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40399579545751,"sku":"SD 2-3001","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/charles-mingus-mingus-at-antibes-2lp-audiosoundmusic-1.jpg?v=1719851457"},{"product_id":"charles-lloyd-quartet-the-flowering","title":"\u003ctranscy\u003eCharles Lloyd Quartet - The Flowering\u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCharles Lloyd (tenor saxophone, flute) \u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/charles-lloyd\" title=\"Vinyl featuring Charles Llyod\"\u003e[click here to see more vinyl featuring Charles Llyod]\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeith Jarrett (piano) \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Keith Jarrett\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/keith-jarrett\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e[click here to see vinyl featuring Keith Jarrett]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Cecil McBee (bass)  \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Cecil McBee\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/cecil-mcbee\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Cecil McBee]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Jack DeJohnette (drums) \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Jack Dejohnette\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/jack-dejohnette\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Jack DeJohnette]\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\u003eKurt Weill (A1), Ogden Nash (A1), Charles Lloyd (A2, B2), Cecil McBee (A3), Gabor Szabo (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\u003eStereo\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: July 1966 live at Aulaen Hall, Oslo (Norway) by Meny Bloch\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 1971\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\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eSide A :\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSpeak Low\u003c\/li\u003e\n\u003cli\u003eLove-In \/ Island Blues\u003c\/li\u003e\n\u003cli\u003eWilpan's\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGypsy '66\u003c\/li\u003e\n\u003cli\u003eGoin' To Memphis \/ Island Blues\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« Released by Atlantic in 1971 when the Charles Lloyd Quartet was already history, these performances (from the same concert that resulted in Charles Lloyd in Europe) contain some excellent remakes (\"Love In\/Island Blues\" and \"Goin' to Memphis\"), Gabor Szabo's \"Gypsy '66,\" Cecil McBee's \"Wilpan's,\" and a fine rendition of \"Speak Low.\" Lloyd (whether on tenor or flute), the already impressive pianist Keith Jarrett, bassist McBee, and drummer Jack DeJohnette are heard in enthusiastic form. This set is even a bit better than the In Europe album due to the stronger (if more familiar) material. » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e« Like various musicians growing up in the 40’s Charles Lloyd was influenced by the radio, especially artists like Duke Ellington, Billie Holiday, Lester Young, Coleman Hawkins and Charlie Parker. His first impactful foray into jazz was as musical director for Chico Hamilton, replacing Eric Dolpy. Albums like \u003cem\u003ePassin’ Thru\u003c\/em\u003e and \u003cem\u003eMan From Two Worlds\u003c\/em\u003e were noteworthy as Lloyd served as composer and arranger for most of the tracks. When he signed with Columbia in 1964 as a band leader, both \u003cem\u003eDiscovery\u003c\/em\u003e and \u003cem\u003eOf Course, Of Course \u003c\/em\u003eestablished him as a rising jazz star. Lloyd formed a quartet with Keith Jarrett (piano), Cecil McBee (bass) and Jack DeJohnette (drums) in 1966 building on his emerging status.. The studio album \u003cem\u003eForest Flower\u003c\/em\u003e became a global phenomenon and was vital in the incorporation of \u003cem\u003eworld music\u003c\/em\u003e into the \u003cem\u003ejazz\u003c\/em\u003e idiom. In the 1970’s Lloyd retreated from the jazz community, but became active as a studio and live performer with The Beach Boys. He returned to his natural genre in 1989 with ECM Records. Amazingly, he records with a variety of artists from different styles and backgrounds, an inspiration to many.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has released a 180-gram vinyl of \u003cem\u003eThe Flowering Of The Original Charles Lloyd Quartet\/Recorded In Concert\u003c\/em\u003e. This live performance by The Charles Lloyd Quartet featured a 1966 set recorded at Aulean Hall in Oslo Norway. Critics view this album as the quintessential live performance of this legendary group. This is an amazing ensemble, comprised of four musicians who would flourish as recording artists and band leaders. Side One opens with an inspired cover of Kurt Weill’s Broadway ditty, “Speak Low’. This song began as a popular music standard, but achieved elevated jazz status with recordings by Billie Holiday, Chet Baker, Gerry Mulligan, Bill Evans and John Coltrane to name a few. After a brief melancholic intro by Lloyd on tenor, there is a seamless tempo uptick. Jack DeJohnette’s propulsive drumming sets the stage for some impressive solo work. Charles Lloyd is up first with searing free-form riffing. Keith Jarrett follows with a percolating (especially right hand) run that showcases his inimitable style. Cecil McBee glides into duet mode before a challenging extended double bass run. Lloyd jumps in and grabs the lead with a unusual higher-register emphasis. The Lloyd-penned medley, “Love-In\/Island Blues” shifts mood with flute lead. Jarrett’s exquisite technique is muscular and soulful. Lloyd’s flute solo in contrast is evocative and melodic. There is a slow blues transition that infuses a swaying vibe. Jarrett’s second solo is equally compelling with grittiness and lyricism. McBee’s sprightly bass on his own composition, “Wilpan’s” leads into a complex melody. Jarrett is explosive with furious momentum that is matched by DeJohnette. Returning to tenor, Lloyd adds texture and color, at times in tandem with McBee. The overall performance has a traditional jazz feel with sharp punctuation and saxophone playing over a repeat vamp.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSide Two starts with the longest track on the album, an update to Chico Hamilton alumnus Gabor Szabo’s “Lady Gabor”. Renamed “Gypsy ’66”, this is nothing short of mesmerizing. Lloyd initiates with exotic flute imagery as DeJohnette (who appears to always be in rhythmic transcendence) leads a tightly syncopated tempo. As Lloyd soars on flute, his tonality mellows with a hushed elegance. Then there is a seismic change. Jarrett contributes a mind-bending solo. He begins by plucking the strings inside the piano like a harp. Eventually he adds piano to this as Lloyd returns to flute with a fevered improvisational swagger. Wherever the quartet goes, drummer DeJohnette maintains the cohesion and vibrancy. The music always flows like a river current with hypnotic eloquence. The 14:11 musical journey fades to silence as a stunned crowd offers a delayed round of applause. It seems fitting that Charles Lloyd would end with a hometown-inspired medley, “Goin’ To Memphis\/Island Blues”. The first part is a flat-out Southern groove fest with Jarrett on lead. His depth of feeling is extraordinary. The technical agility features sudden chord changes and scintillating runs. Lloyd joins on sax as a medium-swing structure ensues. The quartet reprises “Island Blues” in a wonderful finale.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner Records has done a stellar job in re-mastering \u003cem\u003eThe Flowering \u003c\/em\u003eto 180-gram vinyl. The overall sound mix is excellent. Drums and double bass solidify the bottom end. Both tenor saxophone and flute are centered and sound crisp without any shrillness. The front cover painting (of Lloyd with a psychedelic flower Afro)  by Jacques Richez is striking and reminiscent of the era. There are no hisses or pops on the pressing. » Robbie Gerson, Audiophile Audition, Nov 21, 2019\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt might be hard to believe but there was once a jazz musician who was well known and well loved even in the global flower-power pop scene – and not just in San Francisco’s Haight Ashbury. The name was and is Charles Lloyd. He appeared in the great concert halls (e.g. Fillmore West) and skilful marketing launched his LPs into the hit parades in the Sixties. It was clear then that European festival organizers from Molde to Antibes, from San Sebastian to Warsaw battled for appearances by this legendary quartet.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn 1966 the original quartet was composed of Lloyd, Keith Jarrett, Cecil McBee and Jack DeJohnette who offered the public mixture of pop and jazz that was sometimes catchy, often ambitious and demanding, in some measure passionate, but always original. All this spiced up standard works and got the audience tapping their feet and snapping their fingers.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe present LP begins with one of these standard works, Kurt Weill’s \"Speak Low\", and thus opens our ears for 43 minutes of relaxed listening. One notices that the control has not been handed over to free jazz players of the day. The impressionist sounds of the young Keith Jarrett fit in perfectly, and Jack DeJohnette had not yet moved into the realms of Miles Davis and his electric phase. A tip for great listening is Gabor Szabo’s composition \"Gypsy 66\", which is reminiscent of their time together with the other top drummer of the day, Chico Hamilton.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eAll in all, this is a highly successful live production by Atlantic Records! (In their archives, by the way, are about a dozen unreleased Charles Lloyd recordings that are waiting to see the light of day.) In general, the present recording is rated higher than the LP \"In Europe\", because the compositions leave behind a stronger impression on the listener.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e Allmusic : 4,2 \/ 5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e4,38\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5,   \u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,64\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40399622602903,"sku":"SD 1586","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/charles-lloyd-quartet-the-flowering-audiosoundmusic-1.jpg?v=1719851457"},{"product_id":"elvin-jones-midnight-walk","title":"\u003ctranscy\u003eElvin Jones - Midnight Walk\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eElvin Jones (drums) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvin-jones\" title=\"vinyl featuring 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 featuring Elvin Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThad Jones (trumpet) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/thad-jones\" title=\"vinyl featuring Thad Jones\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/thad-jones\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Thad Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHank Mobley (tenor saxophone) \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca title=\"Vinyl featuring Hank Mobley\" href=\"https:\/\/www.audiosoundmusic.com\/fr\/collections\/hank-mobley\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/fr\/collections\/hank-mobley\"\u003e[click here to see more vinyl featuring Hank Mobley]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDollar Brand (piano), Donald Moore (bass), Steve James (electric piano), George Abend (percussion)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Arif Madin (A1), Stephen James (A2), Dollar Brand (A3), Hank Mobley (A4), Thad Jones (B1, B2), Elvin Jones (B3)\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\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\u003eStereo\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: March 1966 in New York City by Tom Dowd\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Arif Mardin\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 2019\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\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\u003eMidnight Walk\u003c\/li\u003e\n\u003cli\u003eLycra Too?\u003c\/li\u003e\n\u003cli\u003eTintiyana\u003c\/li\u003e\n\u003cli\u003eH.M. On F.M.\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eCross Purpose\u003c\/li\u003e\n\u003cli\u003eAll Of Us\u003c\/li\u003e\n\u003cli\u003eThe Juggler\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« Speakers Corner has released a 180-gram vinyl re-mastering of Jones’ seminal 1966 Atlantic recording, Midnight Walk. With an all-star ensemble (Thad Jones\/trumpet; Hank Mobley\/tenor; Dollar Brand\/piano; Donald Moore\/double bass; Steve James\/electric piano and George Abend\/percussion), the drummer leads a hard-driving post-bop celebration. Side One opens with a stirring title cut. The track kicks off with a group vamp, then Brother Thad takes the first solo. His crystalline, no-vibrato trumpet sparkles with blues intonation. Mobley adds some muscle on tenor before handing it off to Brand. His unique style appears to balance symmetrical lines with  quasi-atonal shading. Drummer Jones executes nimble drum fills before the ensemble reengages on the verse. Adding electric piano (Stephen James) brings a new element to the arrangement on “Lycra Too?”. Composer James’ intro is like pre-1970’s funk. As trumpet and sax deliver a large ensemble resonance. Jones keeps everything connected with his propulsive integrity. Thad Jones and Mobley respectively deliver saucy and textured solos. James’ groove-infused licks complement the traditional instrumental spotlight. Pianist Dollar Brand shines on his own song, “Tintiyana”. His genre-bending piano “overture” has shades of modal structure, with gospel and even classical overtones. Trumpet and sax runs are framed by a Sunday-rousing piano and ensuing solo. Jones’ inimitable polyrhythmic drumming sustains the jam with subtle tension. On Hank Mobley’s lone writing contribution, “H.M. On F.M.”, a freewheeling almost bebop feel accelerates when the trumpeter swings with passion. Mobley slides in without any break in contextual momentum. Brand’s right hand notation is stellar and bassist Donald Moore percolates as a well-timed drum solo\/break puts a definitive up tempo focus on the dynamics.\u003c\/p\u003e\n\u003cp\u003eSide Two is notable for a pair of Thad Jones compositions. On “Cross Purpose” a bop swing framework unleashes the initial trumpet solo. Jones embraces a piercing elegance in an extended run. He manages to push the instrumental tonality without any shrillness. Mobley follows suit as the piano, bass and drum encompass old school jazz manipulation. Elvin never lets up, joining the group in lockstep tempo or guiding them into new rhythmic territory. In a brilliant sequence, the drummer exchanges with his brother and Mobley with his uncanny deft timing. When everyone circles back, it is a glorious, harmonic glow. “All Of Us” is very different. There is a breezy flow as trumpet and sax gently wrap around the melody, creating a finger-snapping cool vibe. Brand’s bluesy riffs are a perfect complement. Thad is exquisite on his trumpet, masterful and exacting. Mobley is equally dexterous. They offer a certain elegance to the overall musicality. Elvin’s songwriting contribution (“The Juggler”) is like his drumming, tempo challenging and edgy. Thad distills a slow-burning intensity with soaring tonality. It is amazing how he and Mobley are able to exhibit commonality in horn and reed sounds. Brand’a unconventional piano technique (both right, hand and chords) is emotive with a bluesy swagger.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner Records has done a stellar job in re-mastering Midnight Walk to 180-gram vinyl. The overall mix is crisp and balanced. Thad Jones’ trumpet and Hank Mobley’s tenor saxophone are vibrant, front and center. The stereo separation is flawless. The glossy album reproduction and protective inner sleeve are top-notch. » Robbie Gerson, Audiophile Audition, Nov 25, 2019 \u003c\/p\u003e\n\u003cp\u003eIt was certainly a motley crew that came together with Elvin Jones, the legendary ex-Coltrane drummer, in the New York Atlantic Studio in March 1966. His trumpeter brother Thad was first class, but Dollar Brand on the piano, Don Moore on the bass and sax player Hank Mobley, who always came up as second choice behind John Coltrane? However that might be, the impulsive, forceful beat of the grand, versatile Elvin drove his musicians onwards to unknown heights. When he invited a musician into the studio, it was power more than anything that was demanded of his soloists.\u003cbr\u003eThe numbers stemmed mostly from the participating musicians, with two additions by contemporary composers in the genre.\u003c\/p\u003e\n\u003cp\u003eTwo titles in particular will ignite your enthusiasm, for the Thad Jones pieces are so good that they really should belong among the repertoire of the Thad Jones–Mel Lewis big band, years later. Thad is often highly praised for his skill as a composer and arranger, and this is the reason that he is acknowledged and honoured to this day for his part in the history of jazz. Later known as Abdullah Ibrahim, Dollar Brand’s composition is a splendidly catchy melody; quite rightly Dollar Brand often performed this number at later performances.\u003c\/p\u003e\n\u003cp\u003eIt was always a pleasure to hold an Atlantic LP in one’s hands, for they had a sturdy cover and professional, informative liner notes. The few rare original recordings, which come on the market, are a luxury one can hardly afford! That’s why you should purchase this re-release without fail when you see it. Who knows when it will be available again?\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5,  \u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e4,05\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5,  \u003cspan\u003eRate Your Music \u003c\/span\u003e:  \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,56\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40399713763479,"sku":"SD 1485","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/elvin-jones-midnight-walk-audiosoundmusic-1.jpg?v=1719851470"},{"product_id":"ray-charles-presents-david-fathead-newman","title":"\u003ctranscy\u003eRay Charles Presents David \"Fathead\" Newman\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003eRay Charles - piano \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/ray-charles\" title=\"vinyl featuring Ray Charles\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ray-charles\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Ray Charles]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Newman - alto saxophone, tenor saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBennie Crawford (baritone saxophone), Marcus Belgrave (trumpet), Edgar Willis (double bass), Milton Turner (drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003ePaul Mitchell (A1), Bennie Hank Crawford (A2, A4, B1), David  Newman (B2), Fred E. Ahlert (B3), Roy Turk (B3), Chano Pozo (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\u003eStereo\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: November 1958 at Atlantic Recording Studios, New York, by Tom Dowd\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Nesuhi Ertegun \u0026amp; Jerry Wexler\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 \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\u003eHard Times\u003c\/li\u003e\n\u003cli\u003eWeird Beard\u003c\/li\u003e\n\u003cli\u003eWillow Weep For Me\u003c\/li\u003e\n\u003cli\u003eBill For Bennie\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSweet Eyes\u003c\/li\u003e\n\u003cli\u003eFathead\u003c\/li\u003e\n\u003cli\u003eMean To Me\u003c\/li\u003e\n\u003cli\u003eTin Tin Deo\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« The talented David Newman, who alternates on this album between tenor and alto, made his debut as a leader at this session. Since he was in Ray Charles' band at the time, Newman was able to use Charles on piano along with Hank Crawford (here called \"Bennie Crawford\") on baritone, trumpeter Marcus Belgrave, bassist Edgar Willis, and drummer Milt Turner. The music is essentially soulful bebop, with the highlights including \"Hard Times,\" \"Fathead,\" \"Mean to Me,\" and \"Tin Tin Deo.\" Everyone plays well and this was a fine start to David \"Fathead\" Newman's career. This historic set was issued on CD by Collectables in 2005. » AllMusic Review by Scott Yanow\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eAtlantic Records revolutionized the music industry. Among the many achievements of the label was producing soul, jazz and r \u0026amp; b acts. By 1958, they were the second largest jazz label with acts like John Coltrane, Charles Mingus, Les McCann and Herbie Mann. But Atlantic was instrumental in combining jazz with rhythm and blues. Perhaps the greatest purveyor of this genre was Ray Charles. Texan saxophonist David “Fathead” Newman was influenced by jump blues (Louis Jordan). He teamed with Charles in 1951 and became a staple of the orchestra. His 8 and 12-bar solos (“Lonely Town”, “Swanee River Rock”, “The Right Time” and “Unchain My Heart”) became synonymous with Charles’ Atlantic sound. Newman’s instinctive chops would elevate him beyond the status of sideman and soloist. Over his career, he recorded 38 albums as a bandleader. He scored films and did session work for a veritable “who’s who” of jazz, r \u0026amp; b, rock and pop artists.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has released a re-mastered 180-gram vinyl of Newman’s debut album. Ray Charles Presents Fathead Newman is stellar with an all-star group of musicians (Ray Charles\/piano; Bennie Crawford\/baritone saxophone; Marcus Belgrave\/trumpet; Edgar Willis\/ double bass; Milton Turner\/drums) that provides 37 minutes of soulful jazz exuberance. Engineered by stereo pioneer Tom Dowd, this is Atlantic fidelity at its finest. Side One opens with Paul Mitchell’s “Hard Times” as pianist Ray Charles’ bluesy intro leads into the easy swing of this Bennie Crawford arrangement. Newman leads on alto with a saucy vamp and takes the first solo with soulful articulation. Charles is eloquent on piano with expressive right hand notation. Marcus Belgrave adds some flair on trumpet before the ensemble returns. Crawford (who arranged six of the eight tracks) embraces a larger Cannonball Adderley “Work Song” vibe on “Weird Beard”. In succession, Newman (on tenor) and Crawford distill the muscular, “blue soul” essence of jazz. Belgrave contributes a pointed run before Charles lays down some precise riffs that are reminiscent of Count Basie phasing. After a very brief stride piano, Newman delivers a poignant late-night moody alto sax on “Willow Weep For Me”. His use of vibrato is compelling. Belgrave follows with flowing agility as Charles takes over the chorus. The sextet picks it up considerably on the jump swing opus, “Bill For Bennie”. The staccato dynamics include saxophone\/trumpet counterpoint and a ravishing solo by Crawford.\u003c\/p\u003e\n\u003cp\u003eSide Two easily maintains the artistic momentum. A unison lead kicks off ”Sweet Eyes” (a third Crawford song). This jam is more jump\/jazz and Newman just swings on tenor. Crawford and Belgrave add grit to their solos and Brother Ray excels on a bop-like piano run. “Fathead” (written and arranged by Newman) is a walk on the wilder side of r \u0026amp; b jazz. Drummer Milton Turner owns the crisp tempo breaks staying in lockstep with double bassist Edgar Willis. Charles stretches out on his solo, but like the other soloists, mangos to operate in the overall group context. It would be nice to hear him in a trio setting. “Mean To Me’ has been a slower, emotional torch song, but Charles’ arrangement is up tempo. Fathead glides along on alto with tonal fluidity. Belgrave’s run is snappy and rythmic, while Crawford deepens the atmosphere with low-end baritone sax. Charles’ solo coyly touches on “Makin’ Whoopie”. The finale “Tin Tin Deo” is a Latin groove fest with Charles and Turner carving out a fiendishly, hypnotic beat.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has done a masterful job in re-mastering Fathead: Ray Charles Presents David Fathead Newman to audiophile vinyl. The stereo separation is flawless with saxes and trumpet on left speaker and the rhythm section on the right. Baritone and tenor saxophone are captured with thickness and the alto’s elasticity is pushed, but never shrill. The liner notes are incisive and there is a plethora of technical recording data. » Robbie Gerson, Audiophile Audition, Jul 16, 2019\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt is easy to believe that both jazz and rhythm ’n’ blues fans waited longingly for this Atlantic LP. For Ray Charles, later called the ‘King of Soul’, the Ertegun brothers, highly acclaimed producers in the early days of LPs in these particular genres, were the catalysts for his creativity. In Charles’s band at the time of his first live recording, in Newport in 1958, the head of the red-hot wind group was a certain David ‘Fathead’ Newman. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe eight numbers on the LP with its early, green stereo label all came from the repertoire of the Ray Charles Band, whereby they are enhanced here through long improvisations without vocals and gain in piquancy and a real jazz feeling. Luckily there was no commercial pressure on Ray Charles so that he could concentrate completely on his piano playing and perform outstanding solos. But the blues were not neglected either: ‘Fathead’ plays in the minor key. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAnd one can only agree with the author of the liner notes when he picks out \"Hard Times\" as being the absolute highlight on the LP. But it must be added that the other numbers are no less good. And that’s why the purchase of this re-release of an early Atlantic recording is highly recommended.\u003c\/span\u003e\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,  \u003cspan\u003eDiscogs :  \u003c\/span\u003e\u003cspan\u003e4,14\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5,  \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":40399765012631,"sku":"SD 1304","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/ray-charles-presents-david-fathead-newman-audiosoundmusic.jpg?v=1719851470"},{"product_id":"the-max-roach-trio-featuring-the-legendary-hasaan","title":"\u003ctranscy\u003eThe Max Roach Trio Featuring The Legendary Hasaan\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHasaan Ibn Ali (piano)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eArt Davis (bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMax Roach (drums) \u003ca title=\"Vinyl featuring Max Roach\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/max-roach\" data-mce-fragment=\"1\" target=\"_blank\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/max-roach\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Max Roach]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Hasaan Ibn Ali\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\u003eStereo\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: December 1964 in New York by Tom Dowd\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Arif Mardin\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1965\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 :\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThree-Four Vs. Six-Eight Four-Four Ways\u003c\/li\u003e\n\u003cli\u003eOff My Back Jack\u003c\/li\u003e\n\u003cli\u003eHope So Elmo\u003c\/li\u003e\n\u003cli\u003eAlmost Like Me\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDin-Ka Street\u003c\/li\u003e\n\u003cli\u003ePay Not Play Not\u003c\/li\u003e\n\u003cli\u003eTo Inscribe\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« Pianist Hasaan Ibn Ali only made one recording in his life, this trio set with drummer Max Roach and bassist Art Davis. A very advanced player whose style fell somewhere between Thelonious Monk and Cecil Taylor (with hints of Herbie Nichols), Hasaan actually had a rather original sound. His performances on his seven originals here are intense, somewhat virtuosic and rhythmic, yet often melodic in a quirky way. This is a classic of its kind, and it's a tragedy that Hasaan would not record again and would soon sink back into obscurity. » AllMusic Review by Scott Yanow\u003cbr\u003e\u003cbr\u003e« From time to time in jazz history, individual performers appear, and like shooting stars, flame out with little or no trace of their time in the jazz world. Hasaan Ibn Ali ( who will simply be referred to as Hasaan in this review) is clearly one of them.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eAlthough stories have surfaced about Hasaan’s time and influence on the Philadelphia jazz scene and some of its notable names ( John Coltrane\/Odean Pope\/Benny Golson), his only tangible output is this terrific audiophile reissue on 180 gram vinyl LP by Speakers Corner of the 1964 Atlantic Records album The Max Roach Trio featuring the legendary Hasaan.\u003c\/p\u003e\n\u003cp\u003eThese seven tracks contain some forty plus minutes of Hasaan compositions, and represents everything he consigned to printed music. However, some sources suggest that the Library of Congress in Washington DC, houses a Hasaan solo piano recording from 1964, the exact contents of which are not known.\u003c\/p\u003e\n\u003cp\u003eAs for Hasaan’s pianistic style, it can be percussive, cluttered, and filled with dissonant chords reminiscent of Thelonious Monk, or Cecil Taylor or Herbie Nichols. Although Hasaan himself attaches his style closer to that of Elmo Hope, which in Alan Sukoenig fine liner notes on this album, quotes Hasaan referring to Hope as “his artship”.\u003c\/p\u003e\n\u003cp\u003eHence Hasaan’s  dedicated composition “Hope So Elmo” which is a ballad full of resonant chords and is supported by bassist Art Davis in full arco mode interspersed with some plucking all in a very dark tone. Roach lays out on this track.\u003c\/p\u003e\n\u003cp\u003eAnother defining feature of Hasaan’s playing is his fingering which is blindingly fast and complex. The composition “Almost Like Me” is filled with such demonstrations especially in his exchange of fours with Roach.\u003c\/p\u003e\n\u003cp\u003eSide Two has three tracks; “Din-K A Street”, “Pay Not Play Not” and “To Inscribe”. Throughout these tracks one can hear a pianist who is on a completely different plane than most other players as he lays down chord structures that don’t fall within established norms. So if the listener is willing to make a commitment to the music, there is a reward as Hasaan has developed a unique harmonic sense, and his opaque expressions will deliver chills.\u003c\/p\u003e\n\u003cp\u003eA pianist’s life work in a singular recorded document. » Pierre Giroux, Audiophile Audition, Jul 1, 2019\u003cbr\u003e\u003cbr\u003eHardly any other musician has released so little as Hasaan Ibn Ali, born William Henry Langford Jr., in 1931, who died in 1980. Just seven titles in all are his complete output, all of which he composed himself, all of them on the present Atlantic LP, and all recorded in December 1964. The saxophonist Odean Pope, who often practised with him, talks of a second recording session in 1965 for Atlantic, but the recordings were never released because Hasaan was sent to jail shortly afterwards; rumour has it that the tapes were destroyed in a fire – and it might well be that recordings with John Coltrane still exist somewhere or other.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eUntil then, one should enjoy the Max Roach Trio with Art Davis on the bass to the full. We have here a recording that will astound and fascinate your ears with its originality. A first impression conjures up reminiscences of Cecil Taylor and Herbie Nichols, while Hasaan himself talks of the pianist Elmo Hope as the man who brought him closer to the 'mystery of music'. When asked how the recording session with maestro Max Roach went, Hasaan said: \"They scared me to death\".\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAccording to Odean Pope, Hasaan was not an easy person to get on with, and he was convinced of his talent to the point of arrogance. But despite this – or perhaps because of this – one listens spellbound to the 40 minutes on this LP, a legacy and never-fulfilled promise of an extremely talented man. We are indebted to Max Roach, who persuaded the bosses of Atlantic Records to make these recordings. For many, many years they had vanished from the record market, but fortunately they are now available as an audiophile re-release to be listened to and admired.\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\u003e4,56\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5,  \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:  \u003cspan\u003e3,78\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40399809544343,"sku":"SD 1435","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-max-roach-trio-featuring-the-legendary-hasaan-audiosoundmusic-1.jpg?v=1719851470"},{"product_id":"weather-report-live-in-tokyo","title":"\u003ctranscy\u003eWeather Report - Live In Tokyo (2LP)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWayne Shorter (ss, ts) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/wayne-shorter\" title=\"vinyl featuring Wayne Shorter\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/wayne-shorter\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Wayne Shorter]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMiroslav Vitous (b, el-b)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJoe Zawinul (p, el-p)\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e; Eric Gravatt (dr); Don Um Romao (perc)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Miroslav Vitous (A1), Joe Zawinul (A1, B1, C1, D2), Wayne Shorter (B1, D1, D2),\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold sleeve, insert\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\u003eStereo\u003c\/strong\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 :  Sony Music\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: January 1972 at Shibuya Philharmonic Hall, Tokyo, by Susumu Satoh\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Kiyoshi Itoh\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1972\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2019\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\u003eMedley: Vertical Invader \/ Seventh Arrow \/ T.H. \/ Doctor Honoris Causa\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMedley: Surucucu \/ Lost \/ Early Minor \/ Direction\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eOrange Lady\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMedley: Eurydice \/ The Moors\u003c\/li\u003e\n\u003cli\u003eMedley: Tears \/ Umbrellas\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eReviews :\u003c\/p\u003e\n\u003cp\u003e« While side two of I Sing the Body Electric gives us heavily edited glimpses of Weather Report as heard live in Tokyo, this two-disc Japanese import contains entire group ensembles from that concert -- and as such, it is a revelation. Now we can follow the wild, stream-of-consciousness evolution of early Weather Report workouts, taking the listener into all kinds of stylistic territory -- from Joe Zawinul's lone acoustic piano to dissonant free form and electronic explosions -- with lots of adjustments of tempo and texture. The pulse of jazz is more evident in their work here than on their American albums, and the example of Miles Davis circa the Fillmore concerts directs the fierce interplay. In his subsequent recordings with Weather Report, and as a leader, Wayne Shorter would rarely equal the manic intensity he displayed in Tokyo. All of the music is encapsulated in five lengthy \"medleys\" of WR's repertoire, three of which contain elongated versions of themes from the group's eponymously titled debut album from 1971. This would be the radical apogee of Weather Report on records, though they could retain this level of fire in concert for years to come. » AllMusic Review by Richard S. Ginell\u003cbr\u003e\u003cbr\u003eDo you remember what you did you on the evening of 13 January 1972? A multitude of Japanese jazz lovers walked or drove to the grand Shibuya Public Hall in Tokyo where they enjoyed a veritable firework display of a concert, which was – without exaggeration – a milestone in the history of jazz. The technicians from the Japanese subsidiary of Columbia, Sony, had placed their microphones and tape machines with great care and captured this memorable concert live.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTwo of the numbers had already been recorded in New York with the same group of musicians for the album \"I Sing The Body Electric\". But to experience Weather Report live with this ensemble was only granted to the enthusiastic Japanese jazz fans.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThe concert programme consisted of long medleys composed by Wayne Shorter and Joe Zawinul, which were dissected and put together again with interplay between the rhythm group and the soloists. Wayne Shorter, who plays the tenor and soprano saxophone and the virtuoso Joe Zawinul, who loved to alternate between the acoustic and electric piano, were quite rightly awarded with frenetic applause from the audience.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe most recognizable numbers are probably \"Doctor Honoris Causa\", (which Cannonball Adderley also often liked to perform this in public), and \"Directions\" (just listen once again to the version which Wayne Shorter recorded with Miles Davis!).\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMost of today’s vinyl fans will have missed out on the tour back then. That’s why it is especially pleasing that this live event is available once again as a vinyl double album. And what is more: one can enjoy an enhanced sound thanks to the superb reproduction techniques of the 21st century.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRatings : \u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5 , \u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,49\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\u003e3,84\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40399867707543,"sku":"SOPJ 12~13-XR","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/weather-report-live-in-tokyo-2lp-black-vinyl-audiosoundmusic-1.jpg?v=1719851470"},{"product_id":"milt-jackson-ballads-blues","title":"\u003ctranscy\u003eMilt Jackson - Ballads \u0026 Blues (Mono) \u003c\/transcy\u003e","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":"the-mahavishnu-orchestra-birds-of-fire","title":"\u003ctranscy\u003eThe Mahavishnu Orchestra - Birds Of Fire\u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn McLaughlin - guitar \u003cspan data-mce-fragment=\"1\"\u003e\u003ca data-mce-fragment=\"1\" title=\"vinyl featuring john mclaughlin\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-mclaughlin\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring John McLaughlin]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJerry Goodman (violin), Jan Hammer (keyboards, synthesizer), Rick Laird (bass), Billy Cobham (drums, percussion)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by John McLaughlin, except B3 written by Bob Brookmeyer and John McLaughlin\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\u003eStereo\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: August 1972 at Trident Studios, London, by Ken Scott and CBS-Studios, New York, by Jim Green\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: The Mahavishnu Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1973\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. Birds Of Fire\u003c\/p\u003e\n\u003cp\u003e                2. Miles Beyond\u003c\/p\u003e\n\u003cp\u003e                3. Celestial Terrestrial Commuters\u003c\/p\u003e\n\u003cp\u003e                4. Sapphire Bullets Of Pure Love\u003c\/p\u003e\n\u003cp\u003e                5. Thousand Island Park\u003c\/p\u003e\n\u003cp\u003e                6. Hope\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp\u003e                1. One Word\u003c\/p\u003e\n\u003cp\u003e                2. Sanctuary\u003c\/p\u003e\n\u003cp\u003e                3. Open Country Joy\u003c\/p\u003e\n\u003cp\u003e                4. Resolution\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Emboldened by the popularity of Inner Mounting Flame among rock audiences, the first Mahavishnu Orchestra set out to further define and refine its blistering jazz-rock direction in its second -- and, no thanks to internal feuding, last -- studio album. Although it has much of the screaming rock energy and sometimes exaggerated competitive frenzy of its predecessor, Birds of Fire is audibly more varied in texture, even more tightly organized, and thankfully more musical in content. A remarkable example of precisely choreographed, high-speed solo trading -- with John McLaughlin, Jerry Goodman, and Jan Hammer all of one mind, supported by Billy Cobham's machine-gun drumming and Rick Laird's dancing bass -- can be heard on the aptly named \"One Word,\" and the title track is a defining moment of the group's nearly atonal fury. The band also takes time out for a brief bit of spaced-out electronic burbling and static called \"Sapphire Bullets of Pure Love.\" Yet the most enticing pieces of music on the record are the gorgeous, almost pastoral opening and closing sections to \"Open Country Joy,\" a relaxed, jocular bit of communal jamming that they ought to have pursued further. This album actually became a major crossover hit, rising to number 15 on the pop album charts, and it remains the key item in the first Mahavishnu Orchestra's slim discography. » AllMusic Review by Richard S. Ginell\u003c\/p\u003e\n\u003cp\u003e« English guitarist John McLaughlin has often been described as a guitarist’s guitarist. Players like Pat Metheny and Jeff Beck have referred to him as the greatest living guitarist. His uncanny mix of highly charged electric guitar and fusion incorporated Indian classicism, Western classical music, psychedelic blues, flamenco, and jazz is unique. McLaughlin first came to prominence as a member of Miles Davis’ band, with credits on In A Silent Way, Bitches Brew, On The Corner, Big Fun and A Tribute To Jack Johnson. His solo debut, Devotion (1970) featured Larry Young, Buddy Miles and Billy Rich, setting in motion the template for amplified fusion. In the early 1970’s McLaughlin assembled the first incarnation of his renowned band The Mahavishnu Orchestra. With Jerry Goodman (The Flock) on violin, Rick Laird (Brian Auger Trinity) on bass, Jan Hammer (Keith Jarrett) on keyboards and r \u0026amp; b legend Billy Cobham on drums, Mahavishnu Orchestra exploded onto the scene with their 1971 release The Inner Mounting Flame. This was followed by the unexpectedly successful (first jazz rock instrumental to make it into Billboards Top 20 rock albums) Birds Of Fire in 1973. The volatility of the musical genre-bending quintet was evident in their musical exploration and band dissension. Regarded as the quintessential lineup (there were various changes throughout the years), the unbridled passion and ferocity of this band had a huge impact on the 70’s music scene.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has reissued a 180-gram vinyl of Birds Of Fire. The sonic intensity and improbable genre blending is as compelling now as it was 45 years ago. Side One opens with the title track ushered in by a simple gong. McLaughlin and Goodman set up a deep groove as J.M. unleashes a piercing, high-volume solo. Cobham, Hammer and Laird propel this visceral jam and it is sublimely relentless. Goodman offers a counterpoint. The fusion-based tempo is hypnotic. The tribute to jazz icon Miles Davis (“Miles Beyond”) is a groove-fest. Hammer lays down soulful hooks on electric piano as the band enters in full, cohesive mode. Goodman pushes the electric tonality of his violin on the first verse. Eventually, McLaughlin unleashes a concise “machine gun” guitar solo. This fusion-tempo discourse continues on “Celestial Terrestrial Commuters” with Hammer on Moog synthesizer and electric piano. Goodman and especially McLaughlin cut loose with dynamic abandon.\u003c\/p\u003e\n\u003cp\u003eFollowing a quirky 25 second electronic interlude (“Sapphire Bullets Of Love”), McLaughlin showcases his fluency on classical guitar with a brilliant performance (“Thousand Island Park”). Accompanied by Hammer on piano, the guitarist is nothing short of virtuosic as he infuses pastoral, folk elegance. There is inherent spirituality with Mahavishnu Orchestra. :”Hope” a brief (2:00) piece has repeat chord progression that fills the ears with a swirling aspiration. Side Two returns to the hard-driving energy. In the nearly 10 minute opus “One Word”, Cobham leads the group with a propulsive drum. A rare solo by Baird at the 1:42 mark is surrounded by jagged electric guitar and Fender Rhodes shading. Then scorching effects-laden runs by McLaughlin and Goodman are alternated and done in counterpoint. Cobham’s extended solo is monumental, leading into an explosive finish. As if to allow the listener to catch a breath, the atmospheric “Sanctuary” feels like an electric meditation with an Indian-influenced melody. There are spacey keyboards and the rolling flow is mesmerizing. In stark contrast, “Open Country Joy’ is playful for the opening minute. But McLaughlin, backed by a funk rock groove erupts in a searing guitar solo. The eventual return to country roots showcases Goodman’s lyrical “fiddle” techniques. “Resolution” is a two-minute capsule of the chord modulating fusion that epitomizes this band.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has done justice to this seminal recording. The sonic explosiveness of McLaughlin’s guitar is captured in all it’s distorted glory. To fully appreciate the Birds Of Fire vinyl upgrade, listening to it at increased volume with superior headphones is recommended. The ear-splitting, incendiary power of this band (and of course McLaughlin’s guitar) is spellbinding. » Robbie Gerson, Audiophile Audition, Apr 16, 2019\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOf the three 'incarnations' by the spiritually inspired Mahavishnu Orchestra, the first is the most full-bodied. The enlightened John McLaughlin and his musicians were immortalized through their début album \"The Inner Mounting Flame\", which was included in the list of the 100 Best Jazz Albums; a short time later they recorded their highly concentrated studio compilation \"Birds Of Fire\". \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLong before today’s saleably labelled World Music, the quintet set the standards for a meaningful amalgamation of dynamic rock with complex Indian rhythms and occidental conventions. Already in the title piece, the musicians combine a sharpened Hendrix style with expansive melodies, and with smacking grooves and fine riffs draw all that is grand in jazz (\"Miles Beyond\") into the musical centre. With almost chamber-music-like density, \"Thousand Island Park\" blossoms out in soft colours, whilst as a contrast unremittingly flowing cascades in \"Hope\" search desperately for their destination.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt is thrilling how finely weighed patterns (\"One Word\") escalate to techno-like violin playing and how the listener is invited to take part in an inner procession in the following \"Sanctuary\". After such soaring heights, we are brought back to earth with a familiar funky sound in a popular, pastoral vein (\"Open Country Joy\") before taking off abruptly once again: in the final piece, \"Resolution\" with its slowly rising carpets of sound, all that is sublime in New Music conquers over world cultures.\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\u003e4,28\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\u003e3,84\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40399929344151,"sku":"KC 31996","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-mahavishnu-orchestra-birds-of-fire-audiosoundmusic-1.jpg?v=1719851485"},{"product_id":"brother-jack-mcduff-tobacco-road","title":"\u003ctranscy\u003eBrother Jack McDuff - Tobacco Road\u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLoyal J. Gresham (bass : A1, A2, A5), Robert Guthrie (drums : A1, A2, A5, B2), Roland Faulkner (guitar : A1, A2, A5, B2), Bobby Christian (Percussion, Vibraphone : A1, A2, A5, B2), Lonnie Simmons (Baritone Saxophone : A1, A2, A5, B2), Red Holloway (Tenor Saxophone : A1, A2, A5, B2), John Watson (Trombone : A1, A2, A5, B2), Fred Berry (Trumpet : A1, A2, A5, B1), King Kolax (Trumpet : A1, A2, A5, B1), Joe Dukes (Drums : A3, A4, B1, B3, B4), Calvin Green (Guitar : A3, A4, B3, B4), Danny Turner (Saxophone, Flute : A3, A4, B1, B3, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by Jack McDuff (A3, A4, B1, B3, B4), conducted and arranged by J.J. Jackson (A1, A2, A5, B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Rudolph Toombs (A1), John Loudermilk (A2), Johnny Mandel (A3), Paul Francis Webster (A3), Jack McDuff (A4, B4), Bob Dylan (A5), Johnny Mercer (B1), Ziggy Elman (B1), John Watson (B2), Irving Berlin (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\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\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\u003eStereo\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\u003cbr\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\u003eRecorded in August 1966 at Chess Studios, Chicago\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduced by Lew Futterman\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1967\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued Jan 2019\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\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\u003eTeardrops From My Eyes\u003c\/li\u003e\n\u003cli\u003eTobacco Road\u003c\/li\u003e\n\u003cli\u003eThe Shadow of Your Smile\u003c\/li\u003e\n\u003cli\u003eCan't Get Satisfied\u003c\/li\u003e\n\u003cli\u003eBlowin' In The Wind\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAnd The Angels Sing\u003c\/li\u003e\n\u003cli\u003eThis Bitter Earth\u003c\/li\u003e\n\u003cli\u003eAlexander's Ragtime Band\u003c\/li\u003e\n\u003cli\u003eWade In The Water\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« Brother Jack McDuff recorded an enormous number of albums during the '60s, so it can be difficult to figure out where to start digging a little deeper into his output (which Hammond B-3 fans will definitely want to do). 1967's Tobacco Road stands out from the pack for a couple of reasons. First, unlike many of his groove-centric albums, it's heavy on standards and pop\/rock tunes (seven of nine cuts), which make for excellent matches with McDuff's highly melodic, piano-influenced style. What's more, about half of the album finds McDuff leading a large ten-piece ensemble arranged and conducted by J.J. Jackson, including a soulful horn section that sounds straight out of Memphis or Muscle Shoals (though this was recorded at Chess studios in Chicago). McDuff himself handles the arrangements on the rest of the material, which is done in a guitar\/sax\/drums quartet. The LP's style is fairly unified, though -- no matter what format, the tunes are given fantastically funked-up treatments that sound surprisingly natural. And these aren't grooves where everyone just settles back and stays in the pocket; McDuff attacks the arrangements with wildly funky rhythms and solos, and there's a polyrhythmic sense of interplay that recalls the best Southern soul. Arguably the most distinctive track is a cool, grooving quartet version of \"The Shadow of Your Smile,\" complete with snaky bassline and airy flute solos from Danny Turner. Unfortunately, none of the tracks are all that long, in keeping with the jukebox\/radio orientation of McDuff's Atlantic period, but that won't prevent soul-jazz fans from thoroughly enjoying Tobacco Road. » AllMusic Review by Steve Huey \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Imitation, assimilation, innovation.\" With these three words the great Clark Terry summed up the art of leaning musical improvisation. Salvador Dalí, the artist who melted time in his colourful and bizarre works, stated radically that a person who didn’t want to copy others would never manage to accomplish anything at all. Brother Jack McDuff did plenty of copying and refined the good old standards on his \"Tobacco Road\" and made them blossom anew. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJack taught himself to play the organ and went on to transform the popular melody \"Alexander’s Ragtime Band\" into what one might call roughened up ball house jazz, were it not for the contrary saxophone, which soars over rasping organ clusters. For Brother Jack such spiritual sounds as in \"And The Angels Sing\" and his somewhat slanted version of the musing, dreamy \"Wade In The Water\" were an absolute must. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt really rocks in \"Can’t Get Satisfied\", a gospel-like and delicately instrumentalised version of the blues evergreen. The organ does not necessarily always have the last word in this colourful mixture, but it is always very present as regards the sound and the distribution of the parts. And just once does McDuff let the instrument sing out on its glassy top register in \"The Shadow Of Your Smile\".\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 ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e4,15\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  ,   \u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,46\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40399956902039,"sku":"SD1472","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/brother-jack-mcduff-tobacco-road-audiosoundmusic-1.jpg?v=1719851485"},{"product_id":"lee-konitz-with-warne-marsh","title":"\u003ctranscy\u003eLee Konitz with Warne Marsh (Mono)\u003c\/transcy\u003e","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":"herbie-mann-at-the-village-gate","title":"\u003ctranscy\u003eHerbie Mann at The Village Gate\u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHerbie Mann (flutes) \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"Vinyl featuring Herbie Mann\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/herbie-mann\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/herbie-mann\"\u003e[click here to see more vinyl featuring Herbie Mann]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHagood Hardy (vibraharp), Ahmad Abdul-Malik (bass), Ray Mantilla (conga, percussion), Chief Bey (African drum, percussion), Rudy Collins (drums), Ben Tucker (bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Ben Tucker (A1), DuBose Heyward (A2), George Gershwin (A2, 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\u003eStereo\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: November 1961 live at The Village Gate, New York City by Tom Dowd \u0026amp; Phil Lehle\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 1966\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\u003eTracks : \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Comin' Home Baby\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Summertime\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e1. It Ain't Necessarily So\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« At the Village Gate is the album that first brought Herbie Mann to widespread popular attention, thanks to the inclusion of \"Comin' Home Baby,\" which soon became one of the flautist's signature songs. By the time of the record's release in 1962, however, Mann had already been a bandleader for years, honing his pioneering blend of Afro-Cuban and Brazilian music with hard bop's funky structures just under the public radar. As a result, At the Village Gate sounds more like a summation than a beginning. The nearly 40-minute album is a mere three tracks long, with an epic 20-minute version of \"It Ain't Necessarily So\" taking up the entirety of the second side of the original vinyl. The highlight, however, is a stunning take on the standard \"Summertime,\" one that turns the Gershwin tune into an easy swinging, proto-bossa nova song that features a glorious extended solo by Mann over a conga beat. In its way, it's just as revelatory as Miles Davis' better-known recasting of the tune. » AllMusic Review by Rovi Staff\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« Jazz flautist’s electrifying 1961 performance gets a wonderful vinyl upgrade.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eHerbie Mann’s musical career lasted for five decades. The New York native was primarily a bop flutist, but also played saxophone and clarinet. In the late 1950’s, Mann toured Africa and recorded two albums of Afro-Cuban jazz, Flautista! and Herbie Mann’s African Suite both in 1959. He was an early collaborator with Antonio Carlos Jobim and Baden Powell, helping to popularize the emerging bossa nova movement. This amalgam of jazz and world music became his calling card. In 1969, Mann migrated to a more contemporary sound on 1969’s Memphis Underground. While his jazz purist credentials were questioned, he was now recording with modern crossover artists, including Duane Allman, Cissy Houston, Larry Coryell, Donald “Duck” Dunn, Chuck Rainey, Al Jackson Jr. and Bernard Purdie. This new approach, infused elements of Southern soul, reggae, rock, blues and soul. Uniting the context for these oddly fitting styles was a dependence on a common denominator…the groove! In a rarity, Herbie Mann had several pop hits and charted 25 albums on the Billboard Top 200. In the 70’s he founded his own label, Embryo and produced albums for Phil Woods and Ron Carter. He later played flutes with The Bee Gees on Spirits Have Flown, and recorded with Sterolab. Mann kept active on the traditional jazz circuit with Chet Baker, Count Basie, Hank Jones, Michel Legrand and Carmen McCrae. He produced nearly 80 albums as a leader.\u003c\/p\u003e\n\u003cp\u003eAs with many jazz musicians, live albums seem to offer a better showcase for a band leader. Speakers Corner has released a re-mastered 180-gram vinyl upgrade to the 1961 live album, Herbie Mann – At The Village Gate. With a strong rhythm section (drums, double bass, percussion, drums), Mann incorporates the tempos with his inimitable flute artistry. The performance consists of only three songs, but the dynamics of live performance seems to elevate this flautists and his talented group. Side One opens with a smart little blues groove (“Comin’ Home Baby”) that the drums, percussion and double bass initiate. Mann intones his customary jazzy coolness on the “C” flute. He is joined by Canadian Hagood Hardy on vibraharp. The infectious tempo complements Mann’s first extended solo. His command of the instrument is flawless. Hardy also solos, and the fusion of global rhythms (Abdul-Malik\/bass; Chief Bay\/percussion; Rudy Collins\/drums) is palpable. Composer Ben Tucker solos as he is backed by a second double bass (Abdul-Malik) and drum. On the final verse, Mann is joined by vibraharp with a subtle descant before a slow fade. At 8:37, it is the shortest cut on the album.\u003c\/p\u003e\n\u003cp\u003eTwo Gershwin selections from Porgy And Bess round out the set. The eternal jazz and pop standard, “Summertime” is introduced by an atmospheric resonance (vibraharp. double bass and percussion). Mann’s first solo inhabits the evocative melody with nuanced lyricism. There is an overall Latin (almost like a cha-cha) beat, but with a touch of African cadence. On the second verse, Mann is more forceful. His ability to pivot from melodic interpretation to jazz improvisation is impressive. A second solo has a swaying wistfulness with single-note punctuation. Side Two consists of a twenty minute jam of “It Ain’t Necessarily So”. In a musical with many show-stoppers, this one could be Gershwin’s most creative. The ensemble gets this moving with a syncopated repeat framed by percussion, tambourine and vibraharp. The winding melodic progression is timeless and jazzy. It is set off by an African beat with a relentless pulse. Mann’s flute solo is very extended (even by jazz standards). He navigates through the complex harmonics with precision and flourishes. After a round of well-deserved applause, Hardy jumps in with a gliding run. He is followed by Abdul-Malik’s abstract plucking solo against percussion. Mann is comfortable letting the band do their thing. A great drum solo with some added touches of percussion is noteworthy. As Mann returns to the verse, the side-long exploration winds to a close. There is a feel of primitive and sophisticated nuances in the arrangement.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner’s 180-gram upgrade is top-notch. The overall mix is strong, especially on the bottom end with the rhythm section. Stereo separation is very good (considering the “vintage” era of this recording). A listener can hear the glowing echo of the vibraharp and the crispness of Mann’s “C”. Even the drums (including the African drum) are distinct and not lacking in prominence. Martin Norman and Bob Slutzky’s stunning modernistic cover is eye-catching in 12” format. Liner notes from Willis Conover are incisive and amusing. There is also a technical reference to listeners about observing the R.I.A.A. high frequency roll-off characteristic with a 500 cycle crossover. » Robbie Gerson, Audiophile Audition, Mar 8, 2019\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\"Comin’ Home Baby\" – that’s how the LP begins and that’s what catapulted it right into the charts. Not to one of the top places, but from this time on Herbie Mann was one of the superstars in Atlantic’s collection of jazz musicians. He was known as 'our man with the flute', and the critics in the early Sixties were full of praise for him. He became even more famous, and probably richer, through soundtracks and later on sometimes rather commercialised productions. Well, good for him.\u003cbr\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\u003cspan\u003e'The Man' serves up jazz pure on this recording, made live at the legendary Village Gate club, which is no wonder considering the rhythm group that includes Ahmad Abdul-Malik and Rudy Collins. The composer of \"Comin’ Home Baby\", Ben Tucker, also makes an appearance as a guest soloist before the two Gershwin numbers from \"Porgy And Bess\" offer a wealth of rhythm pure.\u003cbr\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\u003cspan\u003eOn the cover text of the LP, Willis Conover, who hosted the Newport Jazz Festival as a sideline (older jazz fans will know his baritone voice from AFN broadcasts), describes in detail the ethnic background of the musicians who come from all over the world – from Romania to Puerto Rico. The three numbers are by no means commonplace. Perhaps a tasty flute cocktail would be a good description. This true rarity from Atlantic’s treasure trove in the early Sixties has long been marked down on the wish list of many fans and at long last it’s available again.\u003cbr\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\u003cspan\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003cbr\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\u003cspan\u003e\u003cspan\u003eAllMusic : 4.5 \/ 5  ,    \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:  \u003cspan\u003e4,48\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 ,  \u003cspan\u003eRate Your Music \u003c\/span\u003e:  \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,77\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\n\u003c\/div\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40400010969239,"sku":"SD 1380","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/herbie-mann-at-the-village-gate-audiosoundmusic-1.jpg?v=1719851485"},{"product_id":"paul-desmond-easy-living","title":"\u003ctranscy\u003ePaul Desmond - Easy Living\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003ePaul Desmond - alto saxophone \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-desmond\" title=\"vinyl featuring Paul Desmond\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-desmond\"\u003e[click here to see more vinyl featuring Paul Desmond]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Jim Hall (guitar) \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jim-hall\" title=\"vinyl featuring Jim Hall\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/jim-hall\"\u003e[click here to see more vinyl featuring Jim Hall]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGene Wright, Gene Cherico, Percy Heath (bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eConnie Kay (drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Jack Segal (A1), Robert Wells (A1), Lew Brown (A2), Sammy Fain (A2), Johnny Burke (A3, A4), James Van Heusen (A3, A4), Ralph Rainger (B1), Leo Robin (B1), Alan Jay Lerner (B2), Frederick Loewe (B2), Lorenz Hart (B3), Richard Rodgers (B3), Paul Desmond (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\u003eStereo\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 class=\"production_info\"\u003e\u003cstrong\u003eRecording: June 1963, July and September 1964, June 1965 at RCA Studio, New York City by \u003c\/strong\u003e\u003cstrong\u003e\u003cspan\u003eRay Hall\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eProduction: George Avakian\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1966\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 class=\"production_info\"\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"production_info\"\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWhen Joanna Loved Me\u003c\/li\u003e\n\u003cli\u003eThat Old Feeling\u003c\/li\u003e\n\u003cli\u003ePolka Dots And Moonbeams\u003c\/li\u003e\n\u003cli\u003eHere's That Rainy Day\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEasy Living\u003c\/li\u003e\n\u003cli\u003eI've Grown Accustomed To Her Face\u003c\/li\u003e\n\u003cli\u003eBewitched\u003c\/li\u003e\n\u003cli\u003eBlues For Fun\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« As the Paul Desmond\/Jim Hall quartet's recording activities gradually came to a halt by 1965, RCA Victor assembled the remains of a number of their later sessions into one last album. These are anything but leftovers, however -- indeed, they constitute the best Desmond\/Hall album since Take Ten, more varied in texture and mood, and by and large more inspired in solo content, than Bossa Antigua and Glad to Be Unhappy. As a near-ideal example of this collaboration at its intuitive peak, \"Polka Dots and Moonbeams\" opens with Hall paraphrasing the tune, and Desmond comes in on the bridge with a perfectly timed rejoinder that sounds as if he's asking a question. \"Here's That Rainy Day\" is another apt match of a standard to Desmond's sophisticated personality; he is at his dry, jaunty best on the uptempo \"That Old Feeling\"; and both have a ball jamming on the blues in Desmond's wry, quick \"Blues for Fun.\" » AllMusic Review by Richard S. Ginell\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« The gorgeous tone produced by alto saxophonist, Paul Desmond was famously compared to a dry martini. Desmond was a master of the altissimo register on the alto sax. His alto high notes have a sensuousness that can only be compared to Willie Smith or Johnny Hodges, but Desmond’s tone to me comes closer to elegance than to the soulfulness that the other two alto giants possessed. Paul’s playing was seemingly effortless, that surely belied his talents.\u003c\/p\u003e\n\u003cp\u003eDesmond was most famous for his extended tenure with Dave Brubeck, and also for composing “Take Five,” which may be the most well known jazz composition ever, especially for casual jazz fans.\u003c\/p\u003e\n\u003cp\u003eAfter the late 1960s, his membership in Brubeck’s group was only periodic up until his death in 1977. Later in his career, Paul made a series of albums with cool toned guitarist, Jim Hall, that are available as a hard to find box set on RCA. Hall was a perfect partner for Desmond, as each was understated and lightly swinging, as they explored jazz standards. Their communication was symbiotic, and counterpoint was often used.\u003c\/p\u003e\n\u003cp\u003eThe boutique vinyl label, Speakers Corner, from Europe, has recently released Easy Living, which was recorded using three different bass players over a three year period, and issued in 1966. The drummer on all the sessions was Connie Kay, who was most famous for his time with the Modern Jazz Quartet. The bassists were Gene Wright (from Brubeck’s group); Gene Cherico (who was with Stan Getz at that time); and Percy Heath, the most well known, and brother of Jimmy and Tootie.\u003c\/p\u003e\n\u003cp\u003eSong selection are well known standards, with the exception of “Blues for Fun,” the only uptempo, largely improvised tune recorded. This track has the only real bass solo on the album, this one features Gene Cherico.\u003c\/p\u003e\n\u003cp\u003e“When Joanna Loved Me” opens on Side 1 with Paul’s breathy, velvety tone fully on display. Jim Hall gets his solo time, as well, as the pattern for the album gently falls into place. The bass and drums throughout strictly comp. On “Joanna” Gene Wright provides the steady heart beat that is noticeable,  and contributes to the relaxed swing.\u003c\/p\u003e\n\u003cp\u003eThere is a great solo for Hall on “That Old Feeling.” The “floating on air” quality of Desmond’s playing is intoxicating. “Polka Dots and Moonbeams” is reflective in nature, and “Here’s That Rainy Day” closes the first side a bit more uptempo.\u003c\/p\u003e\n\u003cp\u003eThe title track pretty well confirms that Paul Desmond is the proper choice to describe its name. He makes it almost effortless, as such is easy living. Both “I’ve Grown Accustomed to Her Face” and “Bewitched” are classic tunes, and ear candy for late night listening. The closing “Blues for Fun” as mentioned earlier, lets the alto\/guitar duo stretch out a bit to improvise, and give some “heat” and has the welcome solo from Cherico.\u003c\/p\u003e\n\u003cp\u003eAll in all, a winning session from two consummate pros, and the acoustics are top notch as engineer, Ray Hall, as usual, was well up to the task. Vinyl lovers and fans of Desmond and Hall, will surely enjoy this warmly recorded re-release. » Jeff Krow, Audiophile Audition, Apr 9, 2019\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhy should you buy this LP? 1. Because of its super sound? Of course! 2. Because Paul Desmond and Jim Hall are playing? Naturally! 3. For \"Easy Living\"? Surely one of the best numbers in one of the most multifaceted versions! 4. Because you missed out on the first release in 1966? Well, don’t make the same mistake in 2018!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNot everyone wants to purchase all Victor recordings by Paul Desmond and Jim Hall with umpteen alternate takes in a voluminous CD Box, to listen to it all, and to find it just wonderful to show off on the record shelf. The eight numbers on \"Easy Living\" constitute the height of Desmond’s career anyway after he had at last managed to take his leave from Dave Brubeck’s group. And the change from purely chordal playing and single notes from Jim Hall is more airy and more inspiring than the meaty piano clusters of his former boss. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAnd don’t forget either that half of the Modern Jazz Quartet, namely the bassist Percy Heath and the drummer Connie Kay, deliver an exquisite skeletal structure over which the musicians can improvise brilliantly.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLPs are, and remain, unbeatable, both as regards sound and feel. And happily they are also a safe investment – maybe not all, but \"Easy Living\" with Paul Desmond and Jim Hall most definitely!\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"production_info\"\u003e \u003c\/p\u003e\n\u003cp class=\"production_info\"\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp class=\"production_info\"\u003eAllMusic : 4.5 \/  5  ,   \u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,43\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\u003e3,70\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40400057335959,"sku":"LSP-3480","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/paul-desmond-easy-living-audiosoundmusic-1.jpg?v=1719851485"},{"product_id":"al-di-meola-casino","title":"Al Di Meola - Casino","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eAl Di Meola - Electric Guitar (A1, A2, A3, B1, B3) ; Acoustic Guitar, Mandolin, Castanets, Handclaps (B2) ; percussion (B3) \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/al-di-meola\" title=\"vinyl featuring Al Di Meola\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/al-di-meola\"\u003e[click here to see other vinyl featuring Al Di Meola]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBarry Miles (Electric Piano, Synthesizer, Organ, Piano, Marimba)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnthony Jackson - Bass Guitar (A1, A2, A3, B1, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Steve Gadd - Drums (A1, A2, A3, B1) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/steve-gadd\" title=\"vinyl featuring steve gadd\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/steve-gadd\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Steve Gadd]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Mingo Lewis - Congas, Bongos (A2, A3, B1, B3) ; percussion (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEddie Colon - Timbales, Rototoms (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by A. Di Meola (A1, A3, B2, B3), M. Lewis (A2), C. Corea (B1)\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve, insert\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\u003eStereo\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\u003eStereo\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\u003cbr\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: May - September 1977 at Electric Lady Studios, New York, by Dave Palmer\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduction: Al Di Meola\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1978\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in September 2018\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\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\u003eEgyptian Danza\u003c\/li\u003e\n\u003cli\u003eChasin' The Voodoo\u003c\/li\u003e\n\u003cli\u003eDark Eye Tango\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSeñor Mouse\u003c\/li\u003e\n\u003cli\u003eFantasia Suite For Two Guitars\u003c\/li\u003e\n\u003cli\u003eCasino\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« Following up the superb Elegant Gypsy was no mean feat, but Al di Meola gave it his best shot with the similarly styled Casino, released in 1978. Featuring a core band of Steve Gadd, Anthony Jackson, and Barry Miles (whom di Meola came up with before the guitarist was invited to join Return to Forever), the playing is sharp and fiery, matching the youthful intensity of the leader. Di Meola is a good composer in the fusion idiom, and the four original compositions on Casino, although clearly bearing the mark of Chick Corea's influence, are strong. His \"Fantasia Suite for Two Guitars,\" featuring di Meola accompanying himself via multi-tracking, is beautiful and dramatic, and hints at the guitarist's later all-acoustic works such as Friday Night in San Francisco. \"Dark Eye Tango\" opens with a slow theme before turning into an uptempo vehicle for di Meola's darting Les Paul. In fact, it is the leader's solos that frequently prevent the Latin grooves and rhythms found on Casino from sounding stale and a bit dated. His trademark staccato phrasing and high-velocity improvisations are what is noticed upon first listen, but di Meola does have an excellent sense of phrasing that is undeniably present. Contrary to popular opinion, he knows how to use his technique to good effect. Casino is not as strong as either Elegant Gypsy or Romantic Warrior, but is nevertheless well worth picking up for fans either of di Meola himself or of the entire 1970s fusion scene. » AllMusic Review by Daniel Gioffre\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMaster of the strings, Al Di Meola, who turn his back on over-ambitious manual dexterity as in \"Elegant Gypsy\" to concentrate more on musical substance, demonstrates his intensive work with the material in the follow-up album \"Casino\". For example in \"Egyptian Danza\", an amalgamation of melodies which circle around one another and evoke with light electronics the contrasting worlds of the Orient, Occident and New World.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e A far sharper sound is conjured up in \"Chasin‘ The Voodoo\", which escalates to an extremely tightly-knit continuous fire, infused with the maestro‘s familiar guitar sound. Di Meola - with himself alone - combines the idea of multiple rhythms and parts: In the \"Fantasia Suite For Two Guitars\", four miniatures with percussive zapateado and whirling flamenco, he accompanies himself thanks to multi-tracking. All great stuff, but the best comes last: in the lengthy title number \"Casino\" all powers come together to create a magnificent performance with varying tempos, layered patterns, deceptive metrical changes and, of course, guitar playing of the highest order.\u003c\/span\u003e\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 : 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\u003e3,71\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40400089055383,"sku":"JC 35277","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/al-di-meola-casino-audiosoundmusic-1.jpg?v=1719851490"},{"product_id":"freddie-hubbard-and-stanley-turrentine-in-concert","title":"\u003ctranscy\u003eFreddie Hubbard and Stanley Turrentine - In Concert (2LP)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003eFreddie Hubbard - trumpet \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 featuring Freddie Hubbard]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Stanley Turrentine - tenor saxophone\u003cspan style=\"color: #ff8000;\"\u003e \u003cspan size=\"2\" data-mce-fragment=\"1\"\u003e\u003cspan face=\"Times New Roman\" data-mce-fragment=\"1\"\u003e\u003cspan lang=\"EN-US\" data-mce-fragment=\"1\"\u003e\u003ca style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/stanley-turrentine\" title=\"vinyl featuring Stanley Turrentine\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/stanley-turrentine\"\u003e[click here to see more vinyl featuring Stanley Turrentine]\u003c\/a\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRon Carter - double bass \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca title=\"Vinyl featuring Ron Carter\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ron-carter\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ron-carter\"\u003e[click here to see more vinyl featuring Ron Carter]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Herbie Hancock - electric piano \u003ca title=\"vinyl featuring Herbie Hancock\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/herbie-hancock\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/herbie-hancock\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\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\u003eJack DeJohnette - drums \u003ca title=\"vinyl featuring Jack Dejohnette\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/jack-dejohnette\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/jack-dejohnette\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Jack DeJohnette]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEric Gale - guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Freddie Hubbard\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\u003eStereo\u003c\/strong\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 :  CTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: March 1973 live at Chicago Opera House and Ford Auditorium, Detroit, by Charles Buchanan. Remixed by Rudy Van Gelder\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Creed Taylor\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1974\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eSide A :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePovo (Detroit)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGibraltar (Chicago)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHornets (Chicago)\u003c\/li\u003e\n\u003cli\u003eInterlude (Chicago)\u003c\/li\u003e\n\u003cli\u003eHornets (Detroit)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGibraltar (Detroit)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eReviews :\u003c\/p\u003e\n\u003cp\u003e« This LP pairs trumpeter Freddie Hubbard and tenor-saxophonist Stanley Turrentine, two very individual players who always brought out the best in each other. They stretch out on long versions of \"Povo\" and \"Gibraltar\" that clock in around 19 minutes apiece. The backup rhythm section (guitarist Eric Gale, keyboardist Herbie Hancock, bassist Ron Carter, and drummer Jack DeJohnette) is a major asset and inspires the two horns to play reasonably creative solos. » AllMusic Review by Scott Yanow\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eFreddie Hubbard emerged from the hard bop, bop and post bop jazz idioms to become a very influential trumpeter. in the 60’s he played on albums like Maiden Voyage (Herbie Hancock), The Blues And The Abstract Truth (Oliver Nelson), Out to Lunch (Eric Dolphy) and Speak No Evil  (Wayne Shorter). He was equally adept at both tonal and atonal music interpretation. Though not an advocate of free jazz, he appeared on two significant albums, Ornette Coleman’s Free Jazz and John Coltrane’s Ascension. Hubbard started his career as a band leader with Blue Note Records, but reached his critical and commercial apex at CTI Records in the early 1970’s on albums like Red Clay, First Light, Straight Life and Sky Dive. He recorded until his death in the late 2000’s and was awarded the prestigious NEA Jazz Masters Award.\u003c\/p\u003e\n\u003cp\u003ePittsburg native Stanley Turrentine was renowned for pioneering soul jazz with Blue Note in the 60’s. He played with Max Roach, Jimmy Smith, Les McCann, Horace Silver and organist Shirley Scott (former wife), but found his way to CTI. There he aided in the development of the widely successful fusion movement. He worked with Hubbard, George Benson, Bob James, Milt Jackson and Ron Carter. Sugar and Salt Song were highlights of his solo catalog. His distinctive, bluesy “thick” tenor saxophone was his calling card.\u003c\/p\u003e\n\u003cp\u003eIn 1973, CTI released two live albums featuring Hubbard and Turrentine, recorded in Chicago and Detroit. Freddie Hubbard\/Stanley Turrentine – In Concert Volume One \u0026amp; Two was originally released as separate albums. Now Speakers Corner has combined both into a 180-gram stereo double vinyl. With a stellar band (Herbie Hancock\/piano; Ron Carter\/double bass; Jack DeJohnette\/drums and Eric Gale\/guitar), the veteran trumpeter, saxophonist and keyboardist deliver a classic performance of extended improvisation. In that vein, Side A consists of one track, “Povo” (written by Hubbard). Recorded at the Ford Auditorium in Detroit, the jam begins with a ruminative electric piano by Hancock as Carter comes in with a funky rolling bass. Gale (with a distorted guitar lick) and DeJohnette’s backbeat set the stage for Hubbard and Turrentine doing a trumpet\/sax follow. The two play a bop riff briefly then Hubbard begins his solo. With punctuated, crisp lines, this trumpeter executes tough, old school jazz. Next up is Turrentine with his soul-inflected tenor. He digs down deep, with rich tonal contrast, stretching his instrument. Hancock also solos and percolates on electric piano. His cool funk notation is melodic and highly rhythmic as the guitar, bass and drums (with DeJohnette’s emphatic cymbal work) create a pure fusion interlude. Ron Carter has an extended groove-infused run. It is amazing how deep the level of talent is in this group. Hubbard and Turrentine re-engage with the follow and fluently play off each other.\u003c\/p\u003e\n\u003cp\u003eSide 2 is the first of two performances of another Hubbard composition “Gibraltar” (this one from the Chicago Opera House). DeJohnette explodes in a wild, polyrhythmic drum introduction that sets an intense tone. Carter and Hancock join in to establish a Latin framework. Hubbard and Turrentine combine briefly in “off” harmony. The instrumentation may imply fusion, but the formidable dynamics of the arrangement draws on bebop and other spontaneous jazz forms. Hubbard solos first with staccato, piercing riffs. There is a tempo slow down, but DeJohnette keeps the fury up. Turrentine answers with another freewheeling run. Hancock is scintillating and DeJohnette geta a second thundering solo. There is an unrestrained exchange with Hubbard and Turrentine that sparkles. Side 3 is unique for two versions of a Herbie Hancock composition (“Hornets”). Oddly, neither Hubbard nor Turrentine play on these. It is unadulterated fusion. Hancock is magnetic with grooves and soul as Gale adds some “Shaft-like” acid guitar. The hard-driving arrangement is potent and Hancock alternates between soul\/rock and free-form. DeJohnette’s drumming is propulsive. After a brief electric piano interlude, the 2nd performance of “Hornets” gets underway. It feels more raw and stripped down. Hancock and Gale interact more noticeably. Side 4 has a different cover of “Gibraltar” (Detroit). Eschewing the long drum lead-in, the rhythm section (electric piano, bass drums) set things in motion. Hubbard and Turrentine jam on the lead with deft fluency. This time, Turrentine takes the first solo and the group swings (as opposed to the fusion “rocking out”). There are well-placed tempo breaks. On Hubbard’s solo, he slows things down and injects several new musical themes, sometimes unaccompanied. A veteran jazz ensemble is capable of re-inventing the same piece, and this is living proof. Hubbard soars with grace and haunting resonance. Hancock reasserts the power grooves with distorted tones and syncopated rhythm. It represents the bridge between traditional and modern jazz. He seems to be playing a dual run. Hubbard and Turrentine embrace the sprightly melee, taking it to another level. They trade with unabated energy, like the “young lions” of old. It is stirring and worthy of the enthusiastic audience response.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner’s re-mastered vinyl of Freddie Hubbard\/Stanley Turrentine In Concert Volume One \u0026amp; Two is excellent, especially for a live recording. While there are some instances of the band volume exceeding the trumpet and saxophone, that is corrected quickly. The mix is balanced and is captured with unfiltered rawness. The glossy gatefold is very classy.\u003c\/p\u003e\n\u003cp\u003eThis is a jazz treasure! » Robbie Gerson, Audiophile Audition, Sep 5, 2018\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe producer was certainly on the ball when he recorded a concert with CTI stars on a short tour of the USA in 1973. Thus the beginning of the jazz-rock era was documented in jazz’s country of origin. Liberated from the often-sterile atmosphere in a studio, Freddie Hubbard, Stanley Turrentine and friends (here also without a sometimes stifling studio band) could exhibit their amazing improvisational talents as soloists in lengthy works. This was greatly facilitated by the groove conjured up by Herbie Hancock, Ron Carter and Jack deJohnette – who had all profited from Miles Davis’s tutoring. And let’s not forget Larry Gale, a not unknown or bad guitarist, who transported hot Jamaican rhythm to the wintery Chicago and Detroit.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTo release both versions of \"Gibraltar\" and \"Hornets\" is certainly justifiable and is hardly worth discussing, keeping in mind the greatness of the improvising soloists. (You could, for example, listen to one version on Sunday and the other on Monday!) It also makes sense to offer the two LPs, originally released separately, together, since they both deliver an important testimony of the years between 1970 and 1975 – a time when jazz aficionados of the old school were shaken to their foundations by the new electric instruments, the loudness and the fire of the new generation of musicians. Back in those days, some will have covered their ears in horror, but this is no longer 'in' 45 years later. This jazz was never a 'no go' and it will never be.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRatings : \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\u003e4,17\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  ,  \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,09\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40400122511511,"sku":"6044\/9","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/freddie-hubbard-and-stanley-turrentine-in-concert-2lp-audiosoundmusic-1.jpg?v=1719851490"},{"product_id":"charlie-byrd-more-brazilian-byrd","title":"\u003ctranscy\u003eCharlie Byrd - More Brazilian Byrd\u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCharlie Byrd - guitar \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/charlie-byrd\" title=\"Vinyl featuring Charlie Byrd\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Charlie Byrd]\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOrchestra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eArranged and conducted by Tom Newsom\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\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\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\u003eStereo\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\u003eRecorded in 1966 by Fred Plaut \u0026amp; Ed Michalski\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan\u003eProduced by Teo Macero\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1967\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2018\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\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\u003eOne Note Samba \/ Samba De Uma Nota So (A. C. Jobim, N. Mendonca)\u003c\/li\u003e\n\u003cli\u003eWeekend In Guaruja \/ Fim De Semana Em Guaruja (C. Pereira, M. Albanese, Skylar)\u003c\/li\u003e\n\u003cli\u003eLittle Boat \/ O Barquinho (R. Menescal, R. Boscoli)\u003c\/li\u003e\n\u003cli\u003ePretty Butterfly \/ No Balanco Do Jequibau (C. Pereira, L. Deane, M. Albanese)\u003c\/li\u003e\n\u003cli\u003eBerimbau (B. Powell, R. Gilbert, V. DeMoraes)\u003c\/li\u003e\n\u003cli\u003eAgua De Beber (A. C. Jobim*, V. DeMoraes)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eJequibau (C. Pereira, M. Albanese)\u003c\/li\u003e\n\u003cli\u003eHow Insensitive \/ Insensataez (A. C. Jobim, V. DeMoraes)\u003c\/li\u003e\n\u003cli\u003eEsperando O Sol (C. Pereira*, M. Albanese)\u003c\/li\u003e\n\u003cli\u003eFelicidade (From “Black Orpheus”) (A. C. Jobim, V. DeMoraes)\u003c\/li\u003e\n\u003cli\u003eFoi A Saudade \/ You Can’t Go Home Again (D. Ferreira, L. Feather)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Creating a stirring and enriching blend of Spanish and Latin American flavors in his music, jazz guitar legend Charlie Byrd put Brazilian bossa nova on the map in the States with this follow-up, More Brazilian Byrd. With finesse and dexterity, the passion and lively soul of his melodies and lyricisms flow from Byrd's classical guitar like a river of musical heaven. From the charging and percussion-laden opening track, Antonio Carlos Jobim's \"One Note Samba,\" to the mellowness and gentle innocence of \"Pretty Butterfly,\" Byrd tackles a wide variety of dynamic textures, beats, and color tones with honesty and zest. Throughout the record, both its driving, uplifting side and its peaceful, ethereal tones (as on \"Felicidade\" and the quite sorrowful \"How Insensitive\"), Byrd demonstrates his ability to capture the heart and soul of the pieces with vintage style, grace, and a touch of romance. His backing band also deserves much credit for presenting such compelling and richly textured percussion and melodies. Joe Byrd takes the music to a higher level with richly textured, crisp basslines. Bill Reichenbach assumes the duties of percussion and drums, bringing them to the center with dazzling and soaring bossa riffs. The strings are orchestrated and arranged by the genius of Tom Newsom, creating a brilliant portrait, both shadowy and haunting at times. Hal Posey puts a charge into the trumpet and flügelhorn, with producer Teo Macero sharing time on saxophone. The string arrangements sound quite eerily like Miles Davis' work with Gil Evans. The reason may lie in the identification of the sheer sound of '60s jazz, this record especially being used as a key model of the decade's most defining works. Wonderfully arranged and lavishly produced, this record is a perfect fit into the collection of any avid jazz fan. Filled with marvelous guitar phrasing, radiant horn and flute leads, and crackling percussion, More Brazilian Byrd is just plain \"more Brazilian.\" » AllMusic Review by Shawn M. Haney\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eImmortal samba, and its rhythmic relatives, is on the one hand so undemanding that it manages to take off with the simplest of instruments, yet on the other hand it is so concentrated that it can conjure up all manner of fantastic sound colouring.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWith regard to these sessions that were recorded in the Sixties, when bossa nova found its way to the USA, the record bosses gathered together a superb array of musicians. Influenced by a classical training on the guitar, Byrd’s guitar playing weaves its way through the complicated but always lightweight arrangements. The \"One Note Samba\", with its intentional monotony, is performed nonchalantly yet does not lack verve; the \"Weekend In Guaruja\" is filled with sunshine and high spirits. The ensemble plays with great variance and well-measured phrases on the winds while cracking shots from the drum set mark the unwavering rhythm to which Byrd lets his guitar strings dance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis blissfully harmonious interplay works equally as well in the small ensemble around the solo guitar (\"Little Boat\") as in the rich sequence of chords which ascend airily and delightfully aimlessly (\"Pretty Butterfly\"). And as a perfect ending we have once again a lush, full sound on the drums and trumpets (\"Foi A Saudade\"). It’s well nigh impossible not to be carried away by this thrilling roller-coaster ride.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eRatings\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eAllmusic : 4.3 \/ 5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:  \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,56\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\u003e3,44\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40403753730199,"sku":"CS9492","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/charlie-byrd-more-brazilian-byrd-audiosoundmusic-1.jpg?v=1719851490"},{"product_id":"oregon-roots-in-the-sky","title":"\u003ctranscy\u003eOregon - Roots In The Sky\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003ePaul McCandless (clarinet, English horn, oboe), Ralph Towner (flugelhorn, guitar, piano, percussion), Collin Walcott (guitar, percussion), Glen Moore (bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Ralph Towner (A1, A2, A4, B3), Collin Walcott (A3, B1, B5), Paul McCandless (B2), Glen Moore (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\u003eStereo\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 :  Elektra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: December 1978 at Longview Farms, North Brookfield, MA., and April 1979 at Columbia Recording Studios, New York, by David Greene\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Oregon\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1979\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\u003eJune Bug\u003c\/li\u003e\n\u003cli\u003eVessel\u003c\/li\u003e\n\u003cli\u003eSierra Leone\u003c\/li\u003e\n\u003cli\u003eOgden Road\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHouse of Wax\u003c\/li\u003e\n\u003cli\u003eHungry Heart\u003c\/li\u003e\n\u003cli\u003eOrrington’s Escape\u003c\/li\u003e\n\u003cli\u003eRoots In The Sky\u003c\/li\u003e\n\u003cli\u003eLonging, So Long\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« Speakers Corner Records has released a re-mastered 180-gram vinyl of the 1979  release, Roots In The Sky by Oregon. It has always been difficult to categorize the music of this band. With a core lineup of Paul McCandless (reeds), Ralph Towner (guitar, piano), Collin Walcott (percussion) and Glen Moore, the group met as members of the Paul Winter’s Consort. After recording several albums on the Vanguard label, they signed with Electra Records. This represented (along with their 1978 album, Out Of The Woods) an opportunity to access a higher level of studio production and distribution. Side 1 opens with the propulsive, “June Bug”. One of four Towner compositions, it kicks off with furious guitars chords, set against percussion (Colin Walcott). McCandless takes the lead on clarinet which is a pastoral counterpoint to the funky jam. “Vessel” initiates with loping exotic drumming that establishes a free-jazz driving pulse. Towner switches to piano with punctuated repeat chords. His piano solo\/lead is lyrical with jazzy inflection. The band members nimbly coalesce around the piano and bassist Glen Moore shines on his solo. On “Sierra Leone” a musical tapestry is intermingled with African motifs. Oregon manages to combine world influences in genre-combining arrangements. “Ogden Road” delves into the ruminative, melodic ambience with sensitivity and an acoustic coloration. The classical influences (especially piano and English horn) and syncopated tempo contribute to a swirling aural landscape. There is even a Latin undercurrent.\u003c\/p\u003e\n\u003cp\u003eSide 2 is a powerful, diverse musical statement. “House Of Wax” begins with a jazzy piano vamp. In contrast, a sitar is added to create an unlikely blend of jazz and mysticism. The texture is augmented by studio effects and the overall free-form approach is hypnotic. A more contemporary vibe inhabits “Hungry Heart’ with reed instrumentation, guitar bass and percussion.. There is a crisp acoustic guitar run and potent, rhythmic play from the band. A concise “Orrington’s Escape” is crisply executed with occasional atonal intonation. The final pair of songs are emblematic of the quartet’s dynamic musical vision. “Roots In The Sky” is hard charging and bass-driven. It is countered by sitar and flugelhorn for a wild mosaic of sound. The layering of horns is especially compelling. The wide sweeping musical influence of Oregon can be heard on “Longing, So Long”. The group jams with pulsating intensity augmented by a collage of instrumental accents.\u003c\/p\u003e\n\u003cp\u003eOregon suffered a great loss with the death of Collin Walcott in 1984. They persevered to record for another 30 years, but never achieved the creative or critical apex of their earlier career. Speakers Corner Records’ vibrant 180-gram upgrade is a testament to their under-appreciated legacy. » Robbie Gerson, Audiophile Audition, Jan 31, 2021\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIf there was ever a group that successfully amalgamated Asian and African music with jazz and classic, then it was surely Oregon. With a wide range of instruments and the musicians’ unusually receptive ears for everything here, there and everywhere, Oregon certainly enjoyed the optimal prerequisites. Ralph Towner, Paul McCandless, Glen Moore and in particular Colin Walcott laid the foundations for their music in the musical heaven of their time. Oboe, cor anglais, bass clarinet, six- and twelve-string guitars, piano, flugelhorn, percussion, bass, sitar, tabla – such a versatile range of instruments – lent the nine numbers their, until then, rarely heard sound colouring and mark the transition from the band’s more hippy-like, country sound when they recorded for the Vanguard label to their later classic sound when signed to ECM. In this respect, \"Roots In The Sky\" is an important contemporary document in the world of music between 1970 and 1980. A rare black disc on which there is much to discover!\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 class=\"ratingValue\"\u003e\u003cspan\u003e4.23\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  ;  \u003c\/span\u003eAudiophile Audition : 4.5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40403938738327,"sku":"6E-224","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/oregon-roots-in-the-sky-audiosoundmusic-1.jpg?v=1719851490"},{"product_id":"lavern-baker-sings-bessie-smith","title":"\u003ctranscy\u003eLaVern Baker Sings Bessie Smith\u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLaVern Baker - vocal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePaul Quinichette - tenor saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJerome Richardson (bs); Jimmy Cleveland, Urbie Green (tb); Buck Clayton (tp); Nat Pierce (p); Danny Barker (g); Wendell Marshall (b); Joe Marshall (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWriten by Bessie Smith (A2, A6, B5, B6), Wesley Wilson (A1), Andy Razaf (A2), \u003cspan data-mce-fragment=\"1\"\u003eDavid K. Leader (A4), G. M. Coleman (A4), Harry Eller (A4), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePerry Bradford (A5), J.C. Johnson (B1), Jimmy Cox (B3), Turner Layton (B4), \u003cspan data-mce-fragment=\"1\"\u003eHenry Creamer (B4)\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e. B2 is a traditional song.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\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\u003eStereo\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\u003eRecorded in 1958 by Tom Dowd\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduced by Nesuhi Ertegun\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 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\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\u003eGimme A Pigfoot\u003c\/li\u003e\n\u003cli\u003eBaby Doll\u003c\/li\u003e\n\u003cli\u003eOn A Revival Day\u003c\/li\u003e\n\u003cli\u003eMoney Blues\u003c\/li\u003e\n\u003cli\u003eI Ain’t Gonna Play No Second Fiddle\u003c\/li\u003e\n\u003cli\u003eBack Water Blues\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEmpty Bed Blues\u003c\/li\u003e\n\u003cli\u003eThere’ll Be A Hot Time In The Old Town Tonight\u003c\/li\u003e\n\u003cli\u003eNobody Knows You When You’re Down And Out\u003c\/li\u003e\n\u003cli\u003eAfter You’ve Gone\u003c\/li\u003e\n\u003cli\u003eYoung Woman’s Blues\u003c\/li\u003e\n\u003cli\u003ePreaching The Blues\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\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\u003cbr\u003e\u003c\/span\u003e« This is an album that should not have worked. LaVern Baker (a fine R\u0026amp;B singer) was joined by all-stars from mainstream jazz (including trumpeter Buck Clayton, trombonist Vic Dickenson, tenor-saxophonist Paul Quinichette and pianist Nat Pierce) for twelve songs associated with the great '20s blues singer Bessie Smith. Despite the potentially conflicting styles, this project is quite successful and often exciting. The arrangements by Phil Moore, Nat Pierce, and Ernie Wilkins do not attempt to re-create the original recordings; Baker sings in her own style (rather than trying to emulate Bessie Smith), and the hot solos work well with her vocals. » AllMusic Review by Scott Yanow\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt was 1958 when a passably successful R\u0026amp;B singer entered the recording studio with an all-star band to tape a dozen songs from the global repertoire of a legendary blues vocalist. The old-fashioned style in LaVern Baker’s tribute to Bessie Smith might seem somewhat strange in the midst of popular R\u0026amp;B numbers and the growing productivity of the Motown hit machines, but it certainly found favour with the public. And for a very good reason too! Right from the very first number, \"Gimme A Pigfoot\", the snappy bass line conjures up the ballroom atmosphere of the Twenties. A bluesy dialogue with the trumpet (\"Baby Doll\", \"I Ain’t Gonna Play No Second Fiddle\"), alternating with robustly orchestrated swing rhythms (\"On Revival Day\"), and time and again cool, faltering blues (\"Black Water Blues\") guarantee great listening and entertainment. The great names in the band read like a Who Is Who of outstanding musicians – Nat Pierce, Buck Clayton, Paul Quinichette, Urbie Green and Jimmy Cleveland, all who crown the fantastic sound of their performance with relaxed and easy-going solos and finely balanced background playing that would hardly be more authentic on a live stage. And by the way, fans of traditional big-band swing will love this album too.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\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\u003e5,00\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 ,   \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e3,86\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40403965378711,"sku":"SD1281","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/lavern-baker-sings-bessie-smith-audiosoundmusic-1.jpg?v=1719851490"},{"product_id":"carla-thomas-the-queen-alone","title":"\u003ctranscy\u003eCarla Thomas - The Queen Alone\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eCarla Thomas - vocal \u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/carla-thomas\" title=\"vinyl featuring Carla Thomas\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Carla Thomas]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Isaac Hayes (A2, A3, A4, A5, A6, B3), David Porter (A2, A3, A4, A5, A6, B3), Burt Bacharach (A1), Bob Hilliard (A1), Joe Shamwell (A2), Steve Cropper (A3), Eddie Floyd (B1), Alvertis Isbell (B1), Ben Weisman (B2), Clive Westlake (B2), Deanie Parker (B4), Homer Banks (B5), Allen Jones (B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\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\u003eStereo\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 :  Stax\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded in 1967 at Stax Studios, Memphis (TN)\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduced by Jim Stewart\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 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\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\u003eAny Day Now\u003c\/li\u003e\n\u003cli\u003eStop Thief\u003c\/li\u003e\n\u003cli\u003eI Take It My Baby\u003c\/li\u003e\n\u003cli\u003eI Want To Be Your Baby\u003c\/li\u003e\n\u003cli\u003eSomething Good (Is Going To Happen To You)\u003c\/li\u003e\n\u003cli\u003eWhen Tomorrow Comes\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI’ll Always Have Faith In You\u003c\/li\u003e\n\u003cli\u003eAll I See Is You\u003c\/li\u003e\n\u003cli\u003eUnchanging Love\u003c\/li\u003e\n\u003cli\u003eGive Me Enough (To Keep Me Going)\u003c\/li\u003e\n\u003cli\u003eLie To Keep Me From Crying\u003cbr\u003e\u003cbr\u003e\n\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« Carla Thomas was more than deserving of her title \"The Queen of Memphis Soul,\" but she was hardly oblivious to the sleeker, more pop-influenced sweet soul and uptown soul coming out of Detroit, Philadelphia and Chicago. One of her strongest albums, The Queen Alone isn't the work of someone who took a Memphis-only approach, but of someone who was well aware of what Gladys Knight, Dionne Warwick, Martha Reeves and others were up to. What's surprising is the fact that this album (reissued on CD in 1992) contains only two hits: the playful \"Something Good (Is Going to Happen to You),\" which made it to number 29 on Billboard's soul singles chart, and the idealistic, gospel-influenced ballad and number 11 R\u0026amp;B single \"I'll Always Have Faith in You.\" Songs ranging from the sweet and vulnerable \"I Want to Be Your Baby\" to the remorseful \"All I See Is You\" and the pessimistic \"Any Day Now\" (a song co-written by Burt Bacharach) weren't singles, but it wasn't for a lack of heartfelt singing. Drawing on both Southern and Northern soul, Queen Alone is a pleasant reminder that they were equally attractive options. » AllMusic Review by Alex Henderson\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« Carla Thomas was Stax Records answer to the much more heralded crew of Motown female stars. Stax had Carla record with Otis Redding and she had hits as well with Rufus Thomas, her father. She deserved the moniker as the Queen of Memphis Soul. Carla had the proper blend of sweetness and sass to fit right in with the funky groove of Stax releases.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner, earlier this year, re-released, The Queen Alone, from 1967. With backing from Booker T and the Mgs, the Stax house band, and brass and string accompaniment, Thomas explores a mix of gospel influenced and pop fare of the period.  Six of the tracks were written by Isaac Hayes and David Porter of the Stax team.\u003c\/p\u003e\n\u003cp\u003eI found the Side B material to be more assertive and less of an attempt to channel traditional Motown than the Side A material. Her soulfulness is more effective without cloying strings that are utilized to present her as a chanteuse.\u003c\/p\u003e\n\u003cp\u003eThe album opens with Burt Bacharach’s “Any Day Now.” The orchestration drowns out Thomas’ vocals. It is followed by “Stop Thief” which is enhanced by some background vocalists to flesh out the lyrics. The upbeat “I Take It to My Baby” is upbeat and percussion driven. Next the ballad, “I Want to be Your Baby” is given a lush treatment with strings.\u003c\/p\u003e\n\u003cp\u003e“Something Good is Going to Happen to You” has a catchy arrangement with some call and response backing vocals. “When Tomorrow Comes” matches a Motown type presentation, quite silky, and the best tune on the A side. The flip side opens with “I’ll Always Have Faith in You.” It is a straight gospel type ballad arrangement and here, Carla is in her element. “All I See is You” builds up in intensity and its strings add rather than detract. “Unchanging Love” brings to mind Diana Ross, but is more earthy and heart felt.\u003c\/p\u003e\n\u003cp\u003e“Give Me Enough (To Keep Me Going)” utilizes a chamber type echo effect, that brought to mind something that Phil Spector might do, but in a much more scaled down version. “Lie to Keep Me From Crying” makes use of antiphony vocals.\u003c\/p\u003e\n\u003cp\u003eThis album seems like an effort from Stax to properly seek out which niche to market their Queen of Memphis soul. With that goal, they are partially successful here. » Jeff Krow, Audiophile Audition, Apr 25, 2018\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAmong all the majestic eminences in the music business, Carla Thomas reigned unmistakably as 'The Queen of Memphis Soul' on the Stax label with its special characteristics. The clear, dry and natural essential sound of this studio recording imparts the down-to-earth flair of the southern town Memphis and its musical tradition. With wonderful contemplation, the Queen begins her performance with a tautly arranged but pleasantly round and melting version of Burt Bacharach’s \"Any Day Now\". The reflective opening clearly signals that the human voice is of major importance here, no matter whether a restrained pulsating soul number (\"Stop Thief\") or a metallically ticking groove (\"I Take It To My Baby\") is on the track list. Even an occasional dip into the violin paint-pot (\"I Want To Be Your Baby\") is not an end in itself but serves exclusively to refine the diaphanous, gentle voice of the principal singer. In addition there is lush, groovy polyphony with a call-and-response concept (\"Somethings Good\") and intoxicating gospel-like antiphony (\"Lie To Keep Me From Crying\"), all good for keeping the soul of Soul together.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\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\u003e4,34\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\u003e3,53\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40403982188695,"sku":"S718","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/carla-thomas-the-queen-alone-audiosoundmusic-1.jpg?v=1743321290"},{"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":"les-mccann-eddie-harris-swiss-movement","title":"\u003ctranscy\u003eLes McCann \u0026 Eddie Harris - Swiss Movement\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003eLes McCann (piano, vocal), Eddie Harris (tenor saxophone, Benny Bailey (trumpet),  Leroy Vinnegar (bass), Donald Dean (drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Les McCann (A3, B1, B2), Gene McDaniels (A1), Eddie Harris (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\u003eStereo\u003c\/strong\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 :  Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: June 1969 live at Montreux Jazz Festival\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Joel Dorn \u0026amp; Nesuhi Ertegun\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1969\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\u003eCompared To What\u003c\/li\u003e\n\u003cli\u003eCold Duck Time\u003c\/li\u003e\n\u003cli\u003eKathleen’s Theme\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eYou Got It In Your Soulness\u003c\/li\u003e\n\u003cli\u003eThe Generation Gap\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« One of the most popular soul jazz albums of all time, and one of the best, although Harris (and trumpeter Benny Bailey) had never played or rehearsed with the Les McCann Trio before, and indeed wasn't even given the music. Perhaps that's what sparked the spontaneous funk coming through clearly on the tape of this show, recorded at the Montreux Festival in 1969. It's actually much more of a showcase for McCann than Harris, although the tenor saxist's contributions are significant. The sole vocal, a version of Gene McDaniels' \"Compared to What,\" remains McCann's signature tune. » AllMusic Review by Richie Unterberger\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« Speakers Corner releases a masterful vinyl upgrade of an historic jazz concert !\u003c\/p\u003e\n\u003cp\u003e1969 is regarded as one of the most eventful years in American culture. To be specific. the tumultuous extremes of the Sixties were exemplified by the cultural landmarks. There was a moon landing, Woodstock, the draft lottery, Charles Manson, the introduction of the Pontiac Trans Am, the Boeing 747 and the establishment of PBS. The advent of anti-establishment protest spread throughout the country. Movies like Easy Rider defined the restlessness and dysfunction of the counterculture. The musical landscape in 1969 reflected the rebellious ideology as well. Hyperbolic political and social contexts were intermingled with the expanding musical genre-bending.\u003c\/p\u003e\n\u003cp\u003eJazz was undergoing a transformation also. Veteran cool jazz icon Miles Davis was experimenting with electric rock\/funk. Many artists embraced a soul ambiance in the new jazz structures. These soul jazz performers included Jimmy Smith, Stanley Turrentine, Hank Crawford, Curtis Fuller, Freddie Hubbard and Herbie Hancock. Two jazz players, pianist Les McCann and tenor saxophonist Eddie Harris became catalysts in this movement. At the 1969 Montreux Jazz Festival, McCann’s trio and Eddie Harris’ quartet were on the bill separately. In an impromptu decision, Harris agreed to sit in with the McCann trio and was joined by expatriated trumpeter Benny Bailey. The recorded live performance, Swiss Movement accomplished several things. It became a hit record and the track, “Compared To What” became a hit crossover single. Additionally, this performance elevated the Montreux Jazz Festival to international acclaim.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has re-mastered Swiss Movement to audiophile vinyl and nearly fifty years later, it’s impact is still evident. The five-song set (recorded on the final night of the festival) captures the improvisational and cohesive qualities of this ensemble. The opening cut, Gene McDaniel’s “Compared To What” kicks things off with a furious jam. With a pulsating left hand, McCann establishes a funky rhythm template. In the piano intro, he quickly visits “Age Of Aquarius (from the Broadway show Hair), before transitioning to the funkier soul chops. McCann’s smoky vocals are compelling. The up tempo, joyous soul jam is juxtaposed with gritty, angry lyrics. He ruminates on Vietnam, Nixon, religion, abortion in a desperate plea. McCann weaves cascading modulated  chords with “backbeat” notation. Eddie Harris pushes the rhythmic and tonal boundaries of his tenor. Bailey joins in with a pair of blistering solos as the 8:18 “soul rhapsody” returns to verse. The crowd reacts with enthusiasm, and jazz history is made. There have been other covers (all good) by Ray Charles, Roberta Flack and Brian Auger, but this one is potent with elegance and timeless riffs\u003c\/p\u003e\n\u003cp\u003eMcCann introduces a brand new tune, “Cold Duck Time” (written by Harris), that contains some of the accessible sprightliness of “Compared To What”, but provides subtle tempo shifts. Harris’ mellifluous saxophone is evident on both solos. Bailey’s crisp, low-vibrato runs are stellar and McCann hits a funky groove in his extended solo. On a McCann original (“Kathleen’s Theme”), the quintet slows things down in what feels like a more classic translation. There is some delicate cymbal touches by Donald Dean, and a nimble descending bass line by Leroy Vinnegar. Harris manages to stretch out on his sax runs and combines with McCann on a harmonious dual melody lead.\u003c\/p\u003e\n\u003cp\u003eSide Two continues the celebratory ambiance of the set. Another McCann original “You Got It In Your Soulness” begins with McCann laying down some prominent gospel hooks. His opening is inspired, full of bluesy vamps, boogie-woogie left hand and jubilant vocal exhortation. Harris follows with a sultry, lyrical turn, before turning it over to Bailey. The trumpeter evokes both piercing accents and dialed back nuances. McCann folds in with the rhythm section before the closing run that employs a percolating sustain, almost like an organ. The finale, “The Generation Gap” has cinematic resonance with an ethereal piano lead. Harris adds deep “breathy” sax phrasing, while Bailey emulates traditional jazz aesthetic. McCann offers a last solo that draws on hot licks and mellow suppleness. The set closes on a bluesy fade.\u003c\/p\u003e\n\u003cp\u003eThe audio re-mastering by Speakers Corner is excellent. The overall mix has good stereo separation. The various expanded tones of the sax and trumpet are captured with vibrancy. Harris piano is clean and blends with the band seamlessly. The analog mix showcases the live intimacy of the group. The crowd noise is still prominent and mirrors the excitement on stage. The album cover and back contain the original black \u0026amp; white photographs and the iconic red and green Atlantic label is eye-catching and nostalgic.\u003c\/p\u003e\n\u003cp\u003eThis is a great album and should be part of any jazz aficionado’s vinyl collection ! » Robbie Gerson, Audiophile Audition, Apr 8, 2018\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLes McCann had already been playing his way through the clubs and record studios on the US west coast for ten years when his appearance on 21 June 1969 at the relatively new and jazz-soaked festival in Montreux on Lake Geneva changed all that. There, he celebrated his greatest musical success, his number one hit. Half ironically, but proudly in later concerts, when the piano stool could hardly bear him due to his size and weight, he stressed that \"Swiss Movement\" had supported him, his wife, children and grandchildren.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Compared To What\" is a catchy melody that is heard on the radio, again and again, all around the world, today, tomorrow and the day after … It is unmistakable, still groovy, full of soul, humorous, stirring. And \"Cold Duck Time\" is no way inferior: Eddie Harris blows for all he is worth. Everyone can hear that Benny Bailey was challenged by the unknown themes, but this maestro still managed to capture the audience’s ear and attention.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Swiss Movement\" is, and will remain forever, a highlight among all the jazz LPs that have been recorded live and it shouldn’t be missing from any collector’s shelf. Along with Benny Goodman’s Carnegie Hall Concert from 1938, Charlie Parker \u0026amp; Co.’s Massey Hall concert from 1953, and Ella Fitzgerald’s Berlin concert from 1960 – and very few others.\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\u003e4,34\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\u003e3,87\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40404057391255,"sku":"SD 1537","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/les-mccann-and-eddie-harris-swiss-movement-audiosoundmusic-1.jpg?v=1719851496"},{"product_id":"joe-turner-big-joe-rides-again","title":"\u003ctranscy\u003eJoe Turner - Big Joe Rides Again\u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe Turner (vocals)\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/joe-turner\" title=\"vinyl featuring 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\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eErnie Royal (trumpet), Vic Dickenson (trombone), Jerome Richardson (alto saxophone), Coleman Hawkins (tenor saxophone), Jimmy Jones (piano), Jim Hall (guitar), Doug Watkins (bass), Charlie Persip (drums), Paul Ricard (trumpet), Jimmy Nottingham (trumpet), Lawrence Brown (trombone), Pete Brown (alto saxophone), Seldon Powell (tenor saxophone), Pete Johnson (piano), Freddie Greene (guitar), Walter Page (bass), Cliff Leeman (drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eErnie Wilkins (conductor, arrangements)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWriten by Big Joe Turner (A2, A5, B1, B5), Rudolf B. Moore (A1), Sammy Cahn (A3), Saul Chaplin (A3), L.E. Freeman (A3), Mann Holiner (A3), Alberta Nichols (A3), Marcy Klauber (A4), Harry Stoddard (A4), Danny Barker (B2), Ken Harris (B2), Sammy Cahn (B3), Jule Styne (B3), Johnny Burke (B4), Arthur Johnston (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\u003eStereo\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: September 1959 by Len Frank, Phil Iehle and Tom Dowd\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 1960\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2017\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\u003eSwitchin' In The Kitchen\u003c\/li\u003e\n\u003cli\u003eNobody In Mind\u003c\/li\u003e\n\u003cli\u003eUntil The Real Thing Comes Along\u003c\/li\u003e\n\u003cli\u003eI Get The Blues When It Rains\u003c\/li\u003e\n\u003cli\u003eRebecca\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWhen I Was Young\u003c\/li\u003e\n\u003cli\u003eDon't You Make Me High\u003c\/li\u003e\n\u003cli\u003eTime After Time\u003c\/li\u003e\n\u003cli\u003ePennies From Heaven\u003c\/li\u003e\n\u003cli\u003eHere Comes Your Iceman\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e« With the exception of one selection (\"Pennies from Heaven\") left over from his 1956 record The Boss of the Blue, the music on this album was all recorded in September 1959. Veteran blues singer Big Joe Turner returns to his roots, belting out blues and early standards while accompanied by an octet arranged by Ernie Wilkins. Among the key sidemen are the great tenor Coleman Hawkins, trombonist Vic Dickenson, trumpeter Paul Ricard and altoist Jerome Richardson; and the highlights include \"Nobody in Mind,\" \"Rebecca\" and \"Don't You Make Me High.\" An excellent outing for Turner, whose boisterous style would be largely unchanged over his half-century career. » AllMusic Review by Scott Yanow\u003cbr\u003e \u003c\/p\u003e\n\u003cp\u003e« Big Joe Turner was a blues icon and pioneer of rock and roll. He was described as a blues shouter and electrified the music world with his 1954 recording, “Shake Rattle And Roll” (of course, Bill Haley and The Comets had a more successful single). According to songwriter Doc Pomus, there wouldn’t have been rock and roll without Big Joe. Turner was an early star at Atlantic Records. Despite his initial efforts in the emerging crossover r \u0026amp; b market, Turner would spend most of his career with jazz combos. But he will be remembered for songs like “Corinna, Corinna”, “Midnight Special”, “Flip Flop And Fly”, “Chains Of Love”, Honey Hush” and “Roll ‘Em Pete”. He was posthumously enshrined in The Rock And Roll Hall Of Fame in 1987.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner Records has released a 180-gram vinyl re-mastering of Big Joe Rides Again. First recorded in 1960, this was a living testament to the r \u0026amp; b prowess of Atlantic Records. Turner is backed by a bona fide Who’s Who of session players, arranged by Ernie Wilkins. Side One opens with “Switchin’ In The Kitchen”. This feels like a combination of big band jazz and jump swing. There are solos by Coleman Hawkins (tenor saxophone), Jerome Dickerson (alto saxophone). Vic Dickenson (trombone) and Ernie Royal (trumpet). Turner’s uncanny vocal phrasing is magnetic. “Nobody In Mind” (one of four Turner compositions) is a sultry arrangement with straight ahead blues resonance. Dickenson’s muted trombone distills the nasty low-down vibe of this number. A lot of the orchestration has a distinctive jazzy swagger. The clever wordplay of “Until The Real Thing Comes Along” is a perfect vehicle for Big Joe’s “Cab Calloway” showmanship. Hawkins adds deep shade with his tenor to provide additional texture to this earnest love song. A sparkling introduction that is worthy of Duke Ellington or Count Basie kicks off “I Get The Blues When It Rains”. Jerome Dickerson shines on alto. Turner’s confident voice is front and center, but he shares the spotlight with the instrumentalists. “Rebecca” (by far the longest album track, clocking in at 7:05) is perhaps the ensemble’s finest performance. This is classic blues with repeat first verse lines. The up tempo jam is anchored by Jones’ muscular, soulful piano runs. There is a trumpet solo with hot licks and an interesting saxophone counterpoint. Turner’s innate talent for phrase turning (“You so beautiful, but you gotta die someday”) is legendary, classic blues.\u003c\/p\u003e\n\u003cp\u003eSide Two gets off to a rousing start with “When I Was Young”. There is a catchy group vamp with punctuated tempo stops. The sparkling arrangement includes voice trading off with trumpet and saxophone. Turner’s colorful lyrics are memorable as is the trombone solo. “Don’t You Make Me High” is a blues classic. With swaying resonance, overt sexuality is enhanced by muted trombone and gritty piano.The selection of two well known pop tunes is a surprise. “Time After Time” (written by the incomparable team of June Styne \u0026amp; Sammy Cahn) has mixed results. Coleman Hawkins captures the whimsical jazz balladry on tenor, but the gruff style of Turner is not the best match. On “Pennies From Heaven” Turner successfully embraces the jazzy inflections and overall jauntiness. Fittingly, “Here Comes Your Icemen” is vintage Turner. With a dirge-like, hypnotic instrumental foundation (reminiscent of “St. Louis Blues”), the anecdotal cheeky blues narrative is unforgettable. It features Big Joe Turner at his finest.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner Records 180-gram vinyl re-mastering is phenomenal. The stereo separation of this sixty-year-old recording is flawless. With Turner’s smoky voice centered in the mix, the reeds and horns are rendered with both clarity and mellowness. This vinyl pressing is immaculate with limited surface noise. » Robbie Gerson, Audiophile Audition, Dec 4, 2019\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThat the experts inducted 'Big Joe' Turner into the Blues Hall of Fame in 1983, i.e. during his lifetime, is surely in order when one considers how he expressed his attitude to life with his 12-bar stylistic freedom. That he was additionally honoured by being posthumously inducted into the Rock and Roll Hall of Fame, however, makes one wonder whether the incorruptible experts had made a mistake. No matter what: this giant of a man with his big, gentle voice had certainly earned a place of honour in the era of swing as well.\u003c\/p\u003e\n\u003cp\u003eTurner, who appeared on stage with Goodman, Ellington, Tatum and – in later years – with Gillespie and Eldridge, offers his listeners many facets of the blues. The opening number, \"Switchin’ In The Kitchen\", is a fairly fast boogie-woogie where the vocal swings freely with sharp blasts in the background. Other swinging numbers, in which jazz champions such as Coleman Hawkins and Ernie Royal perform solos, include several ballad-like evergreens (\"Pennies From Heaven\"), which Turner and his band elaborate to become an imposing aria (\"Until The Real Thing Comes Along\").\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eThe grooves of this LP are distinguished by means of the open, unfiltered Atlantic sound. The saxophone solos in particular, complete with the clicking of the valves and blowing noise, give one the feeling that the soloist is performing in your living room.\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 ,  \u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,00\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\u003e3,51\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40404076363927,"sku":"SD-1332","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/joe-turner-big-joe-rides-again-audiosoundmusic-1.jpg?v=1719851496"},{"product_id":"duke-ellington-piano-in-the-background","title":"\u003ctranscy\u003eDuke Ellington - Piano In The Background\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDuke Ellington (piano) \u003cspan data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" lang=\"EN-US\"\u003e\u003ca data-mce-fragment=\"1\" title=\"Vinyl featuring Duke Ellington\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/duke-ellington\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/duke-ellington\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" 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 data-mce-fragment=\"1\"\u003eJohnny Hodges, Harry Carney, Russell Procope (sax); Ray Nance, Willie Cook (tp); Lawrence Brown, 'Booty' Wood (tb); Aaron Bell (b); Sam Woodyard (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWriten by Duke Ellington (A1, A2, A3, B2, B4, B5), Harry Carney (A3), Irving Mills (A3), Juan Tizol (B1), Don George (B2), Johnny Hodges (B2), Harry James (B2), Billy Strayhorn (B3), Irving Mills (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\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\u003eStereo\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: May and June 1960 at Radio Recorders, Los Angeles\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Henri Renaud\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1960\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2017\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\u003eHappy Go Lucky Local\u003c\/li\u003e\n\u003cli\u003eWhat Am I Here For\u003c\/li\u003e\n\u003cli\u003eKinda Dukish \/ Rockin' In Rhythm\u003c\/li\u003e\n\u003cli\u003ePerdido\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI'm Beginning To See The Light\u003c\/li\u003e\n\u003cli\u003eMidriff\u003c\/li\u003e\n\u003cli\u003eIt Don't Mean A Thing\u003c\/li\u003e\n\u003cli\u003eMain Stem\u003c\/li\u003e\n\u003cli\u003eTake The \"A\" Train\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« One of Ellington's rarer studio sessions and last out on this French CD, the main plot behind this runthrough of his standards is that the leader's piano is featured at some point in every song. His sidemen are also heard from and everyone is in fine form. Ellington's solo abilities were always a bit underrated due to his brilliance in other areas, but this set shows just how modern he remained through the years as a player. » AllMusic Review by Scott Yanow\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBig band fans, take note! These nine numbers, in precisely this version, belong in every collection. We are talking about the year 1960, and the 17 musicians involved have probably performed this very repertoire every night in a different venue all over the globe. But in the studio it all sounds fresh and new, well practised but never dull, cool, groovy and intoxicating. The difference to a great number of other Ellington LPs is that here not a single wind soloist stands in the foreground but the whole body of musicians. The arrangements are all new and some of them are even quite unusual, but Sam Woodyard on the drums has everything well under control - sometimes not at all 'Ellington-like'.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSnapping the fingers is automatic, and tapping your foot is also not to be frowned on; however this recording demands careful listening! If you have the first version of these numbers in your collection then it would be a good idea to compare them with this recording. The Duke Ellington Orchestra remains young, dynamic and varied thanks to a continually changing ensemble. And the 'Piano Man', as the best 'pause-filling' pianist ironically called himself, sat full of vigour before the 88 keys of the keyboard at the age of 60.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNot only jazz fans will be saying a big thank you that this recording - made in the early days of stereophony - is available once again on virgin vinyl with superb sound.\u003c\/span\u003e\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 ,\u003cstrong\u003e\u003cspan\u003e  \u003c\/span\u003e\u003c\/strong\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 class=\"ratingValue\"\u003e\u003cspan\u003e3,88\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40404092354711,"sku":"CS 8346","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/duke-ellington-piano-in-the-background-audiosoundmusic-1.jpg?v=1719851496"},{"product_id":"the-modern-jazz-quartet-fontessa","title":"\u003ctranscy\u003eThe Modern Jazz Quartet - Fontessa \u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003eJohn Lewis (piano)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMilt Jackson (vibraharp) \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\u003ePercy Heath (double bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eConnie Kay ( drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWriten by \u003c\/strong\u003e\u003cstrong\u003eJohn Lewis (A1, A3), Earl Brent (A2), Matt Dennis (A2), Harold Arlen (B1), E.Y. \"Yip\" Harburg (B1), Milt Jackson (B2), Ann Ronell (B4), Dizzy Gillespie (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\u003eStereo\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 and February 1956 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 2017\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\u003cstrong\u003e\u003cspan\u003e :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eVersailles (Porte De Versailles)\u003c\/li\u003e\n\u003cli\u003eAngel Eyes\u003c\/li\u003e\n\u003cli\u003eFontessa\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\u003eBluesology\u003c\/li\u003e\n\u003cli\u003eWillow Weep For Me\u003c\/li\u003e\n\u003cli\u003eWoodyn You\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 LP has a particularly strong all-around set by the Modern Jazz Quartet. While John Lewis' \"Versailles\" and an 11-minute \"Fontessa\" show the seriousness of the group (and the influence of Western classical music), other pieces (such as \"Bluesology,\" \"Woody 'N You\" and a pair of ballads) look toward the group's roots in bop and permit the band to swing hard. » AllMusic Review by Scott Yanow\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« As members of Dizzy Gillespie’s big band, John Lewis and Milt Jackson were establishing a reputation as premier jazz instrumentalists. John Lewis was revered for his inclination toward classical music and its organic integration with jazz. Milt Jackson was a fierce instrumentalist, inspired by bebop. After forming the John Lewis Quartet in 1952, the beginning of a four-decade prominence on the jazz scene was launched. Eventually, the “final” lineup was established with the addition of Percy Heath and Connie Kay. Under the name Modern Jazz Quartet, the ensemble were adept at recording their own albums (on various labels) and collaborating with a variety of jazz icons (Ben Webster, Jimmy Giuffre, Oscar Peterson, Sonny Rollins), Their ability to master improvisation and polyphony was unprecedented. They were adept at restrained, but inspired instrumental jams. Their earliest successes, “Django” and “Bags Groove” have become jazz standards. The Modern Jazz Quartet enjoyed various resurgences throughout their illustrious career, but they were at a creative apex in the 50’s with their catalog on Verve and Atlantic.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has released a re-mastering of Fontessa, (Atlantic\/1956). The original recording was engineered by Rudy Van Gelder and John Kraus. Their grasp of mono aural landscapes is superb and the vinyl re-mastering is faithful to the hi-frequency “roll-off” that defined that sound. Side One opens with a Lewis composition, “Versailles”. With a triangle for percussion, Lewis and Jackson play together and intermingle on the melody. The dual-pronged translation mirrors the distinctive, contrasting styles of Lewis (precise, serious) and Jackson (improvisational, bluesy). Heath’s understated double bass fits in perfectly. Perhaps the unique artistry of MJQ is best represented by the ruminative cover of “Angel Eyes”. With a single-note underlying vibraharp and triangle, Lewis executes his graceful, but complex piano notations. The melodic context has a sultry cinematic resonance. Lewis’ poignancy complements Jackson’s energetic be-bop phrasing.\u003c\/p\u003e\n\u003cp\u003eAlways celebrating interpretive range, the title track is visionary. Fortunately, Lewis (the composer) has provided context to this “suite” in the liner notes. Lewis and Jackson combine on a classical-infused prelude (with deft cymbals). The first “movement” is vampy with blues imagery. There are unusual chords and musical structures folded into a medium-swing cool jazz groove. The next part is more improvisational as both Jackson  and Lewis (with a surprising gospel flavor) sustain lyrical flashes against a loping bass rhythm. The final segment is more contemporary with edginess and spare dissonance. Kay executes a rare cymbal solo. Side B is loaded with different arrangements. Everyone is familiar with Harold Arlen’s “Over The Rainbow”. Jazz musicians have always been drawn to this piece for its haunting, emotional melody. Lewis delivers a silky intro before he is joined by Milt on the patented dual lead with counterpoint. The physical dexterity of the vibraphone performance is dynamic and explosive. There is a quasi-bounce temp change, before the two soloists combine on a simple, but gorgeous harmony.\u003c\/p\u003e\n\u003cp\u003e“Bluesology” (written by Milt Jackson) is an accomplished concoction of swinging jazz blues. Milt percolates on vibraharp, while John lats down soulful riffs. The overall sound is fuller, almost like a 4-piece big band. In a switch, Lewis shines with improvisational acuity on an extended solo with sprightly chords and soulful inflection. Jackson finishes the jam and the band executes another tempo change at the end. “Willow Weep For Me” is a change of pace with a moody late-night balladry. Again, Lewis can integrate with the rhythm section and layer counterpoint simultaneously. There is a slight rhythm up tick, before the return to bluesy rumination. The finale (“Woodyn You”) is homage to the group’s mentor, Dizzy Gillespie. As advertised it is a polyrhythmic bebop arrangement with syncopation, stops and big time swing flourishes. The amazing coherency of contrasting instrumentalists is intriguing and compelling. Jackson rollicking riffs and Lewis’ understated play merge seamlessly.\u003c\/p\u003e\n\u003cp\u003eThe overall sound mix of Speakers Corner’s vinyl re-mastering is excellent. The mono fidelity is crystalline. The listener can differentiate each individual instrument  at all times. The mic placement is brilliant, as evidenced by the precise rendering of minor details like a cymbal or triangle. The vibraphone tonality is crisp and sharp, but also glows with echo. There are band notes (from the Atlantic album) by renowned critic Ralph J. Gleason (San Francisco Chronicle, Down Beat).\u003c\/p\u003e\n\u003cp\u003eFontessa is a jazz classic, made greater by a technology update! » Robbie Gerson, Audiophile Audition, Apr 11, 2018\u003c\/p\u003e\n\u003cp\u003eThe famous critic and jazz expert Ralph J. Gleason quite rightly mentioned two highly distinctive men in his liner notes – John Donne and Pablo Picasso. Almost four hundred years and a great deal of seawater separate the two exceptional artists from England and Spain. Nevertheless the four black US-Americans who make up the Modern Jazz Quartet bridge the gap between time and continents effortlessly.\u003cbr\u003eAnd what’s more, blues is also to be heard – and bebop! And evergreens from the Broadway shows of the Thirties too!\u003c\/p\u003e\n\u003cp\u003eIn contrast to some of the other rather more dawdling and laid-back MJQ LPs, \"Fontessa\" offers diversified and intense music. Nothing is routine, perhaps because the drummer Connie Kay had replaced Kenny Clark just one year previously. But maybe too because Milt Jackson’s blues influence inspired John Lewis perceptibly to forget all about discipline. All seven numbers are true gems. But if you want a special hint, just listen to \"Bluesology\". Well, perhaps the present author is too much of a Milt Jackson fan. Be that as it may, the music magazine \"Rolling Stone\" gave this LP a five-star rating!\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 \/ 5 , \u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,12\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\u003e3,76\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40404107493527,"sku":"1231","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-modern-jazz-quartet-fontessa-audiosoundmusic-1.jpg?v=1719851504"},{"product_id":"lalo-schifrin-bullitt","title":"Lalo Schifrin - Bullitt","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eConducted by Lalo Schifrin \u003ca data-mce-fragment=\"1\" title=\"vinyl composed by or featuring Lalo Schifrin\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/lalo-schifrin\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e[click to see more vinyl composed by or featuring Lalo Schifrin]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJohn Audino, Bud Brisbois (tp, fgh); Milt Bernhart, Dick Noel (tb); Bud Shank, Bill Perkins (reeds); Mike Melvoin (p, org); Mike Deasy (g); Ray Brown (b); Carol Kaye (el-b); Stan Levey (dr); Larry Bunker (percussion \u0026amp; strings)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eArranged by Lalo Schiffrin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Lalo Schifrin (A1, A2, A3, A4, A5, A6, B1, B2, B3, B4, B6), Sonny Burke (B5), Paul Francis Webster (B5)\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\u003eStereo\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 :  Warner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: December 1968 at Western Recorders, Hollywood, by Lee Herschberg\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Jimmy Hilliard\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1968\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2017\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\u003eBullitt (Main Title)\u003c\/li\u003e\n\u003cli\u003eRoom \"26\"\u003c\/li\u003e\n\u003cli\u003eHotel Daniels\u003c\/li\u003e\n\u003cli\u003eThe Aftermath Of Love\u003c\/li\u003e\n\u003cli\u003eMusic To Interrogate By\u003c\/li\u003e\n\u003cli\u003eOn The Way To San Mateo\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIce Pick Mike\u003c\/li\u003e\n\u003cli\u003eA Song For Cathy\u003c\/li\u003e\n\u003cli\u003eShifting Gears\u003c\/li\u003e\n\u003cli\u003eCantata For Combo\u003c\/li\u003e\n\u003cli\u003eThe First Snowfall\u003c\/li\u003e\n\u003cli\u003eBullitt (End Title)\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« After establishing himself in the television world with the classic Mission: Impossible theme, Lalo Schifrin soon made himself equally famous in the world of film music with his work on the soundtrack of the Steve MacQueen cop thriller Bullitt. This classic soundtrack found Schifrin combining the skills he honed as an arranger for jazzmen like Count Basie with the gift he developed for writing tight, punchy themes on television soundtracks like The Man From U.N.C.L.E. and Mission: Impossible. The end result is an exciting score that deftly blends traditional orchestral film-scoring techniques with the rhythms and swings of classic jazz. This combination is perfectly presented on \"Bullitt (Main Title),\" a jazz-pop instrumental that starts with an angular, staccato bass line and quickly layers on jazz guitar and controlled bursts of brass to create a tune that swings and thrills all at once. Other gems in this vein include \"Shifting Gears,\" which adds and subtracts layers of dissonant strings and brass over an insistent, percolating groove from the rhythm section, and \"Ice Pick Mike,\" a chase theme that builds from piano and percussion to a full-blown jazz instrumental complete with a wild horn section. Elsewhere, Schifrin effectively slows down the rhythms to craft lush instrumentals that manage to create a lighter, more pensive mood without losing their jazz edge: \"The Aftermath of Love\" layers gentle trumpet and flute lines over string-sweetened rhythms and \"The First Snowfall\" is a bright, horn-driven piece that applies the album's swinging brass section to a poppy melody. Everything on the album is visually evocative the way good soundtrack music should be, yet the individual cuts are tight and melodic enough to hold up to repeated listens. The end result is a soundtrack that succeeds both as a film score and a stand-alone album. This unique combination makes Bullitt one of the finest achievements in the Lalo Schifrin catalog and one of the best action film scores ever written » AllMusic Review by Donald A. Guarisco\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA high-speed car chase between a Dodge Charger and a Ford Mustang, with super-cop Bullitt at the wheel, who forces the hitman off the road and into a petrol station, which explodes and incinerates him. Prior to that, harsh clashes of metal, hubcaps flying all over the place, and the chief character Steve McQueen, who grimly changes gears and hurtles through the streets of San Francisco, wheels screaming and rubber burning. That was how Hollywood staged one of the longest and most dramatic car chases, long before the days of the Anti-Blocking-System and Anti-Slide-Control.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eVery up-to-date and just as exciting as the screenplay is the music Lalo Schifrin wrote for the film, which embeds the characters, places and events in a musical context. For example, \"Bullitt\": the metrically angular main theme portrays a mysterious, cool character who sums up a situation with keen alertness and then makes his attack with the speed of lightning.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eInitially the music travels through easy-going Latin terrain. But gradually the rhythmic texture changes and takes a rougher path, with clicks, knocks and hammering. Legendary flute lines create a compensatory placidness with airy clouds floating above the sharp mix. A really special track is \"Shifting Gears\": here you can listen to Schifrin tuning the car, how he manipulates a jammed springy bossa to take on the sound of clean, smooth-running rock.\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\u003e4,60\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\u003e3,82\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40404142489751,"sku":"WS 1777","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/lalo-schifrin-bullitt-audiosoundmusic-1.jpg?v=1719851503"},{"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":"katie-mahan-plays-gershwin","title":"\u003ctranscy\u003eKatie Mahan - Plays Gershwin (D2D)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003eKatie Mahan (piano)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eComposed by George Gershwin\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\u003eDirect-to-disc recording\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\u003eStereo\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 BMS (Berliner Meister Schallplaten)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: December 2016 at Meistersaal, Emil Berliner Studios, Berlin, by Stephan Flock\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduction: Rainer Maillard \u0026amp; Stephan Flock\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReleased in July 2017\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\u003cstrong\u003e\u003cspan\u003e:\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e1. Rhapsody in Blue (George Gershwin)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e1. Embraceable You (George Gershwin)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e2. I Got Rhythm (George Gershwin)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e3. Our Love Is Here To Stay (George Gershwin)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e4. Prelude No. 1 (George Gershwin)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e5. Prelude No. 2 (George Gershwin)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e6. Prelude No. 3 (George Gershwin)\u003c\/div\u003e\n\u003col start=\"7\"\u003e\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\u003eGeorge Gershwin is America's most beloved classical composer. His music personifies the ideals of a vastly diverse modern world, like a magic mirror which reflects every aspect of its surroundings. Gershwin is responsible for opening up the concert hall to the popular American composer, and for breaking down the conventional boundaries between popular music and art music.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHe loved to play the piano, and would sit at the piano and improvise songs for hours. His piano playing was outstanding, characterized not only by its unbridled virtuosity and spontaneity, but also by its intricacy, charm, and sheer inventiveness.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIt is through the piano that his imagination came to life in composition, and although he was equally at home improvising on the piano at a party, composing popular songs for Broadway, or writing large works for the concert hall, it is as a 'serious' classical composer and pianist that Gershwin most desired to be remembered and respected. The selections on this album pay tribute to the 'classical' Gershwin.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eKatie Mahan who, at the age of four, was inspired to study the piano after attending a concert of Gershwin given by the Labèque sisters, does not try to imitate Gershwin's singular piano style, nor does she seek to play in a jazz style. Rather, she brings her own unique voice to his works, presenting arrangements that are unabashedly classical, and which reflect her own personality and musical background.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIn this live direct-to-disc recording, Mahan not only captures the spontaneity and originality inherent to the fiber of Gershwin's music, but also transports the music into the classical realm where the composer most desired to be.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eDirect-to-disc (D2D)\u003c\/strong\u003e recording refers to sound recording methods that record audio directly onto analog disc masters bypassing steps as master tapes, overdubs, and mix downs from multi-tracked masters. This approach avoids problems of analog recording tape such as tape hiss (high frequency noise).\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\u003eDiscogs : 4 \/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40404197638295,"sku":"1706 V","price":35.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/katie-mahan-plays-gershwin-d2d-audiosoundmusic-1.jpg?v=1719851503"},{"product_id":"sonny-stitt-stitt-plays-bird","title":"\u003ctranscy\u003eSonny Stitt - Stitt Plays Bird\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003eSonny Stitt - alto sax\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJim Hall - guitar \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jim-hall\" title=\"vinyl featuring Jim Hall\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/jim-hall\"\u003e[click here to see more vinyl featuring Jim Hall]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Lewis (piano), Richard Davis (bass), Connie Kay (drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Charlie Parker (A1, A2, A3, A4, A5, B1, B2, B4), Benny Harris (A1), Jay McShann (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\u003eStereo\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 1963 at Atlantic Studios, New York City, by Tom Dowd\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 1964\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2017\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\u003eOrnithology\u003c\/li\u003e\n\u003cli\u003eScrapple From The Apple\u003c\/li\u003e\n\u003cli\u003eMy Little Suede Shoes\u003c\/li\u003e\n\u003cli\u003eParker's Mood\u003c\/li\u003e\n\u003cli\u003eAu Privave\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eKo-Ko\u003c\/li\u003e\n\u003cli\u003eConfirmation\u003c\/li\u003e\n\u003cli\u003eHootie Blues\u003c\/li\u003e\n\u003cli\u003eConstellation\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« Sonny Stitt forged his own approach to playing bebop out of the sound and style of Charlie Parker, so this tribute album was a very logical project. With fine support from guitarist Jim Hall, pianist John Lewis, bassist Richard Davis, and drummer Connie Kay, Stitt performs ten Parker compositions, plus Jay McShann's \"Hootie Blues\"; these renditions of \"Now's the Time\" and \"Yardbird Suite\" were previously unreleased. Stitt, who mastered bebop and could play hot licks in his sleep, is in top form on such numbers as \"Constellation,\" \"Confirmation,\" and \"Ko-Ko,\" making this an essential item for straight-ahead jazz fans (although the prolific altoist would record eight other albums in 1963 alone). » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e« For those listeners who may have missed out on the LP Stitt Plays Bird ,when it was first released in 1963, now is your chance to rectify that oversight. Deliciously re-mastered by the German label Speakers Corner Records to bring out the full dynamics and sonic delight of the stereo recording, you are treated to Sonny Stitt and his be-bop cohorts run through eight Charlie Parker originals and one by Jay McShann ( in whose band Parker was first employed).\u003c\/p\u003e\n\u003cp\u003eAdditionally, the liner notes are by Ira Gitler ( who died on February 23, 2019, at 90)  and was one of the most respected jazz writers of the post war era as well as an early believer in be-bop music. Finally the album cover is a portrait of Stitt by noted American painter Marvin Israel, which is so flawlessly reproduced it could be suitable for framing.\u003c\/p\u003e\n\u003cp\u003eThe musicians surrounding Stitt, are anchored by two stalwarts of the Modern Jazz Quartet, pianist John Lewis and drummer Connie Kay plus  one of tastiest guitarists in jazz  Jim Hall, and the big toned bassist Richard Davis.\u003c\/p\u003e\n\u003cp\u003eMuch has been made about the influence that Charlie Parker had on the playing of Sonny Stitt. Although there was a closeness in style, and some of Stitt’s early solo work may have had some note for note Parker comparisons, Stitt was his own man, developing his own creativity and phrasing.  The opening track on Side One is “Ornithology” which is based on How High The Moon and a close listening may pick up some early Parker mannerisms. Guitarist Jim Hall has a glorious solo on this number.\u003c\/p\u003e\n\u003cp\u003e“Scrapple From The Apple” uses chord changes from Honeysuckle Rose with  Hall and Stitt covering the line on both the introduction and the out chorus to the number. In between Stitt is both agile and aglow throughout his solo space.\u003c\/p\u003e\n\u003cp\u003e“Parker’s Mood” is a slow blues on which Stitt is expressive and sure-footed. Pianist John Lewis, who had been involved with several prior recordings of the number including Parker’s original outing, offers ideal rapport that is both empathetic and lyrical.\u003c\/p\u003e\n\u003cp\u003eIf you listen closely as Side Two opens with “Ko-Ko” the changes of Ray Noble’s Cherokee are on full display. Stitt takes the number at full gallop and he does not gives up the reins throughout the piece.\u003c\/p\u003e\n\u003cp\u003eAnother all Stitt offering is “Confirmation” which has become a bebop standard. Filled with an array of complex and rapid chord changes, this composition is not for the faint of heart. Stitt never backed away from a challenge and he tackled the opportunity with his assertive style and cool-headed technical facility.\u003c\/p\u003e\n\u003cp\u003eWhen Parker was in Jay McShann’s band in the early 1940s, they recorded one of McShannn’s compositions “Hootie Blues”. Stitt’s interpretation is of the low-down blues variety and he sets the stage accordingly.  Pianist Lewis, guitarist Hall, and bassist Davis are moved to add to the suggestive slow-burn attractiveness of the number.\u003c\/p\u003e\n\u003cp\u003eBe-bop is spoken here. » Pierre Giroux, Audiophile Audition, May 31, 2019\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt is widely known that Sonny Stitt didn’t want to be taken for Charlie 'Bird' Parker and changed from playing the alto to the tenor saxophone. Although false rumours pop up every now and then, the truth is that at the beginning of the 1940s Stitt independently developed the same be-bop licks as Parker without ever having heard him.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFor \"Stitt Plays Bird\" Sonny had to unearth his old instrument and insert a new mouthpiece because Atlantic Records and their entrepreneurial president Ahmet Ertegun hoped for big sales figures. Which actually proved true.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eOne half of the modern jazz quartet provided the melodic and rhythmic basis for improvisations on eight 'hits' by Charlie Parker and one composition by his first employer Jay McShann. Added to this are the subtle, sensitive scatterings from Jim Hall and the emphatic beat from Richard Davis, both of which lend delicacy and pulse to the numbers. It’s hard to recommend a special track, but \"Scrapple From The Apple\" is just awesome! All the numbers are based on standards – just which they are can be found in the informative liner notes by the be-bop expert Ira Gitler. Atlantic’s logo “Full Dynamic Frequency Spectrum” is no longer a swindle in this new pressing and at last one can enjoy all nine titles in all their sonic glory.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllmusic : 4.3 \/ 5 ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,48\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\u003e3,49\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40404214186135,"sku":"SD 1418","price":34.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/sonny-stitt-stitt-plays-bird-audiosoundmusic-1.jpg?v=1719851503"},{"product_id":"herbie-hancock-crossings","title":"\u003ctranscy\u003eHerbie Hancock - Crossings\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eHerbie Hancock (el-p, p, mellotron, perc) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/herbie-hancock\" title=\"vinyl featuring Herbie Hancock\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/herbie-hancock\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\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\"\u003eBennie Maupin (ss, fl, b-cl, fl, perc) \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/bennie-maupin\" title=\"Vinyl featuring Bennie Maupin\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/bennie-maupin\"\u003e[click here to see more vinyl featuring Bennie Maupin]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eEddie Henderson (tp, fhg, perc); Julian Priester (tb, perc); Patrick Gleeson (synth); Buster Williams b, perc); Billy Hart (dr, perc)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Herbie Hancock (A1), Bernie Maupin (B1, 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\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\u003eStereo\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 :  Warner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"production_info\"\u003e\u003cstrong\u003eRecording: February 1972 at Pacific Recording Studios, San Mateo, CA., by Patrick Gleason\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eProduction: David Rubinson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1972\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2017\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"production_info\"\u003e\u003cstrong\u003eTracks : \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"production_info\"\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSleeping Giant\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eQuasar\u003c\/li\u003e\n\u003cli\u003eWater Torture\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"production_info\"\u003e \u003c\/p\u003e\n\u003cp class=\"production_info\"\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e : \u003c\/p\u003e\n\u003cp\u003e« With the frenzied knocking of what sounds like a clock shop gone berserk, Crossings takes the Herbie Hancock Sextet even further into the electric avant-garde, creating its own idiom. Now, however, the sextet has become a septet with the addition of Dr. Patrick Gleeson on Moog synthesizer, whose electronic decorations, pitchless and not, give the band an even spacier edge. Again, there are only three tracks -- the centerpiece being Hancock's multi-faceted, open-structured suite in five parts called \"Sleeping Giant.\" Nearly 25 minutes long yet amazingly cohesive, \"Sleeping Giant\" gathers a lot of its strength from a series of funky grooves -- the most potent of which explodes at the tail-end of Part Two -- and Hancock's on-edge Fender Rhodes electric piano solos anticipate his funk adventures later in the '70s. Bennie Maupin's \"Quasar\" pushes the session into extraterrestrial territory, dominated by Gleeson's wild Moog effects and trumpeter Eddie Henderson's patented fluttering air trumpet. Even stranger is Maupin's \"Water Torture,\" which saunters along freely with splashes of color from Hancock's spooky Mellotron and fuzz-wah-pedaled Fender Rhodes piano, Gleeson's electronics, and a quintet of voices. Still a challenging sonic experience, this music (which can be heard on Warners' Mwandishi two-CD set) has yet to find its audience, though the electronica-minded youth ought to find it dazzling. » AllMusic Review by Richard S. Ginell\u003c\/p\u003e\n\u003cp class=\"production_info\"\u003e\u003cspan\u003eIn the 1970s, Herbie Hancock’s \"Crossings\" was to be found on every record shelf in the student pads of jazz-fusion fans. The cover, with its psychedelic touch, also contributed significantly to its popularity – although it was unclear where the crossing was going to take us …\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"production_info\"\u003e\u003cspan\u003eNevertheless, the excellent trumpeter Eddie Henderson – often underestimated as an improviser and composer, and Benny Maupin – who like Hancock had grown up under Miles Davis’s wing, present a wide range of sound-generating instruments – as was all the rage in those days. Synthesizer and Mellotron (a polyphonic tape replay keyboard and as such practically the prototype of the sampler) were permanent members of the group – and even produce here melodic arches of sound! Whether Bennie Maupin’s \"Quasar\" launches the group and us into extraterrestrial territory (as stated in one review) is a moot point.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"production_info\"\u003e\u003cspan\u003eThis LP is a contemporary historical document, though it certainly doesn’t sound antiquated. That’s why younger listeners too will find pleasure in this experiment from the previous millennium.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"production_info\"\u003e \u003c\/p\u003e\n\u003cp class=\"production_info\"\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"production_info\"\u003e\u003cspan\u003eAllMusic : 5 \/ 5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,28\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\u003e3,80\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40404238532759,"sku":"BS 2617","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/herbie-hancock-crossings-audiosoundmusic-1.jpg?v=1719851509"},{"product_id":"freddie-hubbard-backlash","title":"\u003ctc\u003eFreddie Hubbard - Backlash\u003c\/tc\u003e","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003eFreddie Hubbard (fgh, tp) \u003ca data-mce-fragment=\"1\" title=\"Vinyl featuring Freddie Hubbard\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/freddie-hubbard\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/freddie-hubbard\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Freddie Hubbard]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJames Spaulding (as, fl); Albert Dailey (p); Bob Cunningham (b); Ray Appleton (dr); Ray Barretto (perc)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eDon Pickett (A1), Harold Ousley (A2), Freddie Hubbard (B1, B2), Robert Cunningham (B3)\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\u003eStereo\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\u003eRecorded in 1967 by Tom Dowd, Phil Jehle and Adrian Barber\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduced by Arif Mardin\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 \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\u003eBacklash\u003c\/li\u003e\n\u003cli\u003eThe Return Of The Prodigal Son\u003c\/li\u003e\n\u003cli\u003eLittle Sunflower\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eOn The Que-Tee\u003c\/li\u003e\n\u003cli\u003eUp Jumped Spring\u003c\/li\u003e\n\u003cli\u003eEchoes Of Blue\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« The first of trumpeter Freddie Hubbard's three Atlantic albums, this excellent set falls between hard bop and the avant-garde, often hinting at both. Hubbard's regular group of the time (James Spaulding on alto and flute, pianist Albert Dailey, bassist Bob Cunningham, and drummer Otis Ray Appleton, plus guest conga player Ray Barretto) performs the debut version of his famous \"Little Sunflower,\" an excellent remake of \"Up Jumped Spring,\" and four lesser-known pieces. Hubbard and Spaulding made for an excellent team and there are plenty of exciting moments on this brief but potent set. » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAfter his great success as a new discovery through playing on tour and in the studio with Art Blakey’s creative and inspirational group, the Jazz Messengers, Freddie Hubbard made a dozen LPs over 16 years for Blue Note and Impulse under his own direction.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIt was no wonder then that a big record company made him a lucrative offer in autumn 1966. All in all, Atlantic Records released six LPs and the very first, entitled \"Backlash\", is still until today the best of the bunch.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThree numbers by Freddie Hubbard, one by Bob Cunningham, and two by friends, provide the basis for a successful transition between hard bop and soul beat. Hubbard made high demands on his fellow musicians James Spaulding, Albert Dailey and especially the bass player Bob Cunningham and the drummer Ray Appleton because they had to cope with the ever-changing beat. Right from the very first note, it is obvious that Freddie Hubbard had Fats Navarro and Clifford Brown in his heart and fingers. All the titles are excellent. Of special note, however, is \"Little Sunflower\". The sound colouring of the flute harmonizes particularly well with Hubbard’s brass, and Ray Barretto’s contribution is more than mere decoration. You’re certainly on the right track with this LP, no matter whether it’s the beginning of a Freddie Hubbard collection or a further contribution to a large jazz collection.\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 : 4.2 \/ 5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,36\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\u003e3,76\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40404275331223,"sku":"SD 1477","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/freddie-hubbard-backlash-audiosoundmusic-1.jpg?v=1719851509"},{"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":38.0,"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":"charles-lloyd-forest-flower","title":"\u003ctranscy\u003eCharles Lloyd - Forest Flower\u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCharles Lloyd (ts, fl) \u003ca title=\"Vinyl featuring Charles Llyod\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/charles-lloyd\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/charles-lloyd\"\u003e[click here to see more vinyl featuring Charles Llyod]\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eKeith Jarrett (p) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/keith-jarrett\" title=\"vinyl featuring Keith Jarrett\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/keith-jarrett\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see vinyl featuring Keith Jarrett]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e Cecil McBee (b) \u003ca title=\"vinyl featuring Cecil McBee\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/cecil-mcbee\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/cecil-mcbee\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Cecil McBee]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJack DeJohnette (dr) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jack-dejohnette\" title=\"vinyl featuring Jack Dejohnette\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/jack-dejohnette\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Jack DeJohnette]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Charles Lloyd (A1, A2), Keith Jarrett (B1); Cecil McBee (B2), Brooks Bowman (B3)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\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\u003eSpeed : 33 RPM\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\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\u003eStereo\u003c\/strong\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 :  Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: September 1966 live at Monterey Jazz Festival by Wally Heider\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan\u003eProduction: George Avakian\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 2016\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\u003cdiv style=\"padding-left: 30px;\"\u003e1. Forest Flower - Sunrise\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Forest Flower - Sunset\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Sorcery\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Song of Her\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. East of The Sun\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Your ear won't know where to tune in : to Jarrett's dazzling jagged runs (that years later show up in Mike Garson's 'Alladin Sane' Bowie accompaniment), or DeJohnette's driving cymbal work or McBee's muscular playing on his 'Song of Her' or the rousing concluding piece, a speedy take on the standard 'East of the Sun,' which the group takes apart and then gleefully re-assembles much to the crowd's delight. Lloyd's fleet playing is an album standout. ... Kevin Gray's cut is far superior to my original Atlantic pressing, which despite all of the Dual 1009SK\/Shure V15 plays, remains quiet and fully extended on top. However, this reissue is far more dynamic and far better EQ'd, especially in the far more transparent midrange that also manages to well convey the outdoor space.\" Michael Fremer, \u003c\/span\u003e\u003cem\u003eAnalogPlanet.com\u003c\/em\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« When Charles Lloyd brought his new band to Monterey in 1966, a band that included Keith Jarrett on piano, Jack DeJohnette on drums, and the inimitable -- though young -- Cecil McBee on bass, no one knew what to expect. But they all left floored and this LP is the document of that set. It is difficult to believe that, with players so young (and having been together under a year), Lloyd was able to muster a progressive jazz that was so far-reaching and so undeniably sophisticated, yet so rich and accessible. For starters, the opening two title tracks, which form a kind of suite (one is \"Forest Flower-Sunrise,\" the other \"Sunset\"), showcased the already fully developed imagination of Jarrett as a pianist. His interplay with DeJohnette -- which has continued into the 21st century in a trio with Gary Peacock -- is remarkable: whispering arpeggios surrounded by large chords that plank up the drumming as DeJohnette crosses hands and cuts the time in order to fluctuate the time. Lloyd's own solos are demonstrative of his massive melodic gift: his improvisation skirted the edges of what was happening with Coltrane (as everyone's did), but his own sense of the deep wellspring of song and the cross-pollination of various world musics that were happening at the time kept him busy and lyrical. Elsewhere, on Jarrett's own \"Sorcery,\" his linking front-line harmonics with Lloyd is stellar -- this isn't communication, it's telepathy! Jarrett's angular solo is buoyed up by Lloyd's gorgeous ostinato phrasing. By the time the band reaches its final number, a sky-scorching version of Brooks Bowman's \"East of the Sun,\" they have touched upon virtually the entire history of jazz and still pushed it forward with seamless aplomb. Forest Flower is a great live record. » AllMusic Review by Thom Jurek\u003c\/p\u003e\n\u003cp\u003eIt was a clever move by George Avakian, producer at Atlantic Records, to record live the Charles Lloyd Quartet during their appearance in Monterey, and to release the LP under the title \"Forest Flower\". Although the hippy flower-power movement tended towards a rather different musical genre at the end of the Sixties, they were blown away by this music. The four artists attracted masses of people and ensured that every seat was taken and all standing room filled at jazz festivals such as Newport, Molde (Norway), Antibes (France) and the Fillmore East and West. The super group also appeared in Monterey, 120 Km south of San Francisco, the centre of the hippy movement, on 18 September 1966.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOn the LP we have the almost 18-minute-long title piece and the standard work \"East Of The Sun\", which were recorded at the festival. The disc is complemented by a Keith Jarrett composition and one by Cecil McBee, both of which were recorded in the studio ten days before the festival.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOf particular note is the rich interplay, the energy that is palpable throughout, the perfect harmony in each and every change of mood, and the intensity. Even 50 years later, it is quite clear that Charles Lloyd managed to break down the barriers between pop and jazz.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCharles Lloyd is committed to this objective to this very day! All four musicians are still active, although they no longer appear together as a group. Such a special treat for the ears is offered by this newly mastered disc only.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/p\u003e\n\u003cp\u003eAllmusic : 5 \/ 5 , \u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,19\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\u003e3,94\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003eMichael Fremer : Music = 10 \/ 11; Sound = 9 \/ 11\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40404370882711,"sku":"SD-1473","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/charles-lloyd-forest-flower-audiosoundmusic-1.jpg?v=1719851509"},{"product_id":"al-di-meola-splendido-hotel","title":"\u003ctranscy\u003eAl Di Meola - Splendido Hotel (2LP)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAl Di Meola - guitar, vocal, drums, percussions \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Al Di Meola\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/al-di-meola\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/al-di-meola\"\u003e[click here to see more vinyl featuring Al Di Meola]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eChick Corea - piano \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"Vinyl featuring Chick Corea\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/chick-corea\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/chick-corea\"\u003e[click here to see more vinyl featuring Chick Corea]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eSteve Gadd - drums \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/steve-gadd\" title=\"vinyl featuring steve gadd\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/steve-gadd\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Steve Gadd]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLes Paul (g)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJan Hammer (synth); Anthony Jackson (b); Mingo Lewis (cga, bgo, perc); Philippe Saisse (keyb, marimba); Eddie Colon (perc)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Al Di Meola (A1, A2, B2, B3, C1, C2, C3, D3), Philippe Saisse (B1, C3), Bert Kaempfert (D1), Tony Cohan (D2 Lyrics), Chick Corea (D2 Music)\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\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\u003eStereo\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: 1979 at CBS Recording and Electric Lady Studios, New York, by Dave Palmer and Love Castle Studios, Los Angeles, by Bernie Kisch\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Al Di Meola and Philip Roberge\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1980\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in Feb 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\u003col\u003e\n\u003cli\u003eAlien Chase on Arabian Desert\u003c\/li\u003e\n\u003cli\u003eSilent Story in Her Eyes\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eRoller Jubilee\u003c\/li\u003e\n\u003cli\u003eTwo to Tango\u003c\/li\u003e\n\u003cli\u003eAl Di’s Dream Theme\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDinner Music of the Gods\u003c\/li\u003e\n\u003cli\u003eSplendido Sundance\u003c\/li\u003e\n\u003cli\u003eI Can Tell\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSpanish Eyes\u003c\/li\u003e\n\u003cli\u003eIsfahan\u003c\/li\u003e\n\u003cli\u003eBianca’s Midnight Lullaby\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« Talk about ambitious. This two-LP set finds guitarist Al di Meola performing with his quintet of the time (featuring keyboardist Philippe Saisse), with studio musicians, solo, in a reunion with pianist Chick Corea, singing a love song, and welcoming veteran Les Paul for a version of \"Spanish Eyes.\" Most of the music works quite well and it shows that di Meola (best-known for his speedy rock-oriented solos) is a surprisingly well-rounded and versatile musician. » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJust how much creative gunpowder had Al Di Meola ignited in his early career? First of all there was the flamenco firework in the best-seller \"Elegant Gypsy\", and secondly his mega-successful live album resulting from a summit meeting in San Francisco with Paco de Lucia and John McLaughlin. After this great start it was no wonder that such prominent colleagues as Jan Hammer, Chick Corea, Steve Gadd, Anthony Jackson and Les Paul were eager to participate in the present album \"Splendido Hotel\". \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis great line-up of musicians produce a rich, saturated sound and create numerous 'flavours' in this cocktail of sounds, which - as a double LP - can be likened to a fantastic long drink, as it were. Di Meola's idea of fusion starts off in the opening number as a slow, sluggish oriental-like melody, which develops to take on a rock rhythm. High-speed and lovingly detailed flamenco such as is found in \"Splendido Sundance\" alternates with subtle rhythms (\"Two To Tango\") and good-humoured lighter numbers with an electronic undertone such as \"Roller Jubilee\" and a funky version of Bert Kaempfert's \"Spanish Eyes\". With this great mix, the musicians create a wonderful atmosphere in which every Latin aficionado will feel at home.\u003c\/span\u003e\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  , \u003cspan\u003eDiscogs \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\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,44\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40404419838103,"sku":"C2X36270","price":65.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/al-di-meola-splendido-hotel-2lp-audiosoundmusic-1.jpg?v=1719851509"},{"product_id":"bill-evans-the-bill-evans-album","title":"\u003ctranscy\u003eBill Evans - The Bill Evans Album\u003c\/transcy\u003e","description":"\u003ch2\u003e\u003cbr\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eBill Evans (Piano [Steinway], Electric Piano [Fender-Rhodes]) \u003ca data-mce-fragment=\"1\" title=\"Vinyl featuring Bill Evans\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/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\" style=\"color: #ff8000;\" 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\u003eEddie Gomez (Bass), Marty Morell (Drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Bill Evans except A3 written by Bill Evans and John Court\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\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\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: May and June 1971 at CBS 30th Street Studio, New York, by Pete Weiss\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Elton Schelin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduction: Helen Keane\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1971\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in Feb 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\u003col\u003e\n\u003cli\u003eFunkallero\u003c\/li\u003e\n\u003cli\u003eThe Two Lonely People\u003c\/li\u003e\n\u003cli\u003eSugar Plum\u003c\/li\u003e\n\u003cli\u003eWaltz For Debby\u003c\/li\u003e\n\u003cli\u003eTwleve Tone Tune\u003c\/li\u003e\n\u003cli\u003eRE: Person I Knew\u003c\/li\u003e\n\u003cli\u003eComrade Conrad\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« On this seven-song LP, Bill Evans made his debut on electric piano, usually playing it in conjunction with his acoustic piano. Joined by bassist Eddie Gomez and drummer Marty Morell, Evans performs seven of his stronger originals including \"Funkallero,\" \"The Two Lonely People,\" \"Re: Person I Knew,\" \"T.T.T.,\" and \"Waltz for Debby.\" Although not as distinctive on the electric keyboard as he was on its acoustic counterpart, Evans sounds inspired by its possibilities and is heard in top creative form throughout the date. » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe global corporation Columbia recorded and released only two LPs with pianist Bill Evans. A meagre result when one considers the numerous concerts that the new trio undertook between 1969 and 1974. Together with Eddie Gomez, a phenomenon on the bass, and drummer Marty Mortell, the three established a firm – and ever better – trio. Evans became interested in the possibilities offered by the Fender Rhodes piano and used it for the first time in \"The Bill Evans Album\".\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe LP is remarkable in that only Evans’s own compositions were recorded – three previously recorded pieces and four brand-new works. Of particular note is the melancholy \"Two Lonely People\", Evans’s musical interpretation of a poem by Carol Hall. \"Sugar Plum\" and \"T.T.T.\" were to remain in his repertoire right up until his very last recordings. Unusual but very commendable because it begins with an ad hoc introductory improvisation is the electric piano version of Evans’s most well-known composition – \"Waltz For Debby\".\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe excellent technical facilities at the Columbia Studio were used to the full by Bill Evans, even though they were only recording a small ensemble. And that is why the seven numbers sound far better than most of the trio’s live recordings. And as Bill Evans once said, it was with this trio that he could fulfil his musical ambitions.\u003c\/span\u003e\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\u003cstrong\u003e , \u003c\/strong\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\u003e3,82\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40404466532503,"sku":"C 30855","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/bill-evans-the-bill-evans-album-audiosoundmusic-1.jpg?v=1719851521"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/collections\/all-audiophile-vinyl-by-genre-audiosoundmusic.jpg?v=1719850965","url":"https:\/\/www.audiosoundmusic.com\/fr\/collections\/all-audiophile-vinyl-by-genre.oembed?page=101","provider":"AudioSoundMusic","version":"1.0","type":"link"}