{"title":"\u003ctranscy\u003eVinyles en édition limitée\u003c\/transcy\u003e","description":"","products":[{"product_id":"rahsaan-roland-kirk-blacknuss","title":"Rahsaan Roland Kirk - Blacknuss","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eRahsaan Roland Kirk - flute, tenor saxophone \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/roland-kirk\" title=\"vinyl featuring Roland Kirk\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/roland-kirk\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Roland Kirk]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhistle, Gong, saxophone, vocals, arrangements), Henry Pearson (bass), Bill Salter (bass, Congas), Richard Landrum \u0026amp; Arthur Jenkins (Congas,Cabassa), Bernard Purdie (drums), Khalil Mhdri (drums), Billy Butler (guitar), Cornell Dupree (drums), Keith Loving (drums), Mickey Turner (organ), Joe Habad Texidor (percussion), Richard Tee (piano), Sonelius Smith (piano), Dick Griffin (trombone), Charles McGee (trumpet), Mickey tucker (organ)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Bill Withers (A1), Al Cleveland (A2a), Marvin Gaye (A2a, A2b), Renaldo Benson (A2), Chris Allen (A3), Johnny Cameron (A3), Johnny Bristol (A4), LaVerne Ware (A4), Pam Sawyer (A4), Ronald White (A5), William Robinson (A5), Rahsaan Roland Kirk (A6, B4), Princess Patience Burton (A7), Clifton Davis (B1), David Gates (B3).  B2 is traditionnal.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecording : Atlantic Studio, New York City on August 31 and September 8, 1971\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProducer : Joel Dorn\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1972\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRe-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 1:\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Ain't No Sunshine\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2a. What's Goin' On\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2b. Mercy Mercy Me (The Ecology)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Take Me Girl, I'm Ready\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. I Love You Yes I Do\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. My Girl\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. Which Way Is It Going\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e7. One Nation\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide 2:\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Never Can Say Goodbye\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Old Rugged Cross\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Make It With You\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Blacknuss\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e“Rahsaan Roland Kirk was a unique figure in jazz lore. As a teenager, the blind musician was performing in Ohio as part of the burgeoning r \u0026amp; b scene. His ability as a multi-instrumentalist was enhanced by his uncanny ability to play more than one saxophone…simultaneously! Active in recording from 1955 to his premature death in 1977, Kirk began as a hard bop jazz performer, and became an early proponent of soul jazz. His musical aesthetics drew on global influences, as well as classical and popular material. From the beginning, he embraced the socio-political themes consistent with his era. The apex of his career was the 11-year (1965-1976) stint with Atlantic Records that produced 12 notable releases. In addition to saxophone, Kirk excelled at flute. His unusual technique combined elements of humming and nose breathing. Additionally, he introduced a variety of experimental sounds (alarm clocks, bells) into his dizzying musical tapestries. His influence transcended jazz, inspiring rock musicians like Jimi Hendrix and Ian Anderson.\u003c\/p\u003e\n\u003cp\u003ePure Pleasure Records has released a re-mastered 180-gram vinyl of Blacknuss. Side 1 is a musical vision that merges jazz with soul funk in concise parameters. The opening track, “Ain’t No Sunshine When She’s Gone” is incandescent with a flute accompanied by abstract vocals (both Kirk). The funk is delivered with vibrant congas (Richard Landrum), thumping bass (Henry Pearson) and guitar (Billy Butler). Like much of Kirk’s work, it is breathtakingly fresh. The wild ride is just beginning as a supercharged Kirk tenor reinvent’s Marvin Gaye’s melancholic, “What’s Goin’ On”. This version soars with hard-driving energy, swirling with accents on trombone (Dick Griffin), trumpet (Charles McGhee), whistles and organ (Mickey Tucker). The second movement (“Mercy, Mercy Me\/The Ecology”) is equally transformed into a sultry jazz ballad with bluesy resonance and chord changes. In what feels like a second two-song medley, “Take Me Girl, I’m Ready” and the Isley Brothers gem, “I Love You, Yes I Do” are executed with tight arrangements and muscular structure. This allows Kirk to improvise freely. “My Girl” is coyly funky, and jazzed up considerably with nimble guitar licks, freewheeling flute and relentless energy. The veteran saxophonist is not restricted by genre or unwritten protocols. An original composition, “Which Way Is It Going” is a tour-de-force of flute expression. Kirk plays with abandon (even shrillness) to ignite a high-energy blues scoot. His idiosyncratic vocals add depth and abstraction to the number. The internalization of society and culturally advanced vision is captured on “One Nation”. The music landscape is frenetic with Afro-Cuban motifs. There is an interesting call and response with a striking vocalist who matches the grittiness of the song. The 7 tracks on this side are captivating and render the listener breathless.\u003c\/p\u003e\n\u003cp\u003eSide 2 continues the early 70’s jazz soul attitudes. On “Never Can Say Goodbye” (previously covered in soul veneer by Isaac Hayes), Kirk instills a Latin-infused, horn\/reed-driven engine to drive the re-purposed pop sensibility. His runs are searing, at times harsh. He maintains a jazz edginess. There are several highlights on this album, perhaps none more than “Old Rugged Cross”. This is a straight up gospel sermon, replete with Kirk’s vocal litany of cross-related imagery. A Sunday-morning organ (Mickey Turner) and piano (Richard Tee) set the backdrop for Kirk’s lower-register saxophone lead. The raw feeling is palpable. With a spirited tempo shift (aided byCornell Dupree on guitar), the expanded ensemble swells with crescendo after crescendo. Kirk’s double sax play is inspiring. In an unexpected selection, David Gates’ “Make It With You” morphs into a “down ’n’ dirty” Memphis hook-driven instrumental. Kirk stretches the tonal boundaries of his saxophone as electric piano (Richard Tee) and distorted electric guitars (Cornell Dupree and Keith Loving) set the mood. In a deserved finale, the title track is another “testimony”. Kirk verbally intones “b-l-a-c-k-n-u-s-s” as the atmospheric jam explodes into African rhythms. Kirk adds a caressing, soulful sax line at the end before the repeat chant.\u003c\/p\u003e\n\u003cp\u003eBlacknuss was a trend-setting iconic contribution to jazz. Rahsaan Roland Kirk’s creative force helped to define musical culture. This re-mastering is excellent. The stereo separation is top-notch and the overall mix is balanced.” Robbie Gerson, Audiophile Audition, May 2020\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"While the entire album shines like a big black sun, the other standouts include a deeply moving read of 'My Girl' and a version of 'The Old Rugged Cross' that takes it back forever from those white fundamentalists who took all the blood and sweat from its grain and replaced them with cheap tin and collection plates. On Kirk's version, grace doesn't come cheap, though you can certainly be a poor person to receive it. Ladies and gents, \u003cem\u003eBlacknuss\u003c\/em\u003e is as deep as a soul record can be and as hot as a jazz record has any right to call itself. A work of sheer blacknuss!\u003cstrong\u003e\" -\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003eAllMusic\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eFrom its opening bars, with Bill Salter's bass and Rahsaan's flute passionately playing Bill Withers' \"Ain't No Sunshine\", you know this isn't an ordinary Kirk album (were any of them?). As the string section, electric piano, percussion, and Cornel Dupree's guitar slip in the back door, one can feel the deep soul groove Kirk is bringing to the jazz fore here. As the tune fades just two and a half minutes later, the scream of Kirk's tenor comes wailing through the intro of Marvin Gaye's \"What's Goin' On\", with a funk backdrop and no wink in the corner -- he's serious. With Richard Tee's drums kicking it, the strings developing into a wall of tension in the backing mix, and Charles McGhee's trumpet hurling the long line back at Kirk, all bets are off -- especially when they medley the mother into \"Mercy Mercy Me\". By the time they reach the end of the Isleys' \"I Love You, Yes I Do\", with the whistles, gongs, shouting, soul crooning, deep groove hustling, and greasy funk dripping from every sweet-assed note, the record could be over because the world has already turned over and surrendered -- and the album is only ten minutes old!\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003ci\u003e\u003c\/i\u003e\u003cu\u003e\u003c\/u\u003e\u003csub\u003e\u003c\/sub\u003e\u003csup\u003e\u003c\/sup\u003e\u003cdel\u003e\u003c\/del\u003e\"Blacknuss\", like \"The Inflated Tear\", \"Volunteered Slavery\", \"Rip, Rig And Panic\", and \"I Talk To The Spirits\", is Kirk at his most visionary. He took the pop out of pop and made it Great Black Music. He took the jazz world down a peg to make it feel its roots in the people's music, and consequently made great jazz from pop tunes in the same way his forbears did with Broadway show tunes. While the entire album shines like a big black sun, the other standouts include a deeply moving read of \"My Girl\" and a version of \"The Old Rugged Cross\" that takes it back forever from those white fundamentalists who took all the blood and sweat from its grain and replaced them with cheap tin and collection plates. On Kirk's version, grace doesn't come cheap, though you can certainly be a poor person to receive it. Ladies and gents, \"Blacknuss\" is as deep as a soul record can be and as hot as a jazz record has any right to call itself. A work of sheer blacknuss!\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 ; Discogs : 4.35 \/ 5 ; Audiophile Audition : 4.5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40440909987991,"sku":"PPAN SD11601","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/rahsaan-roland-kirk-blacknuss-audiosoundmusic-1.jpg?v=1719851775"},{"product_id":"clifford-jordan-these-are-my-roots-clifford-jordan-plays-leadbelly","title":"\u003ctranscy\u003eClifford Jordan - These Are My Roots,  Clifford Jordan Plays Lead Belly\u003c\/transcy\u003e","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eClifford Jordan (saxophone, tenor) \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Clifford Jordan\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/clifford-jordan\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/clifford-jordan\"\u003e[click here to see more vinyl featuring Clifford Jordan]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRoy Burrowes (trumpet)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJulian Priester (trombone)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChuck Wayne (banjo)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCedar Walton (piano)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRichard Davis (bass, acoustic)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlbert \"Tootie\" Heath (drums) \u003ca title=\"vinyl featuring Albert Tootie Heath\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/albert-tootie-heath\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/albert-tootie-heath\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Albert Tootie Heath]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSandra Douglas (vocals)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Huddie Ledbetter (A1, A2, A3, A4, B1, B2, B3, B4, B5), Alan Lomax (A1, A2, B2, B5), John A. Lomax (A1, B1), Clifford Jordan (A5)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecording : February 1 \u0026amp; 17, 1965 in New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProducer : \u003cspan data-mce-fragment=\"1\"\u003eDonald Elfman\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003eOriginally released in 1965\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRe-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2020\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\u003eDick's Holler\u003c\/li\u003e\n\u003cli\u003eSilver City Bound\u003c\/li\u003e\n\u003cli\u003eTake This Hammer\u003c\/li\u003e\n\u003cli\u003eBlack Betty\u003c\/li\u003e\n\u003cli\u003eThe Highest Mountain\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGoodnight Irene\u003c\/li\u003e\n\u003cli\u003eDe Gray Goose\u003c\/li\u003e\n\u003cli\u003eBlack Girl\u003c\/li\u003e\n\u003cli\u003eJolly O The Ransome\u003c\/li\u003e\n\u003cli\u003eYellow Gal\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« At first glance, this appears to be a very illogical album. Back in 1965, tenor saxophonist Clifford Jordan recorded a tribute to the late folksinger Leadbelly. The date, originally cut for Atlantic and reissued by Koch in 1999, is actually more successful than one might expect. Jordan performs nine of Leadbelly's originals (including the hit \"Goodnight Irene\"), turning the music into jazz without lessening the impact of the melodies or their folk roots. Trumpeter Roy Burrowes, trombonist Julian Priester, bassist Richard Davis, and drummer Albert \"Tootie\" Heath are on most of the selections along with Jordan, while Chuck Wayne (on guitar and banjo) helps out on four tunes, and pianist Cedar Walton is on three. The fine young singer Sandra Douglass is excellent on \"Take This Hammer\" and \"Black Girl.\" Overall, this project is an unexpected success -- one would not have thought that Clifford Jordan and Leadbelly had that much in common! » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"\u003c\/span\u003e\u003ci\u003eThese Are My Roots \u003c\/i\u003eis noteworthy for many reasons. Clifford Jordan manages to reinvent blues essence with a highly creative jazzy approach\" \u003cspan\u003eRobbie Gerson, Audiophile Audition Review May 2020\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cp\u003eClifford Jordan hailed from Chicago, hometown of hard-driving, so-called ‘tough tenorists’ like Gene Ammons and Eddie ‘Lockjaw’ Davis. While Jordan shared their unnerving bravado, his tone is different, an alluring tone, simultaneously rough around the edges and ephemeral. A sought-after sideman, Jordan recorded with stalwarts as Lee Morgan and Max Roach in the late fifties and early sixties, as well as a series of high standard solo albums. Like age matures wine, Jordan’s style ripened in the early seventies, his lines becoming fluent like ripples of lake water. Jordan kept recording and performing steadily until his death in 1993.\u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003eMaybe this album, filled with interpretations of such classic tunes as Take This Hammer and Goodnight Irene, is not such a surprise act after all. The preceding year, Jordan had been part of Charles Mingus’ outfit (appearing on the hi-voltage live album Right Now: Live At The Jazz Workshop) Musical gobbler Mingus’ unfazed search for new vistas while retaining an all-embracing sense of the past’s relevance and blend of harmonic finesse with unbridled juke joint tumult surely rubbed off on Jordan.\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eDa Gray Goose is one of the cases in point. Tasteful harmony over the stop-time theme kicks it into action, strongly plucked bass and fiery drums inspire the soloists, creating an atmosphere of abandon. Lusty shout choruses stoke up the fire as the tune progresses. There are also some, yes, virtuoso banjo parts.\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eThe gloomy folk blues music of Huddie ‘Leadbelly’ Ledbetter, whose life story reads like a combined effort of Shakespeare and James Baldwin, including oppression, hardship, addiction, treachery, murder and prison life, is excellently cast in a jazz frame. But not too jazzy, often the sound of Jordan’s top-notch group is as tough-as-nails as the sound of any one group that enlivened the back alley bars way back when. Jordan’s unpredictable phrasing overcomes the restrictions of the rigid folk blues form.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003eCraftily uncrafted, These Are My Roots is a spirited album of earnest, raw and ebullient swing.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003eAllMusic : 4 \/ 5\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40441237569687,"sku":"PPAN SD11444","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/clifford-jordan-these-are-my-roots-clifford-jordan-plays-lead-belly-audiosoundmusic-1.jpg?v=1719851775"},{"product_id":"eddie-harris-the-in-sound","title":"\u003ctranscy\u003eEddie Harris - The In Sound\u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEddie Harris (tenor saxophone)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCedar Walton (piano)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRon Carter (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\u003eBilly Higgins (drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRay Codrington (trumpet) \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Johnny Mandel (A1), Paul Francis Webster (A1), Mel Tormé (A2), Robert Wells (A2), Cole Porter (A3), Eddie Harris (B1, B3), George \u0026amp; Ira Gershwin (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eRecording : \u003cspan data-mce-fragment=\"1\"\u003eAugust 9 \u0026amp; 30, 1965 by \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cstrong\u003eTom Dowd\u003c\/strong\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cstrong\u003e\u003cbr\u003eProducer : \u003c\/strong\u003eNesuhi Ertegun\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eOriginally released in 1965\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan\u003e\u003cbr\u003eRe-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eReissued in 2020\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cbr\u003eTracks :\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e1. Love Theme From The Sandpiper (The Shadow Of Your Smile)\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e2. Born To Be Blue\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e3. Love For Sale\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e1. Cryin’ Blues\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e2. ’S Wonderful\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e3. Freedom Jazz Dance\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 data-mce-fragment=\"1\"\u003e\"Pure Pleasure Records has done a superb job in re-mastering The In Sound to 180-gram vinyl. The stereo separation is potent. With good headphones, the listener can appreciate the higher fidelity of mid-60’s recording.\" Robbie Gerson, Audiophile Audition\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"This is one of Eddie Harris' great records. The playing is inspired! What a band! Cedar Walton (piano) and Billy Higgins (drums), Lee Morgan's favorite rhythm section. The underrated but popular tenor saxophonist introduces his 'Freedom Jazz Dance,' which would become a jazz standard after featuring on Miles Davis' album Miles Smiles. Plays one of the earlier versions of 'The Shadow of Your Smile,' romps on 'Love for Sale' and 'S Wonderful,' and also performs 'Born to Be Blue' and his own 'Cryin' Blues.' Harris is heard in prime form in a quartet\/quintet with pianist Cedar Walton, bassist Ron Carter, drummer Billy Higgins, and part-time trumpeter Ray Codrington. A gem.\" — AllMusic\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\"For many years now, the UK-based Pure Pleasure label has been been serving the vinyl lovers' community with it's 100 per cent analogue reissues of classic albums. The material in the rich and varied PP catalogue runs the gamut from jazz and blues to folk, from pop to classical, taking in everyone from Bobby Gentry through to Freddie Hubbard, and Phil Ranelin to Laura Nyro.The new version of Eddie Harris '1966 breakout album is no exception - the vinyl is quiet and flat, and Ray Staff at Air Mastering in London has done a superb job with the original tapes, producing an LP that more than holds its own against a first-press Atlantic copy and which projects the musicians into your listening room with the appropriate warmth and detail.The sleeve and detail. The sleeve is produced accurately (although the Atlanic logo is replaced by Pure Pleasure's) , complete with Leonard Father's original liner notes; and although there's no barcode, there are no flipbacks either - but these are minor quibbles. As ever , the Pure Pleasure crew has done a fantastic job,And what of the music? Well, if you don't know this record, yo should make every effort to get ecquainted. Despite the dip in quality of his later output, the Harris of the mid 1960s is firing on all cylinders, backed by a hard bobbin' group (Cedarr Walton's piano interventions are especially outstanding). Old warhorses such as `S'Wonderful', `Love For Sale' and ` The Shadow Of Your Smile' and given a viggorous new coat of paint, combining Tin Pan Alley sophistication with muscular 1960s energy. But it's Harris' nblues wailing ' tenor style, features a wonderfully wonky theme -a variation on a blues in F -and splendid drumming from the industrious Higgin. The latter, of course, has become something of a standard, ever since Miles Davis covered in on Miles Smiles , listening to Harris` original, one can see its appeal for other musicians - this is the sound of the future long, long before said future ever happened; its also catchy , energetic and repetitive in the best possible way (it's a straightahead, elegantly funky groove in B flat) , and - i'm not a musician myself myself , so I'm relying on what musicians tell me -is great fun to play once you've mastered it. But `Freedom Jazz Dance' , as well as the rest of The In Sound , is also great fun to listen to as well, whether you're a player or not.\" Kevin Whitlock, Jazzwise Magazine Review August 2020\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003eAllMusic : 5 \/ 5\u003c\/div\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40441564397719,"sku":"PPAN SD 11448","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/eddie-harris-the-in-sound-audiosoundmusic-1.jpg?v=1719851775"},{"product_id":"charles-lloyd-quartet-love-in","title":"Charles Lloyd Quartet - Love-In","description":"\u003cdiv class=\"product-details-module product-details__general-info\" data-mce-fragment=\"1\"\u003e\n\u003cdiv class=\"product-details-module__content\" data-mce-fragment=\"1\"\u003e\n\u003cdiv id=\"productDescription\" class=\"product-details__product-description\" data-mce-fragment=\"1\" itemprop=\"description\"\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\n\u003ch2\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eCharles Lloyd (tenor sax \u0026amp; flute) \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\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eKeith Jarrett (piano) \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 data-mce-fragment=\"1\"\u003e\u003cstrong\u003e Ron McClure (bass), \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eJack DeJohnette (drums) \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 data-mce-fragment=\"1\"\u003e\u003cstrong\u003eWritten by Charles Lloyd (A1, A2, B1, B3), Keith Jarrett (A3, B2), John Lennon (A4), Paul McCartney (A4)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\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\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecorded live at The Fillmore Auditorium in San Francisco 1967\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecording Engineers: Wally Heider\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eProduced by: George Avakian\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRe-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1967\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 data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A : \u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e1. Tribal Dance\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e2. Temple Bells\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e3. Is It Really The Same\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e4. Here There \u0026amp; Everywhere\u003c\/p\u003e\n\u003cp\u003eSide B : \u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e1. Love-In\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e2 Sunday Morning\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e3. Memphis Dues Again\/Island Blues\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e“Five decades after the event, Charles Lloyd's Love-In, recorded live at San Francisco's Fillmore Auditorium in 1967, endures as much as an archaeological artefact as a musical document. From sleeve designer Stanislaw Zagorski's treatment of Rolling Stone photographer Jim Marshall's cover shot, through the album title and some of the track titles (\"Tribal Dance,\" \"Temple Bells\"), and the inclusion of Lennon \u0026amp; McCartney's \"Here There and Everywhere,\" Love-In's semiology is a powerful reminder of the acid-drenched zeitgeist of the mid 1960s. It was a time when large numbers of rock fans were prepared to embrace jazz, provided the musicians did not come on dressed in suits and ties, exuding cynicism and alcohol fumes.\u003c\/p\u003e\n\u003cp\u003eIt is possible that more joints were rolled on Love-In's cover than on that of any other jazz LP of the era, with the exception of John Coltrane's A Love Supreme (Impulse!, 1965) and Pharoah Sanders' Tauhid (Impulse!, 1967). Chet Helms, a key mover and shaker in the West Coast counterculture, spoke for many when he hailed the Lloyd quartet as \"the first psychedelic jazz group.\"\u003c\/p\u003e\n\u003cp\u003eThe counterculture's embrace was triggered by Lloyd's media savvy, sartorial style and sheer nerve in playing jazz in the temples of rock culture as it was by his music. He took the quartet into the Fillmore West three years before Miles Davis played the Fillmore East—as documented on Live at the Fillmore East, March 6 1970: It's About That Time (Columbia, 2001)—by which time Lloyd's pianist, Keith Jarrett, and drummer, Jack DeJohnette were members of Davis' band.\u003c\/p\u003e\n\u003cp\u003eIn purely musical terms, Love-In is not Lloyd's strongest Atlantic-era album, and even with Wally Heider at the board it shows up some of the limitations of contemporary live recording. But it still has legs. Lloyd's vocalized tenor (and flute on two tracks) has muscle; Jarrett's solos, particularly on his 07:55 showcase, the gospel-ish \"Sunday Morning,\" his two featured originals (\"Sunday Morning\" and the soul jazz-ish \"Is It Really the Same?\"), and his playing the strings of the piano directly with his hands, all remain compelling; DeJohnette and bassist Ron McClure are solid and inventive.\u003c\/p\u003e\n\u003cp\u003eOriginally released on Atlantic in 1967, Love-In has been reissued by vinyl-only label Pure Pleasure. It is good to have it back.” Chris May, All About Jazz\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"product-details-module product-details__product-like favorite-product\" data-mce-fragment=\"1\"\u003e\n\u003cdiv class=\"product-details-module__title ec-header-h6 favorite-product__title\" data-mce-fragment=\"1\"\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"product-details-module__title ec-header-h6 favorite-product__title\" data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"product-details-module__title ec-header-h6 favorite-product__title\" data-mce-fragment=\"1\"\u003eDiscogs : 4.04 \/ 5\u003c\/div\u003e\n\u003c\/div\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40441921896599,"sku":"PPANSD11481","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/charles-lloyd-quartet-love-in-audiosoundmusic-1.jpg?v=1719851786"},{"product_id":"ruth-brown-miss-rhythm","title":"Ruth Brown - Miss Rhythm (Mono)","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRuth Brown (vocal) \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Ruth Brown\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ruth-brown\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ruth-brown\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Ruth Brown]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEd \"Tiger\" Lewis, Steve Lipkins, Joe Wilder (trumpet), Jimmy Cleveland, Richard Harris (trombone), Jimmy Mitchell, Jerome Richardson (alto saxophone), Arnett Cobb, King Curtis, Budd Johnson, Sam Taylor (tenor saxophone), Sylvester Thomas (baritone saxophone), Lee Anderson, Dick Hyman, Bu Pleasant, Mike Stoller (piano), Mickey Baker, Al Caiola, Allen Hanlon, Mundell Lowe, Charles Macey (guitar), Abie Baker, Percy Heath, Benny Moten, Lloyd Trotman (bass), Connie Kay, Joe Marshall, Noruddin Zafer (drums), Jerry Duane, Bob Harter, Artie Malvin, Bill Marine, Robert Miller, Ralph Nyland, The Rhythmakers, Maeretha Stewart (backing vocals)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Manny Curtis (A1), Bobby Darin (A1), Jerry Wexler (A2), C. Taylor(A2), Rudy Toombs (A3), Brook Benton (A4), Belford Hendricks (A4), Ronald Mack(A4), Ahmet Ertegun (A5), Jimmy Lewis (A6), Ruth Brown (A6), Jerry Leiber (B1, B2), Mike Stoller (B1, B2), Rose Marie McCoy (B3), Charlie Singleton (B3), C. Small (B4), D. Moore (B4), Leroy Kirkland (B5), Mamie Thomas (B5), Joe Shapiro (B6), Lou Stallman (B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded May 7, 1954, March 1, 1955, September 25, 1956, April 15 and December 5, 1957, July 30, 1958 and March 7, 1959, in New York City\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRe-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1959\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2018\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv\u003eSide A :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. \"This Little Girl's Gone Rockin'\" (Manny Curtis, Bobby Darin) \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. \"Just Too Much\" (Jerry Wexler, C. Taylor) \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. \"I Hope We Meet (On the Road Someday)\" (Rudy Toombs) \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. \"Why Me\" (Brook Benton, Belford Hendricks, Ronald Mack) \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. \"Somebody Touched Me\" (Ahmet Ertegun) \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. \"When I Get You Baby\" (Jimmy Lewis, Ruth Brown)\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eSide B :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. \"Jack O' Diamonds\" (Jerry Leiber, Mike Stoller)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. \"I Can't Hear a Word You Say\" (Leiber, Stoller) \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. \"One More Time\" (Rose Marie McCoy, Charlie Singleton) \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. \"Book of Lies\" (C. Small, D. Moore) \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. \"I Can See Everybody's Baby\" (Leroy Kirkland, Mamie Thomas) \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. \"Show Me\" (Joe Shapiro, Lou Stallman) \u003c\/div\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e : \u003c\/p\u003e\n\u003cp\u003e\"Ruth Brown's second LP is a minor masterpiece, built around a handful of hit singles and B-sides from the prior year (\"Book of Lies,\" \"Just Too Much,\" \"When I Get You Baby,\" \"This Little Girl's Gone Rockin',\" \"Why Me\") and containing a pair of current single sides, \"Jack O' Diamonds\" and \"I Can't Hear a Word You Say.\" Brown is amazing in her range, from the upbeat, romantic \"I Hope We Meet (On the Road Someday)\" to the jaunty shouter \"Why Me\" -- her timbre ranges from sweetly romantic to hard and raspy, and listening to the transformations, between the smooth, quick tempo \"Just Too Much\" to the hard, lusty \"Somebody Touched Me,\" one thinks of a distaff Sam Cooke. Brown's accompaniments may have lacked the polish of Cooke's sides, and she wasn't really shooting for pop-crossover success (though she saw some). Her singing even overcomes excessively pop-oriented arrangements on \"When I Get You Baby.\" At various times, in her upper register, Brown recalls Clyde McPhatter's falsetto singing, while in her middle and lower registers, as on \"I Can't Hear a Word You Say,\" she comes up with a power that could melt a microphone stand.\" Bruce Eder, Allmusic\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Brown’s first LP for Atlantic, Ruth Brown, is a compilation of hit singles recorded between 1949 and 1956. Miss Rhythm collects her popular sides released between 1954 and 1959. By the early 1960s, she was gone from Atlantic, even though the imprint released The Best of Ruth Brown (which includes a 1960 session song with Eric Dolphy in the band) in 1962. During the 1960s, Brown released a handful of albums on the Solid Stated, Cobblestone, and Skye labels, and proceeded to continue touring for the rest of her life. The dozen songs on Miss Rhythm show the vocalist at the top of her game and relying on her incredible range. While the backing bands vary from song to song, they are uniformly composed of top jazz and session players.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe front cover of Pure Pleasure’s LP depicts the standard mono cover. However, on the back and in the vinyl deadwax, the catalog number is listed as SD 8206. While it’s unlikely these early singles were recorded in two-track stereo, the stereo sonics here do not sound electronically rechanneled for stereo. Indeed, the production sounds like mono—and very good mono at that, with a fairly wide stage rather than instruments lined up front to back in a mono row\"\u003c\/em\u003e Dennis Davis -Vinyl Reviews\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 3.5 \/ 5  ,  Vinyl Reviews : 4 \/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40442050085015,"sku":"PPAN SD18026","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/ruth-brown-miss-rhythm-mono-audiosoundmusic-1.jpg?v=1719851785"},{"product_id":"leo-wright-blues-shout","title":"Leo Wright - Blues Shout","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\" face=\"Calibri\"\u003e\u003cspan data-mce-fragment=\"1\" size=\"3\"\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\" face=\"Calibri\"\u003e\u003cspan data-mce-fragment=\"1\" size=\"3\"\u003eSide A\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" size=\"3\"\u003e : \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" size=\"3\"\u003eLeo Wright\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" size=\"3\"\u003e, flute \/ \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" size=\"3\"\u003eHarry Lookofsky\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" size=\"3\"\u003e, violin \/ \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" size=\"3\"\u003eJunior Mance\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" size=\"3\"\u003e, piano \/ \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" size=\"3\"\u003eArt Davis, \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" size=\"3\"\u003ebass\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" size=\"3\"\u003e \/ Charlie Persip, \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" size=\"3\"\u003edrums.\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" face=\"Times New Roman\" size=\"3\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\" size=\"3\"\u003eSide B\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" size=\"3\"\u003e : \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" size=\"3\"\u003eLeo Wright\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" size=\"3\"\u003e, alto saxophone \/ \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" size=\"3\"\u003eRichard Williams\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" size=\"3\"\u003e, trumpet \/ \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" size=\"3\"\u003eJunior Mance\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" size=\"3\"\u003e, piano \/ \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" size=\"3\"\u003eArt Davis, \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" size=\"3\"\u003ebass\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" size=\"3\"\u003e \/ Charlie Persip, \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" size=\"3\"\u003edrums.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\" size=\"3\"\u003eComposed by \u003cspan data-mce-fragment=\"1\" face=\"Calibri\"\u003eLeo Wright (A1, B4), Earl Brent (A2), Matt Dennis (A2), \u003c\/span\u003e\u003c\/span\u003eJacques Prévert, (A3), Johnny Mercer (A3), Joseph Kosma (A3), Al Dubin (A4), Victor Herbert (A4), \u003cspan data-mce-fragment=\"1\" size=\"3\"\u003eGigi Gryce (B1), \u003c\/span\u003eDizzy Gillespie (B2), Frank Paparelli (B2), Jerry Gladstone (B3), Russ Freeman (B3), Frank Paparelli (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cspan size=\"3\"\u003eThe arrangements for\u003cspan\u003e \u003c\/span\u003eSigi, Autumn leaves \u0026amp; Two Moods\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan size=\"3\"\u003eare by\u003c\/span\u003e\u003cspan size=\"3\"\u003e\u003cspan\u003e \u003c\/span\u003eLeo Wright.\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan size=\"3\"\u003eAll other arrangements are by\u003c\/span\u003e\u003cspan size=\"3\"\u003e\u003cspan\u003e \u003c\/span\u003eGigi Gryce\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\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\u003eRecord Press : Unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecording : \u003cspan data-mce-fragment=\"1\"\u003eMay 25 and August 29, 1960 by Tom Dowd \u0026amp; Phil Iehle\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Nesuhi Ertegun\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1961\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. Sigi\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Angel Eyes\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Autumn Leaves\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Indian Summer\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Blues Shout\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Night In Tunisia\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. The Wind\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Two Moods\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\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\u003eAudiophile Audition Best of the year Disc for 2017 - Selection Jazz\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\u003eMost, if not all, jazz fans will recognize the name of Leo Wright. He played on many vital jazz albums as a sideman for the bulk of his career – always busy, always in demand due to his unerring sense of playing just the right phrase or note at just the right time. But Wright also had the chance to lead his own sessions beginning with this one in 1960. Here, Wright uses players who also spent the majority of their careers outside the spotlight, like Wright, as sidemen on other musicians’ albums, like pianist Junior Mance, bassist Art Davis, drummer Charlie Persip, and front line helpmates Harry Lookofsky on violin and Richard Williams on trumpet (on sides one and two respectively).\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eI should hand it to Atlantic Records, they seemed to be more willing than many labels to give lesser lights a chance to shine, and do so in the best sound possible. And kudos to Pure Pleasure for finding and recognizing that this album is fully deserving of proper reissue. No, “Blues Shout” won’t be the first jazz album you reach for, but it will (or should) certainly become one you listen to often, both for is wonderful musicality as well as it excellent sound. I know I’m glad I got the chance to hear it. Most highly recommended.\" John M. Crossett March 2017\u003c\/p\u003e\n\u003cp\u003e\"\u003cspan\u003eLeo Wright's Atlantic debut, \"Blues Shout\", effectively summarizes his career as a sideman, embracing the expressionist sensibilities of longtime boss Dizzy Gillespie as well as the Latin inspirations of longtime bandmate Lalo Schifrin to create a fiercely modern and uncommonly impassioned sound all its own.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJoined by pianist Junior Mance, trumpeter Richard Williams, bassist Art Davis, and drummer Charlie Persip, Wright divides his attention between his signature alto sax and flute, delivering a series of thoughtful and lyrical solos that positively radiate energy. The blues referenced in the title are more a feeling than a sound, underscoring the emotional intensity that bristles below the surface of every note.\" AllMusic Review by \u003c\/span\u003e\u003cspan\u003eJason Ankeny\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"\u003c\/span\u003eMany jazz greats emerged from their days with Dizzy Gillespie. Charlie Parker, John Lewis, Milt Jackson, Percy Heath, Kenny Clarke, James Moody, Quincy Jones  and Les Spann all participated in various combos with Gillespie. In 1959 a young Texan named Leo Wright took over for Spain. In the Army, Wright had developed an assortment of musical skills, playing jazz, big band and was part of the symphony. He became proficient on alto saxophone, clarinet and flute. While attending San Francisco State, he got to sit in with Dizzy. After several recordings as a sideman, he was signed to Atlantic Records as a frontman. Here, Wright would develop as an arranger, composer and instrumentalist.\u003c\/p\u003e\n\u003cp\u003eWright’s brilliant Atlantic debut,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eBlues Shout\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ehas been re-mastered to 180-gram vinyl by Pure Pleasure Records. And this analog upgrade is worth it. Both sides of the album utilize a slight lineup adjustment that distinguishes it from the other. Side 1 opens with a Wright original, “Sigi”. A unison lead of flute (Wright) and violin (Harry Lookofsky) brings an exotic worldly glow as the song gets underway. The initial flute solo is crisp and jaunty. The stellar rhythm section (Junior Nance\/piano; Art Davis\/double bass; Charlie Persip\/drums) is completely locked in. Lookofsky contributes a breezy violin solo that is fresh. When he and Wright reunite at the end, their chemistry is palpable. “Angel Eyes” (one of five arrangements by fellow alto saxophonist\/ flutist Gigi Gryce) changes things with a slow-walking blues vamp (introduced by Davis). Nance’s first solo displays intricate phrasing and soulful elegance. Wright follows with a soaring run that elevates the jamming. Davis interacts with flute and violin effortlessly.\u003c\/p\u003e\n\u003cp\u003eChanging the dynamic, “Autumn Leaves” is arranged for quartet (no violin). The melancholic classicism is captured in the intro as Wright reaches emotional depth. There is a potent transition to swing mode as the rhythm section joins in. Davis’ hard-charging double bass drives the cadence. Wright and Nance reconnect on a slower interlude at the end. Wright brings a rare artistry to his flute solos. “Autumn Leaves” has been covered in a wide array of styles. With flair, Wright and Davis explore the meditative romanticism as they open in tandem. A gentle swing break ensues, before Lookofsky’s solo. Davis gets an extended solo (32 bars according to the liner notes) with just a touch of accompaniment by Persip. Coming full circle, Wright and Davis team up after Nance’s piano riffs.\u003c\/p\u003e\n\u003cp\u003eTrumpeter Richard Williams joins the ensemble on Side Two, changing the direction of the band. The title track kicks off with a cool, finger-snapping doublebass. Nance executes some trademark blues chops leading into Williams’ succinct, minimal vibrato trumpet. Wright switches to alto saxophone in a commanding, muscular representation. It is blues \u0026amp; soul jazz. The group combines for big band-reminiscent punctuations with a sly Count Basie ending. Paying homage to Dizzy Gillespie, “Night In Tunisia” is a complex wild ride. Touches like counterpoint between alto and muted trumpet are innovative and non-derivative. But the explosiveness of the bop masterpiece is front and center as the band unites. All the players get their moment to shine individually. The arrangement manages to showcase originality and embrace Gillespie. “The Wind” is another unexpected piece. It has a cinematic (\u003ci\u003efilm noir\u003c\/i\u003e), haunting ambiance, with a wistful saxophone and elegant piano. The piece was first recorded in 1953 by Chet Baker as part of the\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eWest Coast Jazz\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003emovement. The finale (Two Moods”) is intriguing and creative. A moody ballad opens and closes the jam with an emphatic swing break in the middle. Williams unleashes a potent bop-influenced solo, and Persip offers an expanded solo.\u003c\/p\u003e\n\u003cp\u003eThe sonic aesthetics captured in the vinyl re-mastering are stellar. The gossamer tonality of the flute and supple richness of the alto saxophone (without any shrillness) are exemplary (Of course legendary engineers Tom Down and Phil Iehle provided excellent source material). The stereo separation (especially for 1960) is top-notch. None of the instruments get lost in mixing. The album notes by Leonard Feather are incisive and entertaining. Equipment aficionados will be pleased with the high fidelity recording details.\" \u003cspan data-mce-fragment=\"1\"\u003eRobbie Gerson, Audiophile Audition, Mar 16, 2017\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 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40460680691863,"sku":"SD1358","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/leo-wright-blues-shout-audiosoundmusic-1.jpg?v=1719851796"},{"product_id":"charles-mingus-east-coasting","title":"Charles Mingus - East Coasting (Mono)","description":"\u003cdiv\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCharles Mingus - Bass \u003ca data-mce-fragment=\"1\" title=\"All vinyl featuring Charles Mingus\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/charles-mingus\" style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/charles-mingus\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Charles Mingus]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Evans - Piano \u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/bill-evans\" title=\"Vinyl featuring Bill Evans\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/bill-evans\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[\u003cspan data-mce-fragment=\"1\" color=\"#ff8000\"\u003eclick here to see more vinyl featuring \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" color=\"#ff8000\"\u003eBill Evans]\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eShafi Hadi - Saxophone, Tenor Saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDannie Richmond - Drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Knepper - Trombone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Clarence Shaw - Trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Charles Mingus (A2-3, B1-3), Eubie Blake (A1), Andy Razaf (A1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal analog Master tape: YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRecord Press: Unspecified\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLabel: Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label : Bethlelem\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecorded 6th August 1957 in New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eProduced by George Avakian\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1957\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2014\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMemories of You\u003c\/li\u003e\n\u003cli\u003eEast Coasting\u003c\/li\u003e\n\u003cli\u003eWest Coast Ghost\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eCelia\u003c\/li\u003e\n\u003cli\u003eConversation\u003c\/li\u003e\n\u003cli\u003eFifty-First Street Blues\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e« One of Charles Mingus' lesser-known band sessions, this lyrical set of five originals (plus the standard \"Memories of You\") features his usual sidemen of the period (trombonist Jimmy Knepper, trumpeter Clarence Shaw, Shafi Hadi on tenor and alto, and drummer Dannie Richmond), along with pianist Bill Evans. The music stretches the boundaries of bop, is never predictable and, even if this is not one of Mingus' more acclaimed dates, it is well worth acquiring for the playing is quite stimulating. » AllMusic Review by Scott Yanow\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCharles Mingus is usually known for his wild, soulful and avant-garde compositions. \"East Coasting\" is mellow by comparison, but it still cooks on a musical level. The Mingus touches are there; the trombone, drummer Danny Richmond and of course the dark emotional undercurrent looms large, too. The personnel are all Mingus regulars, except for pianist Bill Evans, who would not be described as \"soulful\" in the traditional sense, but his introverted and sensitive style works well with Mingus's music. His playing on \"West Coast Ghost\" (the album's stand-out track) and \"Celia\" are two examples of Evans' ability to understand an artist's musical vision and play accordingly in his own beautifully original style.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"East Coasting\" sounds like the prototypical 1950s jazz recording. It's something one would hear in an attic converted to a bedroom where an artist or lonely soul might live. It's what a lot of people might believe Jazz would or should sound like. Highly recommended to Jazz lovers and perhaps more importantly- to young people who have just been blown away by Kerouac's novel \"On the Road\" and have become interested in exploring Jazz. \"East Coasting\" will allow them to get a taste of lost creative America. S. Wynn\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAllMusic: 4 \/ 5   , Discogs : 4.36 \/ 5  , Rate your Music : 3.54 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40485611274391,"sku":"BCP6019","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/charles-mingus-east-coasting-mono-audiosoundmusic-1.jpg?v=1719851796"},{"product_id":"bob-dylan-blood-on-the-tracks","title":"\u003ctranscy\u003eBob Dylan - Blood on the Tracks (2LP, 45 tours, Coffret, 1STEP, SuperVinyl)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBob Dylan - vocals, guitar, harmonica (A1 to B3, C2, D2), Hammond organ (B2), mandolin (D1) \u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-dylan\" title=\"vinyl featuring Bob Dylan\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-dylan\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Bob Dylan]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTony Brown (bass), Paul Griffin (organ), Buddy Cage (steel guitar)\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePerformer : Eric Weissberg And Deliverance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Bob Dylan\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, box set\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLimited to 9,000 numbered copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan\u003eUD1S (UltraDisc One-Step)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHeavy Press : 180g - \u003cspan data-mce-fragment=\"1\"\u003eSuperVinyl\u003c\/span\u003e\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 data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLabel : \u003cspan data-mce-fragment=\"1\"\u003eMobile Fidelity Sound\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label :  Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecording: September 16–19 and December 27–30, 1974, at A\u0026amp;R Recording in New York City and Sound 80 studio in Minneapolis by Lou Schlossberg and Phil Giambalvo\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOriginal producer : Bob Dylan\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineer : Phil Ramone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by : Krieg Wunderlich and Shawn R. Britton\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProducer : Murray Krugman, Sandy Pearlman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOriginally released January 1975\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eReissued Nov 2019\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTangled Up in Blue\u003c\/li\u003e\n\u003cli\u003eSimple Twist of Fate\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eYou're a Big Girl Now\u003c\/li\u003e\n\u003cli\u003eIdiot Wind\u003c\/li\u003e\n\u003cli\u003eYou're Gonna Make Me Lonesome When You Go\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMeet Me in the Morning\u003c\/li\u003e\n\u003cli\u003eLily, Rosemary and the Jack of Hearts\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIf You See Her, Say Hello\u003c\/li\u003e\n\u003cli\u003eShelter from the Storm\u003c\/li\u003e\n\u003cli\u003eBuckets of Rain\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\u003e\u003cem data-mce-fragment=\"1\"\u003eRolling Stone \u003c\/em\u003e500 Greatest Albums of All Time - Ranked 9 \/ 500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eInducted into the Grammy Hall of Fame in 2015.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eNumber 7 in the third edition of Colin Larkin's All Time Top 1000 Albums (2000)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings You Must Hear Before You Die - Ranked 342\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« Following on the heels of an album where he repudiated his past with his greatest backing band, Blood on the Tracks finds Bob Dylan, in a way, retreating to the past, recording a largely quiet, acoustic-based album. But this is hardly nostalgia -- this is the sound of an artist returning to his strengths, what feels most familiar, as he accepts a traumatic situation, namely the breakdown of his marriage. This is an album alternately bitter, sorrowful, regretful, and peaceful, easily the closest he ever came to wearing his emotions on his sleeve. That's not to say that it's an explicitly confessional record, since many songs are riddles or allegories, yet the warmth of the music makes it feel that way. The original version of the album was even quieter -- first takes of \"Idiot Wind\" and \"Tangled Up in Blue,\" available on The Bootleg Series, Vols. 1-3, are hushed and quiet (excised verses are quoted in the liner notes, but not heard on the record) -- but Blood on the Tracks remains an intimate, revealing affair since these harsher takes let his anger surface the way his sadness does elsewhere. As such, it's an affecting, unbearably poignant record, not because it's a glimpse into his soul, but because the songs are remarkably clear-eyed and sentimental, lovely and melancholy at once. And, in a way, it's best that he was backed with studio musicians here, since the professional, understated backing lets the songs and emotion stand at the forefront. Dylan made albums more influential than this, but he never made one better. » AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003eBob Dylan was at several crossroads in the mid-1970s. Artistically, he was largely written off as being past his prime. Emotionally, he was suffering through a painful divorce from his then-wife Sara Lowndes. Creatively, he appeared at a stalemate, his previous decade's unprecedented run of transformational brilliance finished. Then came\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlood on the Tracks\u003c\/em\u003e. Dylan reached the height of his seminal 1970s work with this confessional 1975 classic featuring \"Tangled Up In Blue,\" \"Simple Twist of Fate,\" \"Idiot Wind,\" \"Lily, Rosemary and the Jack of Hearts,\" and six more classic tunes.\u003c\/p\u003e\n\u003cp\u003e\"Inevitably, when critics praise a new Dylan album, they label it the 'best since\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlood on the Tracks\u003c\/em\u003e,' and with good reason. Inspired by a crumbled marriage, and recorded after a tour with the Band had apparently re-ignited his creativity,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlood\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis among Dylan's masterpieces. The album's epic songs are well known, but its real high points are the shorter numbers — 'You're a Big Girl Now,' the flawless blues 'Meet Me in the Morning,' and the sweetly devastating 'Buckets of Rain.' These are songs of \"images and distorted facts,\" each expressed through tangled points of view, and all of them blue.\" —\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eDavid Cantwell\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltraDisc One-Step :\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eInstead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a \"convert.\" Delicate \"converts\" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMoFi SuperVinyl:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eThe World's Quietest Surfaces and Cleanest Grooves: Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever created. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.\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\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40488780333207,"sku":"MFSL45UD1S-006","price":375.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/bob-dylan-blood-on-the-tracks-2lp-45-rpm-box-1step-supervinyl-audiosoundmusic-1.jpg?v=1719851796"},{"product_id":"carmen-mcrae-the-great-american-songbook","title":"Carmen McRae - The Great American Songbook (2LP)","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eCarmen McRae (vocals \u0026amp; piano on tracks A3 \u0026amp; D3) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/carmen-mcrae\" title=\"vinyl featuring Carmen McRae\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/carmen-mcrae\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Carmen McRae]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe Pass (guitar), Jimmy Rowles (piano), Chuck Domanico (bass),  Chuck Flores (drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eWritten by Duke Ellington (A1), Billy Strayhorn (A1), Johnny Mercer (A1), Cole Porter (A2), Bernie Hanighen (A3), Paul Coates (A3), Axel Stordahl (A4), Paul Weston (A4), Sammy Cahn (A4), Michel Legrand (A5), Alan and Marilyn Bergman (A5), Harry Warren (B1), Al Dubin (B1), Ralph Rainger (B2), Leo Robin (B2), Henry Mancini (B2), Mercer\/Armando Manzanero (B2), Sid Wayne (B2), Chester Conn (B3), Benny Krueger (B3), Ned Miller (B3), Jule Styne (B3), Leon Russell (C1), Gus Arnheim (C2), Abe Lyman (C2), Arthur Freed (C2), Jimmy Rowles (C3), Jimmy McHugh (C3), Rowles (C4), McHugh (C4), Anthony Newley (C5), Ian Fraser (C5), Burt Bacharach (D1), Hal David (D1), Harry Ruby (D2), Bert Kalmar (D2), Norman Mapp (D3), Al Sherman (D4), Gerald Marqusee (D4), Al Lewis (D4), Jimmy Van Heusen (D5), Mercer (D5)\u003c\/span\u003e\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\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\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 : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecording: November 1971 live at Donte's, Los Angeles CA., by Ray Thompson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduction: Jack Rael\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRe-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1972\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\u003e\u003cstrong\u003eSide A \u003c\/strong\u003e: \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003eIntroduction \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. Satin \u003c\/span\u003e\u003cspan\u003eDoll \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e2. At Long Last Love \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e3. If The Moon Turns\u003c\/span\u003e\u003cspan\u003eGreen \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e4. Day By Day\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e5. What Are You Doing \u003c\/span\u003e\u003cspan\u003eThe Rest Of Your Life\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eSide B :\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. I Only Have Eyes For \u003c\/span\u003e\u003cspan\u003eYou \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e2. Medley: Easy Living \/ Days Of Wine \u003c\/span\u003e\u003cspan\u003e\u0026amp; Roses \/ It’s Impossible \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e3. Sunday\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eSide C :\u003c\/strong\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003eIntroduction \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. A Song \u003c\/span\u003e\u003cspan\u003eFor You \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e2. I Cried For You Now It’s Your \u003c\/span\u003e\u003cspan\u003eTurn To Cry Over Me - Introduction -\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e3. \u003c\/span\u003e\u003cspan\u003eBehind The Face – \u003c\/span\u003e\u003cspan\u003eIntroduction\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e4. The Ballad Of \u003c\/span\u003e\u003cspan\u003eThelonious Monk \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e5. There’s No \u003c\/span\u003e\u003cspan\u003eSuch Thing As Love\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eSide D : \u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003eIntroduction \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1.They \u003c\/span\u003e\u003cspan\u003eLong To Be Close To You \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e2. Three Little Words \u003c\/span\u003e\u003cspan\u003eIntroduction \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e3. Mr Ugly\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e4. It’s Like \u003c\/span\u003e\u003cspan\u003eReaching For The Moon \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e5. I Thought About You\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Mastered for reissue by Ray Staff at Air Mastering and pressed on two chunks of 180gram vinyl, this reissue gives up nothing to the original release and gains from a quieter background and lack of surface noise. For those jazz enthusiasts who love Ella and Sarah, but have not yet discovered Carmen, this is the time and place to remedy that gap, and the outstanding guitar work by Joe Pass helps this as up to an essential album.\" Hi Fi+ Dennis Davis\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"If you love hearing some of the best songs from the Great American Songbook performed by a master this album will delight you. There is a cohesiveness to the album that earns kudos from the production team as well as the performers. Interestingly McRae and her ensemble performed 32 songs the night that this was recorded. One can only speculate as to why a volume 2 wasn't released. Regardless, this is - in my opinion - some of McRae's best live material.\"\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMike Tarrani\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e« On this popular two-LP set, singer Carmen McRae interprets songs by Duke Ellington, Cole Porter, Michel Legrand, Warren \u0026amp; Dubin, Henry Mancini, and Jimmy Van Heusen, among others, but it is her rendition of a humorous Jimmy Rowles novelty (\"The Ballad of Thelonious Monk\") that is best remembered. Joined by pianist Rowles, guitarist Joe Pass, bassist Chuck Domanico, and drummer Chuck Flores, McRae had what was at the time a rare opportunity to record a live, spontaneous, jazz-oriented set. She sounds quite enthusiastic about both her accompaniment and the strong repertoire, which includes \"At Long Last Love,\" \"I Only Have Eyes for You,\" \"Sunday,\" \"I Cried for You,\" and \"I Thought About You.\" » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is a gem of an album and one of my favorites by McRae. It was recorded live for Atlantic Records at Donte's Club in Los Angeles on November 6, 1971 and released the following year.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhat I love is not only the choice of songs, but the sound quality and the performance itself. The set not only contains established standards by Ellington, Cole Porter and the other greats, but some new (at the time) material. Including Burt Bacharach's \"They Long To Be Close To You\" in the set was a wise decision in my opinion. It deserves to be a standard.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOf course there is the obligatory Billie Holiday song that McRae would include in all of her performances. On this album it's \"I Cried For You\", which was one of Billie's first recordings in 1936.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe sound quality is superb. The engineer managed to capture not only the energy from the live performance, but the richness of the ensemble backing McRae. Indeed, the musicians backing her are perfect for the material: Jimmy Rowles on piano (who wrote the \"Ballad\" of Thelonious Monk), Joe Pass on guitar, Chuck Domanico on bass and Chuck Flores on drums.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllmusic : 5 \/ 5  ,  \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40527740960919,"sku":"PPPAN SD2-904","price":52.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/carmen-mcrae-the-great-american-songbook-2lp-audiosoundmusic-1.jpg?v=1719851804"},{"product_id":"john-lewis-the-wonderful-world-of-jazz","title":"John Lewis - The Wonderful World Of Jazz","description":"\u003ch2 data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eJohn Lewis - piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eGeorge Duvivier - bass \u003ca title=\"Vinyl featuring George Duvivier\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/george-duvivier\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/george-duvivier\" 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 George Duvivier]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eJim Hall - guitar \u003cspan data-mce-fragment=\"1\"\u003e \u003cspan style=\"color: #ff8000;\"\u003e\u003ca style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/jim-hall\" title=\"vinyl featuring Jim Hall\" 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\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eConnie Kay - drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eEric Dolphy - alto saxophone (B2) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/eric-dolphy\" title=\"vinyl featuring 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\u003eJames Rivers (baritone saxophone : B2), Gunther Schuller (french horn : B2), Benny Golson (tenor saxophone : B2), Paul Gonsalves (tenor saxophone : A1), Herb Pomeroy (trumpet : A1 \u0026amp; B2)\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eWritten by John Lewis (B1, B2), Frank Eyton (A1), Johnny Green (A1), Edward Heyman (A1), Robert Sour(A1), Sammy Cahn (A2), Axel Stordahl (A2), Paul Weston(A2), Benny Golson (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\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA2,B1,B3 recorded July 29, 1960 ; \u003c\/strong\u003e\u003cstrong\u003eA1 recorded September 8, 1960 ; \u003c\/strong\u003e\u003cstrong\u003eB2 recorded September 9, 1960.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArrangements by John Lewis\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecording Engineers – Bob Arnold, Earle Brown, Gene Thompson, Johnny Cue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by \u003cspan data-mce-fragment=\"1\"\u003eNesuhi Ertegun \u0026amp; Tom Dowd\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003eOriginally released in 1961\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cu\u003eRe-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/u\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cu\u003eReissued in 2016\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/u\u003e\u003c\/span\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 style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. Body And Soul\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e2. I Should Care\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e1.\u003cspan\u003e Two Degrees East, Three Degrees West \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e2. Afternoon In Paris \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e3. I Remember Clifford\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Lewis, known for his own cool piano technique and sideman to the likes of Dizzy Gillespie, Charlie Parker, Miles Davis and Lester Young (what a line-up!), was a busy guy, primarily because he was the musical director of the Modern Jazz Quartet where he combined jazz with classical constructions and gave jazz a distinctly cerebral touch yet his own approach to jazz was one of musical efficiency where not a note went to waste. It all mattered. As did getting his music to the people. In fact he did just that for over 20 years as the MJQ rarely left the road. You can also add scoring for film which included titles such as\u003cspan\u003e \u003c\/span\u003eOdds Against\u003cspan\u003e \u003c\/span\u003eTomorrow,\u003cspan\u003e \u003c\/span\u003eNo Sun in Venice\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003eA Milanese Story,\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWhere he found the time to release a series of solo albums, I do not know. Nevertheless, he did and the Atlantic label (which is where this LP initially resided) was his principle home.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eFrankly, its a superb album and benefits continued listening because you will hear and understand more with each play. In conjunction with guitarist Jim Hall, bassist George Duvivier and drummer Connie Kay, Lewis offers an array of styles and variations including a trio of piano-heavy tracks plus the superb Body and Soul which not only roams for over 15 minutes but includes a quite delicious solo from tenor sax man, Paul Gonsalves.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBy the time we get to Afternoon in Paris, half way through Side 2, we come up against trumpeter Herb Pomeroy, Gunther Schuller on French horn, tenor man Benny Golson, baritonist Jimmy Giuffre, and guitarist Jim Hall who all offer a splendid reading. Eric Dolphy does threaten to outshine them all though.\" \u003cspan data-mce-fragment=\"1\"\u003ePaul Rigby, March 2017 \"\u003c\/span\u003e\u003c\/em\u003eA beautiful album that should be in every jazz fan’s collection\" \u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003eThere is nothing hurried about this disc. That said, the music is focused and will stretch \u003c\/span\u003e\u003cspan\u003eyour mind. Lewis employed masterful melodic improvisers here: Paul Gonsalves, Eric \u003c\/span\u003e\u003cspan\u003eDolphy, Jim Hall among others. Listen to \"Body and Soul\" as it builds powerfully and \u003c\/span\u003e\u003cspan\u003ethe soloists explore every possible melodic theme, where the quiet power of these \u003c\/span\u003e\u003cspan\u003emaster musicians is almost too much to take. Listen to \"I Remember Clifford\" where \u003c\/span\u003e\u003cspan\u003ethe players are essentially the MJQ with Jim Hall replacing Milt Jackson. \u003c\/span\u003e\u003cem\u003eThis set \u003c\/em\u003e\u003cem\u003eswings, but oh-so-elegantly. Just like Mr. Lewis\u003c\/em\u003e. \u003cem\u003eS.C.Berry\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eWhether you're an old-time jazz afficionado or new to the genre, this album is essential. In my opinion, Lewis' lovely solo on \"Body \u0026amp; Soul\" makes his version virtually definitive - 15 minutes of bliss. The rest of the album, particularly \"Afternoon in Paris\", is at the same level. \u003cem\u003e\"Wonderful\" is the perfect title for this record. \" \u003c\/em\u003e\u003cem\u003eE Barrios\u003c\/em\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eDiscogs : 4.75 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40527892119703,"sku":"SD1375","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/john-lewis-the-wonderful-world-of-jazz-audiosoundmusic-1.jpg?v=1719851804"},{"product_id":"yusef-lateef-the-doctor-is-in-and-out","title":"Yusef Lateef - The Doctor Is In...And Out","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eYusef Lateef - Alto Saxophone, Tenor Saxophone, Flute, Oboe, Flute (bamboo) \u003cspan data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/yusef-lateef\" title=\"vinyl featuring Yusef Lateef\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/yusef-lateef\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" 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\u003eRon Carter (Bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Buffington (French Horn), Billy Butler (Guitar), Anthony Jackson, Robert Cunningham, Kenneth Barron (Keyboards), Al Foster (Drums), Dom Um Romao (percussion), Dana McCurdy (Synthesizer), Jack Jeffers (Trombone), Joseph Wilder, Leonard Goines (Trumpet), Jonathan Dorn (Tuba).\u003cbr\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eArranged \u0026amp; Composed by Kenneth Barron (tracks: A2, A3, B2), Yusef Lateef (tracks: A1, B1, B3, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Regent Sound Studios, New York by Bob Liftin in March 1976\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduced by\u003c\/span\u003e\u003cspan\u003e Joel Dorn\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRe-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1976\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued June 2016\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. The Improvisers\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan lang=\"EN\"\u003e2. \u003c\/span\u003eHellbound \u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e\u003cspan lang=\"EN\"\u003e3. \u003c\/span\u003eMystique\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv\u003eSide 2 :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. Mississippi Mud\u003cbr\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e2. Mushmouth\u003cbr\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e3. Technological Homosapien\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e4. Street Musicians\u003cbr\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e5. In A Little Spanish Town (T’was On A Night Like T\u003c\/span\u003e\u003cspan\u003ehis)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« In 1976, Yusef Lateef's as restless a spiritual seeker as there ever was in the field of music, revisited some of his earliest themes in the context of modern sonic frameworks: The Eastern modal and melodic frameworks of his Prestige sides, such as Eastern Sounds, Cry!\/Tender, and Other Sounds, brought to bear in much more sophisticated, complex, and grooved-out ways -- after all, it had been 20 years or more. The groove referred to is funk and soul. Funk itself was mutating at the time, so Lateef's interpolation at the crossroads of all ports in the musical journey was not only valid in 1976, but also necessary. For this recording, he utilized an absolutely huge group of musicians, bringing them in for this or that part, or a sound, or a particular vamp. Some of those present were Kenny Barron, Ron Carter, Dom Um Romao, Al Foster, Billy Butler, Anthony Jackson, a five-piece brass section, and a synth player. Lateef, as always, was offering evocative glimpses of geographical, psychological, spiritual, and emotional terrain in his compositions, but not in predictable ways. There's the deep minor-key meditation on blues and evolving thematic variations on \"Hellbound\" that becomes a Latin funk tune; the airy, contemplative, and skeletal \"Mystique,\" which may use a repeating rhythmic phrase but explores every inch of its margins via a string section and Lateef's flute solo; the smooth, urban, bluesy funk of \"Mississippi Mud\"; the completely out electronic musique concrète of \"Technological Homosapien\" that becomes a series of synth squeals and an erratically tumbling bassline; and the wonderfully warped mariachi variation (sung in white-boy English) that featured the band playing bluesy hard bop over an age-old recorded track on \"In a Little Spanish Town.\" It's a weird way to end a record, but then, it's a weird and wonderful record. » AllMusic Review by Thom Jurek\u003c\/p\u003e\n\u003cp\u003e\"Lateef's first decade of recording, from 1957 to 1966, was, however, undeniably top ranking. A gutsy tenor saxophonist and soulful flautist, he was an early adopter of modal frameworks, and, beginning in 1957 with his Savoy album \u003cem\u003eJazz Moods\u003c\/em\u003e, he was also a pioneer of the use of Middle Eastern and South Asian instruments and harmolodic motifs in jazz. The culturally outward-looking Savoy and Prestige discs, recorded between 1957 and 1961, were well ahead of the curve and Lateef developed the experiments further on Impulse! later in the decade. On the downside, however, the Prestiges often veered uncomfortably close to easy listening. Indeed, the label originally released some of them—including the totemic \u003cem\u003eEastern Sounds\u003c\/em\u003e—on its Moodsville and New Jazz subsidiaries, which Prestige founder and producer Bob Weinstock had set up to tap into the wallpaperish \"mood music\" market, at its peak in the late 1950s and early 1960s.\" Chris May, All About Jazz July 2018\u003c\/p\u003e\n\u003cp\u003e\"\u003cspan\u003eIn 1976, Yusef Lateef's as restless a spiritual seeker as there ever was in the field of music, revisited some of his earliest themes in the context of modern sonic frameworks: The Eastern modal and melodic frameworks of his Prestige sides, such as Eastern Sounds, Cry!\/Tender, and Other Sounds, brought to bear in much more sophisticated, complex, and grooved-out ways -- after all, it had been 20 years or more. The groove referred to is funk and soul. Funk itself was mutating at the time, so Lateef's interpolation at the crossroads of all ports in the musical journey was not only valid in 1976, but also necessary.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor this recording, he utilized an absolutely huge group of musicians, bringing them in for this or that part, or a sound, or a particular vamp. Some of those present were Kenny Barron, Ron Carter, Dom Um Romao, Al Foster, Billy Butler, Anthony Jackson, a five-piece brass section, and a synth player. Lateef, as always, was offering evocative glimpses of geographical, psychological, spiritual, and emotional terrain in his compositions, but not in predictable ways.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThere's the deep minor-key meditation on blues and evolving thematic variations on \"Hellbound\" that becomes a Latin funk tune; the airy, contemplative, and skeletal \"Mystique,\" which may use a repeating rhythmic phrase but explores every inch of its margins via a string section and Lateef's flute solo; the smooth, urban, bluesy funk of \"Mississippi Mud\"; the completely out electronic musique of \"Technological Homosapien\" that becomes a series of synth squeals and an erratically tumbling bassline; and the wonderfully warped mariachi variation (sung in white-boy English) that featured the band playing bluesy hard bop over an age-old recorded track on \"In a Little Spanish Town.\" It's a weird way to end a record, but then, it's a weird and wonderful record.\" Paul Rigby - September 2016\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\u003eAllmusic : 4.5 \/ 5 ; Discogs : 4.54 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40527988064407,"sku":"APPR 1685","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/yusef-lateef-the-doctor-is-in-and-out-audiosoundmusic-1.jpg?v=1719851804"},{"product_id":"rahsaan-roland-kirk-bright-moments","title":"Rahsaan Roland Kirk - Bright Moments (2LP)","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eRahsaan Roland Kirk - tenor saxophone, flugelhorn \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/roland-kirk\" title=\"vinyl featuring Roland Kirk\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/roland-kirk\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Roland Kirk]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRon Burton - piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHenry Pearson - bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTodd Barkan - synthetizer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe Habao - percussions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRobert Shy - drums\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\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded live at Keystone Korner, San Francisco, California \u003cspan data-mce-fragment=\"1\"\u003eJune 8 \u0026amp; 9 1973 by \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003eBiff Davies, Ed Barton \u0026amp; Jack Crymes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProducer : Joel Dorn\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1973\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan size=\"3\"\u003eRe-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eSide A\u003csup\u003e \u003c\/sup\u003e: \u003c\/p\u003e\n\u003cdiv style=\"font-weight: 400; padding-left: 30px;\"\u003e\n\u003cspan data-redactor-style='color: rgb(51, 51, 51); font-family: \"Arial\",sans-serif; mso-ansi-language: EN;'\u003e1. \u003c\/span\u003e\u003cspan data-redactor-style='color: rgb(51, 51, 51); font-family: \"Arial\",sans-serif;'\u003eIntroduction\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"font-weight: 400; padding-left: 30px;\"\u003e\u003cspan data-redactor-style='color: rgb(51, 51, 51); font-family: \"Arial\",sans-serif;'\u003e2. Pedal Up \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"font-weight: 400; padding-left: 30px;\"\u003e\u003cspan data-redactor-style='color: rgb(51, 51, 51); font-family: \"Arial\",sans-serif;'\u003e3. You’ll Never Get To Heaven\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cp style=\"font-weight: 400;\"\u003eSide B : \u003c\/p\u003e\n\u003cp style=\"font-weight: 400; padding-left: 30px;\"\u003e\u003cspan data-redactor-style='color: rgb(51, 51, 51); font-family: \"Arial\",sans-serif;'\u003e1. Clackety Clack \u003cbr\u003e2\u003c\/span\u003e\u003cspan data-redactor-style='color: rgb(51, 51, 51); font-family: \"Arial\",sans-serif; mso-ansi-language: EN;'\u003e. \u003c\/span\u003e\u003cspan data-redactor-style='color: rgb(51, 51, 51); font-family: \"Arial\",sans-serif;'\u003ePrelude To A Kiss\u003cbr\u003e\u003c\/span\u003e\u003cspan data-redactor-style='color: rgb(51, 51, 51); font-family: \"Arial\",sans-serif; mso-ansi-language: EN;'\u003e3. \u003c\/span\u003e\u003cspan data-redactor-style='color: rgb(51, 51, 51); font-family: \"Arial\",sans-serif;'\u003eTalk (Electric Nose)\u003cbr\u003e4. Fly Nose Blues\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eSide C\u003cspan style=\"font-size: 11.6667px;\"\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400; padding-left: 30px;\"\u003e1.\u003cspan\u003e \u003c\/span\u003eTalk (Bright Moments) \u003cbr\u003e2. Bright Moments Song \u003cbr\u003e3. Dem Red Beans And Rice\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eSide D :\u003c\/p\u003e\n\u003cp style=\"font-weight: 400; padding-left: 30px;\"\u003e1. If I Loved You\u003cspan\u003e \u003cbr\u003e\u003c\/span\u003e2.\u003cspan\u003e \u003c\/span\u003eTalk (Fats Waller) \u003cbr\u003e3. Jitterbug Waltz \u003cbr\u003e4. Second Line J\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e \u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eRahsaan Roland Kirk's live club gigs were usually engaging, freewheeling affairs, full of good humor and a fantastically wide range of music. The double album Bright Moments is a near-definitive document of the Kirk live experience, and his greatest album of the '70s. The extroverted Kirk was in his element in front of an audience, always chatting, explaining his concepts, and recounting bits of jazz history. Even if some of his long, jive-talking intros can sound a little dated today, it's clear in the outcome of the music that Kirk fed voraciously off the energy of the room. Most of the tracks are long (seven minutes or more), demonstrating Kirk's wealth of soloing ideas in a variety of styles (and, naturally, on a variety of instruments). \"Pedal Up\" is a jaw-dropping demonstration of Kirk's never-duplicated three-horns-at-once technique, including plenty of unaccompanied passages that simply sound impossible.\u003c\/p\u003e\n\u003cp\u003e\"\u003cspan data-redactor-style='color: rgb(51, 51, 51); font-family: \"Arial\",sans-serif;'\u003e\u003cspan size=\"3\"\u003eThere's more quintessential Kirk weirdness on \"Fly Town Nose Blues,\" which heavily features an instrument called the nose flute, and the title track has a healthy dose of Kirk singing through his (traditional) flute. His repertoire is typically eclectic: Ellington's \"Prelude to a Kiss\"; a groovy Bacharach pop tune in \"You'll Never Get to Heaven\"; a lovely version of Fats Waller's \"Jitterbug Waltz\"; and a stomping, exultant New Orleans-style original, \"Dem Red Beans and Rice.\" Perhaps the best, however, is an impassioned rendition of the ballad standard \"If I Loved You,\" where Kirk's viscerally raw, honking tone hints in a roundabout way at the avant-garde without ever losing its melodic foundation. Bright Moments empties all the major items out of Kirk's bag of tricks, providing a neat microcosm of his talents and displaying a consummate and knowledgeable showman. In short, it's nothing less than a tour de force.\" Steve Huey, AllMusic\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-redactor-style='color: rgb(51, 51, 51); font-family: \"Arial\",sans-serif;'\u003e\u003cspan size=\"3\"\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAllmusic : 5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40528058908823,"sku":"PPAN SD 2-907","price":52.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/rahsaan-roland-kirk-bright-moments-2lp-audiosoundmusic-1.jpg?v=1719851804"},{"product_id":"clarence-carter-patches","title":"Clarence Carter - Patches","description":"\u003ch2\u003e\u003c\/h2\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eClarence Carter (vocals \u0026amp; guitar), Ronnie Eades (baritone saxophone), Aaron Varnell, Harvey Thompson (tenor saxophones), Jack Peck, Harrison Calloway (trumpets), Albert Lowe Jr., Travis Wommack (guitars), Clayton Ivey (keyboards), Bob Wray, Jerry Masters (bass), Cornell McFadden, Fred Prouty (Drums), Charles Chalmers, Donna Rhodes, Sandy Rhodes (backing vocals).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Tony Joe White (A1), Clarence Carter (A2, A5), George Jackson (A2, A3, A5, B3, B6), Eddie Harris (A3), John Lennon (A4), Paul McCartney (A4), O. B. McClinton (A6), Clyde Otis (B1), Dorian Burton (B1), N. Johnson (B2), R. Dunbar (B2), Raymond Moore (B3, B6), Sam Dees (B4), Clarence Carter (B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eArranged by\u003c\/span\u003e\u003cspan\u003e Jimmy Haskell \u0026amp; Harrison Calloway\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Fame Recording Studios,603 East Avalon, Muscle Shoals,Alabama\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecording engineers : Sonny Limbo \u0026amp; Rick Hall\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Rick Hall\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1970\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRe-mastering by Ray Staff at Air Mastering\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eReissued in May 2015\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. Willie And Laura Mae Jones \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e\u003cspan lang=\"EN\"\u003e2. \u003c\/span\u003eSay Man \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e\u003cspan lang=\"EN\"\u003e3. \u003c\/span\u003eI'm Just A Prisoner (Of Your Good Lovin') \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e\u003cspan lang=\"EN\"\u003e4.\u003c\/span\u003eLet It Be \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e5.I Can't Leave Your Love Alone \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e6. Your Love Lifted Me\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1.Till I Can't Take It Anymore \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e2. Patches \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e3. It’s All In Your Mind \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e4.Changes\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e5. C. C. Blues \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e6. Getting The Bills (But No Merchandise)\u003c\/span\u003e\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"While the track may familiar to those of the Northern Soul persuasion, the blind guitarist- 80 next year- is more than a one-hit wonder: he's revered by those who know him for his blues-ier output and his proximity to his gospel roots.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003eThis is one of his more successful releases in a 50-year- plus career, but clearly the by-product of the title smash.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eOne of those sessions filled with wizard sideman-this crop includes Travis Wammack-it was recorded at the Fame Studios, so the sound is swampy Deep South.\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003eThe Surprise, though, is rarely remembered, yet utterly masterful reading of The Beatles' `Let It Be', which exploits its gospel intent.\" \u003c\/em\u003e\u003c\/span\u003eKen Kessler hifi News January 2016\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eClarence Carter's first major-hit album remains a must-own record, holding up extraordinarily well across four decades. Carter's singing possesses an immediacy and emotional impact that is as striking today as it was in 1970, and displays a vast range as well. The title track is the best-known song here, though \"It's All in Your Mind\" was also a hit later in the year, and \"I Can't Leave Your Love Alone\" and \"Your Love Lifted Me\" could easily have joined it and topped the pop charts as well.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Carter even provides a bracing authentic gospel approach to the then-new Beatles song \"Let It Be,\" taking the song back to the roots whence Paul McCartney drew his inspiration. He also assumes a more pop-oriented persona on \"Till I Can't Take It Anymore,\" on which Carter starts to sound a bit like Elvis Presley, while on \"It's All in Your Mind\" he seems to invoke the ghost of Sam Cooke. On his own \"C.C. Blues,\" Carter's bluesiest persona emerges, his crunchy guitar playing off beautifully against a soaring horn section and Clayton Ivey's piano, and he returns to a soul sound for the finale, the soaring \"Getting the Bills (But No Merchandise).\" Bruce Eder\/AMG\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 : 4.5 \/ 5  , Ken Kessler hifi News : \u003cspan data-mce-fragment=\"1\" color=\"#993366\"\u003eSound Quality 90\/100\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40528159539351,"sku":"PPAN SD8267","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/clarence-carter-patches-audiosoundmusic-1.jpg?v=1719851804"},{"product_id":"the-modern-jazz-quartet-lonely-woman","title":"The Modern Jazz Quartet - Lonely Woman","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eMilt Jackson (vibraphone), John Lewis (piano), Percy Heath (bass), Connie Kay (drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by John Lewis (A2, A3, A4, B2, B3, B4), Ornette Coleman (A1), Gary McFarland (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\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : Unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Neshui Ertegun\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in1962 by Phil Lehle \u0026amp; Tom Dowd\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Neshui Ertegun\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally issued in 1962\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRe-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2016\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 lang=\"EN\"\u003eSide A :\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan lang=\"EN\"\u003e1.\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003eLonely Woman\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Animal Dance\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. New York 19\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Belkis\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Why Are You Blue\u003cspan\u003e \u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan lang=\"EN\"\u003e2.\u003c\/span\u003e\u003cspan lang=\"EN\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003eFugato\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan lang=\"EN\"\u003e3.\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003eLamb, Leopard (If I Were Eve “Original Sin”)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Trieste\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e« Oh, Pure Pleasure has picked a doozy here. More than that, if you are a fan of classical works and have sometimes wondered about jazz but have never dived into its rich harmonic depths then this LP might just be for you because the first track is a sumptuous blend of both genres and for exciting reasons. Firstly, the title track offers a chamber orchestra take on this jazz track, formalising the jazz structures. Not only does the MJQ offer the music sober and serious respect, they decide to choose one of the very earliest Ornette Coleman covers to do it with. Coleman was one of the last of the great individuals of jazz and was supported in his exploratory works by MJQ’s own John Lewis. The innovating of the man’s playing may not be wholly recognisable here, on this track, but it does reveal that Coleman was on the money in terms of his compositional talents. In many respects, it took Lewis to reveal to the world this important side of Coleman.\u003c\/p\u003e\n\u003cp\u003eReleased in 1962 on the Atlantic label, this album also features Milt Jackson, Percy Heath and Connie Kaye and, after the title track and apart from Why Are You Blue, the first track on the B side, tackles a host of Lewis originals such as the light, energetic, low key yet rhythmic Animal Dance that offers a welcome relaxation to the strict adherence of the title track. You can hear Jackson’s influence on many of these originals: the man refuses not to swing, if you catch my drift.\u003c\/p\u003e\n\u003cp\u003eIn terms of mastering, Pure Pleasure offer a beautifully quiet pressing with a a low volume master that yearns for you to up the gain on your amplifier to grab as much detail as you can. Easy of the ears and easy on the heart, this LP sweeps over you and gently pins you to your chair. »  Paul Rigby (The Audiophile Man), June 2016\u003c\/p\u003e\n\u003cp\u003e\"Having sponsored Ornette Coleman at the School of Jazz near Lennox, MA, pianist and composer John Lewis helped launch the controversial career of one of the last great innovators in jazz. Lewis' support of the ragtag Texas native was somewhat unique in jazz circles at the time and even surprising, especially considering the gulf between the classical jazz formality of his group the Modern Jazz Quartet and Coleman's radical notions of free improvisation. Nevertheless, Lewis not only saw in Coleman the first jazz genius since bebop's Parker, Gillespie, and Monk, but put pay to the praise with the MJQ's 1962 rendition of one of Coleman's most famous numbers, \"Lonely Woman.\" (Along with Art Pepper's 1960 version of \"Tears Inside,\" this was one of the earliest of Coleman covers done.) The 1962 Atlantic album of the same name turns out to be one of the band's best efforts. Lewis and fellow MJQ members Milt Jackson, Percy Heath, and Connie Kaye capitalize on the dramatic theme of \"Lonely Woman\" while adding a bit of chamber music complexity to the mix. The quartet doesn't take Coleman's free form harmolodic theory to heart with a round of quixotic solos, but the group does spotlight the often overlooked strength of his compositional ideas. And while the MJQ further plies its knack for involved pieces on Lewis originals like \"Fugato\" and \"Trieste,\" the group also balances out the set with looser material more in tune with Jackson's blues and swing sensibilities. A great disc that's perfect for the curious jazz lover.\" AllMusic Review by Stephen Cook\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eAllmusic : 5 \/ 5  ,  \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40532972241047,"sku":"PPAN SD1381","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-modern-jazz-quartet-lonely-woman-audiosoundmusic-1.jpg?v=1719851814"},{"product_id":"thelonious-monk-something-in-blue","title":"Thelonious Monk - Something In Blue","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eThelonious Monk - piano \u003cspan data-mce-fragment=\"1\"\u003e\u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Thelonious Monk\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/thelonious-monk\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/thelonious-monk\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Thelonious Monk]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAl McKibbon - bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Art Blakey - drums \u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" title=\"Vinyl featuring Art Blakey\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/art-blakey\" target=\"_blank\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/art-blakey\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003evinyl featuring Art Blakey]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eComposed by Thelonious Monk, except A3 composed by Ira \u0026amp; 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\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Black Lion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded November 15, 1971 at Chappell Studios, London.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eRecording engineer: John Timperley\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Producer: Alan Bates\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRe-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1972\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2009\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e Side A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1.Blue Sphere\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2.Hackensack\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3.Nice Work If You Can Get It\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4.Criss Cross\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Something in Blue\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Evidence\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Jackie-ing\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Nutty\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan face=\"Times New Roman\"\u003eAlan Bates took Thelonious Monk into the studio for his first trio recording in fifteen years with his old sidekick Art Blakey. It has been said often enough that Blakey is the ideal drummer for Monk, and one has only to hear them together again after all this time to realize the truth of the statement. If Blakey at times seems to push the pianist almost too hard, that is in fact the nature of their musical relationship. And, throughout the session, Blakey appeared to be vying with the producer in alternately cajoling and coercing Monk into fulfilling various requests from the small invited audience.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan face=\"Times New Roman\"\u003eThe suggestion of recording Criss Cross had been hanging in the air for at least an hour-and-a-half when Monk suddenly interrupted a conversation between Blakey and photographer David Redfern by launching into the intro. He stays pretty close to the theme, but what a theme it is! The melodic balance of the first four bars is something that could probably only be expressed diagramatically, while the following phrase is a kind of contracted mirror-image of the same idea.. And Al McKibbon certainly knows what he's doing because he was on the 1951 recording as well.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan face=\"Times New Roman\"\u003eMonk positively hammers out Jackie-ing (a tune dedicated to his niece) written originally for a 1959 Quintet date for Riverside and prominently featured by Thelonious with his Quartet on world tours during the sixties. Nutty is vintage Monk, dating back to 1954 when it was first recorded (in trio form with Art Blakey and Percy Heath) for Prestige. Blakey himself is in superb form throughout, propelling the whole number and himself into an exhilerating solo in the process.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan face=\"Times New Roman\"\u003eThe two outstanding performances here are probably the two spontaneous blues. Blue Sphere, which says a lot in a short space, begins with only one chord per bar in the left hand but with a very strong 2\/4 feel in the right, preparing one for the eventual stride pattern at a typical James P. Johnston tempo; this builds so well to the percussive finale, in which the rhythm is suspended once more, that Al McKibbon could not restrain his discreet applause. The slow Something in Blue, though it builds equally well to a climax, is more complex, alternating double-time with triplets and single notes with funky two-note chords in the right hand, while the left mixes stride with a relaxed boogie pattern. There is, too, an absolutely typical touch in the antepenultimate chorus, where the ascending bass line which has begun cropping up in the 10th bar of each chorus occurs this time in the 9th bar, only to be followed by a repeat in which everything\u003c\/span\u003e \u003cspan face=\"Times New Roman\"\u003eseems to fall on the wrong beat. This is a part sample of Brian Priestley’s excellent sleeve notes.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllmusic : 3 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40535394517143,"sku":"PPAN BLPP30119","price":35.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/thelonious-monk-something-in-blue-audiosoundmusic-1.jpg?v=1719851813"},{"product_id":"johnny-shines-last-nights-dream","title":"Johnny Shines - Last Night's Dream","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eJohnny Shines (vocals, guitar), Walter 'Shakey' Horton (harmonica), Willie Dixon (bass), Clifton Jones (drums), Otis Span (piano : B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Johnny Shines\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Blue Horizon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded August 23rd 1960 at CBS Studio, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Mark Vernon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1969\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRe-mastered by Ray Staff at Alchemy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in March 2005\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. Solid Gold\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. From Dark 'Til Dawn\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. I Will Be Kind to You\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Last Night's Dream\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. Baby Don't You Think I Know\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003cspan\u003e1. Pipeline Blues\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. I Don't Know\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Black Panther\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. I Had a Good Home\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. Mean Fisherman\u003c\/span\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\"I just got Pure Pleasure's reissue of Last Night's Dream (PP 7-63212), a Johnny Shines LP I've wowed show crowds with for years. My American Blue Horizon edition is good, but this Pallas pressing, cut by Ray Staff from the original analog tape, is much, much better.\" - Michael Fremer, Stereophile, June 2005\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAnother wonderful production from Mike Vernon and released on his Blue Horizon label. Engineered and recorded in 1968 by Malcolm Chisholm at the Chess Records Ter-Mar studios in Chicago, the same studio where the audiophile classic Muddy Waters - \u003c\/span\u003e\u003cem\u003eFolk Singer\u003c\/em\u003e\u003cspan\u003e was recorded\u003c\/span\u003e\u003cem\u003e.\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003eJohnny Shines is at the height of his skills and is joined by the cream of the Chicago blues musicians of the day - guys like Otis Spann on piano, Big Walter Horton on harp, Willie Dixon on bass and Clifton James on drums. Killer sound!\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Johnny Shines is the ultimate Delta bluesman, combining the classic styles he learned as a youth into a very personal style, fluent, creative and forcefully talented as both a singer and guitarist.\" - Jim DeKoester\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"A forceful explosive blues singer whose strong, vibrato laden voice possesses a range and sensitivity which is rivaled by few other bluesmen.\" - Peter Guralnick\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\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40536060428439,"sku":"7-63212","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/johnny-shines-last-night-s-dream-audiosoundmusic-1.jpg?v=1719851830"},{"product_id":"fleetwood-mac-with-various-artists-blues-jam-at-chess","title":"\u003ctranscy\u003eFleetwood Mac with Various Artists - Blues Jam at Chess (2LP)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFleetwood Mac \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/fleetwood-mac-1\" title=\"audiophile vinyl and CD featuring Fleetwood Mac\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more vinyl\/CD featuring Feetwood Mac]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMick Fleetwood (drums) \u003c\/strong\u003e\u003cstrong\u003e\u003ca title=\"vinyl featuring Mick Fleetwood\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/fleetwood-mac\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Mick Fleetwood]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePeter Green (vocal, guitar)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDanny Kirwan (guitar)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn McVie (bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWalter 'Shakey' Horton (harmonica),\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBuddy Guy (guitar) \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Buddy Guy\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/buddy-guy\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Buddy Guy]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Honey Boy Edwards (guitar)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWillie Dixon (string bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJeremy Spencer (vocal, slide-guitar)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJ.T.Brown (tenor saxophone)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOtis Spann (piano)\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/otis-spann\" title=\"vinyl featuring Otis Spann\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Otis Spann]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e S.P.Leary (drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by A. Green (A1, A6), C. Burnett (A2, D4), W. Horton (A3, A4, B5, B6), W. Jacobs (A5), E. James (B1, B2, B3, B4), J. Lane (C1), D. Kirwen (C2, C3), O. Spann (C4, C5), J.T. Brown (D1), P. Chatman (D2), J. Spencer (D3), A. Perkins (D5), D. Clark (D5)\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\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Blue Horizon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded 4th January 1969 at Chess Ter-Mar Studios, Chicago, U.S.A\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Mike Vernon \u0026amp; Marchall Chess\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1969\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRe-Mastered Ray Staff at Alchemy Studios, London\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 November 2004\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp\u003e               1. Watch Out\u003c\/p\u003e\n\u003cp\u003e               2. South Indiana - Take 1\u003c\/p\u003e\n\u003cp\u003e               3. South Indiana - Take 2\u003c\/p\u003e\n\u003cp\u003e               4. Last Night\u003c\/p\u003e\n\u003cp\u003e               5. Red Hot Jam\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp\u003e               1. I'm Worried\u003c\/p\u003e\n\u003cp\u003e               2. I Held My Baby Last Night\u003c\/p\u003e\n\u003cp\u003e               3. Madison Blues\u003c\/p\u003e\n\u003cp\u003e               4. I Can't Hold\u003c\/p\u003e\n\u003cp\u003e               5. I Need Your Love\u003c\/p\u003e\n\u003cp\u003e               6. I Got the Blues\u003c\/p\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003cp\u003e               1. World's in a Tangle\u003c\/p\u003e\n\u003cp\u003e               2. Talk with You\u003c\/p\u003e\n\u003cp\u003e               3. Like it This Way\u003c\/p\u003e\n\u003cp\u003e               4. Someday Soon Baby\u003c\/p\u003e\n\u003cp\u003e               5. Hungry Country Girl\u003c\/p\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003cp\u003e               1. Black Jack Blues\u003c\/p\u003e\n\u003cp\u003e               2. Everyday I Have the Blues\u003c\/p\u003e\n\u003cp\u003e               3. Rockin' Boogie\u003c\/p\u003e\n\u003cp\u003e               4. Sugar Mama\u003c\/p\u003e\n\u003cp\u003e               5. Homework\u003c\/p\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\u003eFeatured in Michael Fremer's Heavy Rotation in the July 2005 Issue of Stereophile\u003c\/strong\u003e\u003c\/span\u003e\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\"Thanks to the near-permanent success of the current Fleetwood Mac LP, virtually all the band's pre-Warner Bros. material – featuring guitarists Peter Green, Danny Kirwan and Jeremy Spencer – is back on the market. The best stuff is to be found on Fleetwood Mac in Chicago (Sire), a double album cut in '69 at the Chess studios, with real-life black bluesmen sitting in.... The Fleetwood Mac that cut this album was a rough, derivative band, full of enthusiasm and committed to their music... The shade of Elmore James smiled on the band, and never more so than on Chicago...\" Greil Marcus, Rolling Stone, 1976\u003c\/p\u003e\n\u003cp\u003e\"Whatever you think of the blues, you gotta love the sound of these recordings, and more importantly the spirited playing as the veterans join in the fun of playing with the white youngsters from across the sea. These are jams – surprisingly tight ones – with snippets of producer Mike Vernon's communication between the recording booth and the studio left in between the music to help give you an indication of how the tunes were conceived.\" Michael Fremer, Analog Planet\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eNo introduction needed for this fabulous Stereo release. Arguably one of the greatest blues recordings laid down in the last 40 years! Just checking out the track listing and personnel says it all. Originally released on Mike Vernon's highly collectable and revered Blue Horizon label in 1969, this pressing will become a must for all serious collectors and muso's alike!\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 : 4.28 \/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40536085201047,"sku":"7-66227","price":52.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/fleetwood-mac-with-various-artists-blues-jam-at-chess-2lp-audiosoundmusic-1.jpg?v=1719851839"},{"product_id":"christine-perfect-christine-perfect","title":"Christine Perfect - Christine Perfect","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eChristine Perfect (vocal, keyboards), Chris Harding (Drums, Percussion), Martin Dunsford (Bass guitar), Rick Hayward \u0026amp; Top Topham (alternating rhythm and lead guitars), John McVie (Bass), Danny Kirwan (guitar : B1), Andy Sylvester (bass : A5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by C. Perfect (A3, A4, A5, B3, B4), W. Williamson (A1), D. Malone (A2), R. Hayward (A5), D. Kirwan (B1), C. Jackson (B2), W. Godfrey (B2), B. Hendricks (B4), C. Otis (B5), T.J. White (B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by Terry Noonan (A1, A2), John Bennett (B1), Derek Wadsworth (B3)\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Blue Horizon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in August \u0026amp; December 1969 at CBS Recording Studios, Theobolds Road, London U.K. by \u003c\/strong\u003e\u003cstrong\u003eMike Ross\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Mike Vernon and Christine Perfect\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRe-Mastered by Ray Staff at Alchemy Studios, London U.K.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1970\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2006\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1.Crazy ‘Bout You Baby\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. I’m On My Way\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Let Me Go (Leave Me Alone)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Wait And See\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. Close To Me\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. I’d Rather Go Blind\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. When You Say\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. And That's Saying A lot\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. No Road Is The Right Road 4.For You\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. I'm Too Far Gone (To Turn Around)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. I Want You\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003eChristine Perfect \u003c\/span\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003eis a British born\u003c\/span\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003e singer who worked with Spencer Davis in the early '60s and later fronted Chicken Shack before going off on her own with this solo album in 1970. By then she had also contributed to recordings by Fleetwood Mac and become romantically involved with the groups's bassist, John McVie. She then married McVie and officially joined the group, for which she served as a vocalist\/keyboardist\/songwriter, contributing some of Fleetwood Mac's biggest hits.\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003eIn 1976, Sire Records issued the first U.S. release of what had been a mega-import of the Blue Horizon 1970 UK release, an album called simply Christine Perfect, the maiden name of Christine McVie. You don't need a crystal ball to tell you the album is classic and tremendous ,the big surprise is that it didn't go multi-platinum in the States.\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003eThere are 12 tracks, and 'I'd Rather Go Blind' went Top Ten in the U.K. It deserved to. but there's more here than the very good reading of the Etta James hit that 'I'd Rather go Blind' was 'When you Say' has strings and production that sound hauntingly like a Marianne Faithful track on London or Nico's work on Immediate. The big difference is that, by the time this album was released in America, Christine McVie was pretty much a household name. It doesn't sound like Fleetwood Mac but surprise of surprises, John McVie and Danny Kirwan of The Mac are performing on that tune. 'Wait and See' is a real treasure,while 'And That's Saying a Lot' is such a shift in mood that it starts to sink in what a complex and complete recording this is.\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003e\"The listener really has to stand back from McVie's fame and just hear the music for what it is, a superb presentation by a commercial voice with solid backup.'No Road Is The Right Road' changes the vibe again, and maybe that's a result of the array of talent, from Chicken Shack (her original band), to Yardbirds guitarist Top Topham to Rick Heywood (later of Savoy Brown), 'For You' is neo-rockabilly with that Dave Edmunds sound from 'I Hear You Knocking'. but try on 'I'm Too Far Gone (To Turn Around'),what a stunner - Fleetwood Mac performing a '50's style ballad.This could have been such a huge hit when Fleetwood Mac started to flounder a bit after all the dysfunction dipping into the bag of old trticks would have been a neat ploy for radio play. \u003c\/span\u003e\u003c\/span\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003eThere is much more to the Legendry Christine Perfect Album than just hype. With the Cover photos, and the phenomenal sounds within, when fans of Fleetwood Mac need a fix for their obession, this is the one to pull out and play.\" Joe Viglione.\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003e\u003cstrong\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003e\u003cbr\u003eAllmusic : 3 \/ 5\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40536279711895,"sku":"PPAN 7-63860","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/christine-perfect-christine-perfect-audiosoundmusic-1.jpg?v=1719851839"},{"product_id":"duster-bennett-smiling-like-im-happy","title":"Duster Bennett - Smiling Like I'm Happy","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eDuster Bennett (vocal, harmonica, guitar, bass-drum, high-hat cymbal)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSella Sutton (vocal)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Peter Green (guitar)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn McVie (bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMick Fleetwood (drums) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/fleetwood-mac\" title=\"vinyl featuring Mick Fleetwood\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/fleetwood-mac\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Mick Fleetwood]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHam Richmond (piano)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Duster Bennett (A1, A3, A4, A5, A6, B1, B2, B3, B6), Juke Boy Bonner (A2), Stella Sutton (A5), R. Geddins (B4), Jimmy McCracklin (B4), Magic Sam (B5)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Blue Horizon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan lang=\"EN-US\"\u003eat CBS Studios, London \u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e8\u003csup\u003eth\u003c\/sup\u003e, 9\u003csup\u003eth\u003c\/sup\u003e July \u0026amp; 9\u003csup\u003eth\u003c\/sup\u003e September 1968 by \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003eMike Ross \u0026amp; \u003cspan size=\"3\" face=\"Arial\"\u003eMike Fitzhenry\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by \u003cspan lang=\"EN-US\" data-mce-fragment=\"1\"\u003eMike Vernon\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\" data-mce-fragment=\"1\"\u003eOriginally released in November 1968\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Worried Mind\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Life is a dirty deal\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Country jam\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e 4. Trying to paint it in the sky\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. Times like these\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. My lucky day\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Got a tongue in your head\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Jumping at shadows\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. 40 minutes from town\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Shame shame shame\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. My love is your love\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. Shady little baby\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"One of the unsung heroes of British blues, this one-man band was a fine harmonica player and singer, a decent guitarist, and a soulful enough singer to make one overlook his distinctly unbluesy high voice. The opening tune 'Worried Mind' — just Duster on harp, guitar, voice, high-hat and kick drum — is a marvelously sloppy shuffle romp that holds its own with the Fabulous Thunderbirds' work ten years hence. On other tracks Bennett is backed by three-fourths of the original Fleetwood Mac, who provide simple, effective support without stealing any limelight; solos are kept to a minimum. Originals 'My Lucky Day' (with chromatic harmonica) and 'Jumping at Shadows' (which Mac would later cover) are absolutely outstanding, and Duster does justice to Magic Sam's 'My Love Is Your Love.'\" \u003c\/span\u003eAllMusic Review by Dan Forte\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBritish blues singer\/musician Anthony \"Duster\" Bennett performed as a one-man band for his debut album \"Smiling Like I'm Happy\". He played the bass drum with his foot, blew a harmonica on a rack, while strumming a 1952 Less Paul Goldtop guitar which was given to him by Peter Green. Backed by his girlfriend Stella Sutton and the original Fleetwood Mac on three tracks, the album was well-received among blues fans. The popular blues club player met his early demise at the age of 30 from a car crash in 1976.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40536347377815,"sku":"7-3208","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/duster-bennett-smiling-like-i-m-happy-audiosoundmusic-1.jpg?v=1719851838"},{"product_id":"eddie-boyd-7936-so-rhodes","title":"Eddie Boyd - 7936 South Rhodes","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eEddie Boyd (piano, vocals)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePeter Green (guitar)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn McVie (bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMick Fleetwood (drums) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/fleetwood-mac\" title=\"vinyl featuring Mick Fleetwood\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/fleetwood-mac\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Mick Fleetwood]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Eddie Boyd\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Blue Horizon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at CBS STudio, New Bond Street, London on 25th January 1968 by\u003c\/strong\u003e\u003cstrong\u003e Mike Ross-Trevor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1968\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRe-Mastered by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2009\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. You got to reap\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Just the blues\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3 She’s real\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Back slack\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. Be careful\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. Ten to one\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003eSide B :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. The blues is here to stay\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. You are my love\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Third degree\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Thank you baby\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. She’s gone\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. (I can’t stop) Loving you\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Recorded in London in January 1968 with three members of the early lineup of Fleetwood Mac (the one that played blues, not pop\/rock): Peter Green (guitar), John McVie (bass), and Mick Fleetwood (drums). It's an adequate setting for Boyd's straight Chicago piano blues, going heavier on the slow-to-mid-tempo numbers than the high-spirited ones, though Green is a far more sympathetic accompanist than the rhythm section. » AllMusic Review by Richie Unterberger \u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eThis album is a must own for the sound quality alone. It was recorded “live” in the studio, straight to stereo without any overdubs or post mixing.\u003c\/p\u003e\n\u003cp\u003eThe original Blue Horizon issue LP was for some peculiar reason issued as mono although the master tapes are stereo. This is it’s first issue on stereo vinyl.\u003c\/p\u003e\n\u003cp\u003eThe music in the grooves is equal to the sound with Peter Green playing at his usual impeccable best behind Eddie Boyd’s solid piano and vocals.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 3 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40536634458263,"sku":"7-63202","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/eddie-boyd-7936-south-rhodes-audiosoundmusic-1.jpg?v=1719851839"},{"product_id":"muddy-waters-im-ready","title":"Muddy Waters - I'm Ready (Pure Pleasure)","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eMuddy Waters (vocals, guitar : A2, A3, A4, B2, B4) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/muddy-waters\" title=\"vinyl featuring Muddy Waters\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/muddy-waters\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Muddy Waters]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJ\u003c\/strong\u003e\u003cstrong\u003eohnny Winter (guitar : A1, A4, B1, B3, B5) \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Johnny Winter\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/johnny-winter\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/johnny-winter\"\u003e[click here to see more vinyl featuring Johnny Winter]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePinetop Perkins (piano), Bob Margolin (bass), Willie \"Big Eyes\" Smith (drums), Jimmy Rogers (guitar),  Big Walter Horton (harmonica : A2, A3, B1, B4), Jerry Portnoy (harmonica : A1, A4, B2, B3, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Dixon (A1, B1), C. E. Williams (A2), M. Morganfield (A2, A3, A4, B2, B3, B4), M. Brooks (A4), S. B. Williamson (B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Blue Sky\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Westport, Connecticut on October–November 1977\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed by Dave Still, Johnny Winter\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Johnny Winter\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in January 1978\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2008\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e Side A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. I'm Ready\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. 33 Years\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Who Do You Trust\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Copper Brown\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. (I'm Your) Hoochie Coochie Man\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eSide B :\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Mamie\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Rock Me\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Screamin' and Cryin'\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Good Morning Little Schoolgirl\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e1978 Grammy Award for best ethnic or traditional recording\u003c\/span\u003e\u003c\/strong\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\"Judging by the gatefold black and white photo, everyone had a great time making the album. You’ll have as good a time listening. The sound is quite three-dimensional, with a pronounced but pleasant presence region peak that ads a needed rough edge to the proceedings. \u003c\/span\u003e\u003cspan\u003eThe stage is relatively compact and very coherent with plenty of old fashioned mike leakage that helps to create a “live” sound in an era of isolation booth multi-track mono productions. Producer Winter and engineer Still knew the sound they were going for and they got it!\" \u003c\/span\u003e\u003cspan\u003eMichael Fremer\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« For the middle album of his Johnny Winter-produced, late-'70s musical trilogy, blues giant Muddy Waters brought a new spirit to some familiar material. Starting with members of Waters' touring band -- pianist Pinetop Perkins, bassist Bob Margolin, and drummer Willie \"Big Eyes\" Smith -- Winter added underrated guitarist (and longtime Waters foil) Jimmy Rogers and extraordinary harp player Big Walter Horton to the mix. The songs recorded for I'm Ready offer a mix of new material and vintage hit singles like the title cut, the mid-'60s jewel \"Screamin' and Cryin',\" or the Willie Dixon-penned \"I'm Your Hoochie Coochie Man.\" Waters and band provide these well-worn gems with a little new studio polish, but it is with the newer songs that the performers really shine. On the powerful \"33 Years,\" Waters punctuates his tale of lost love with snaky slide guitar, assisted by Horton's wailing electric harp. \"Who Do You Trust\" features some of Waters' dirtiest vocals, the bluesman growling the lyrics while Winter layers his twangy slide above Horton's harp and Perkins' mournful ivories. \"Rock Me\" is old-school blues, Waters revisiting this classic cut for the umpteenth time as Rogers and Horton support his vocals with smoky guitar and guest player Jerry Portnoy adds some subtle but assertive electric harp to the affair. I'm Ready closes with the Sonny Boy Williamson chestnut \"Good Morning Little Schoolgirl,\" the high-spirited Waters sounding in good form as Portnoy's harp flails away in the background. Although nearing the end of his career, Waters experienced a well-deserved artistic and commercial resurgence thanks to the three albums recorded with Winter for Blue Sky. Hard Again, I'm Ready, and King Bee all bring a harder edge to Waters' classic performances, with Winter's production heavy on the guitar and lighter on the brassy Chicago blues sound unfamiliar to the rock-oriented target audience. For new listeners trying to get a feel of what the blues is all about, I'm Ready and its bookends are the albums to start with. Once you experience a taste of Muddy Waters, you'll be ready for more. » AllMusic Review by Rev. Keith A. Gordon\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eAt the end of his storied career, the great Chicago blues man, Muddy Waters, had one last period of resurgence. He made a trilogy of albums produced by Johnny Winter-Hard Again, I’m Ready, and King Bee. Winters’ formula was fairly straight forward-surround Muddy with his touring band and add some special guests to light his fire-while recording a mixture of hit singles with new material. Then let Muddy cut loose and burn down some electric Chicago blues. It was a winning combination and you can sense the joy that Muddy felt in his bantering between songs. His last hurrah was a barnburner.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRay Staff has done a brilliant job remastering this album as the electric guitars bent notes sizzle and Muddy’s strutting vocals growl with passion. Guests Big Walter Horton and Jimmy Rogers spur Waters to new heights. Pianist Pine Top Perkins, still going strong today in his 90s, was cooking 30 years ago, and Johnny Winter must have had a blast playing slide guitar on Who Do You Trust. Screamin’ and Cryin’ and I’m Your Hoochie Coochie Man were vintage Waters and still cooked even at the end of the fabled Mr. Waters’ career.\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  ; Discogs : 4.26 ; \u003cspan data-mce-fragment=\"1\"\u003eMichael Fremer : Music 8\/10, Sound 8\/10\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40536688230551,"sku":"PPAN JZ34928","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/muddy-waters-i-m-ready-pure-pleasure-audiosoundmusic-1.jpg?v=1719851849"},{"product_id":"stacey-kent-close-your-eyes","title":"Stacey Kent - Close Your Eyes (2LP)","description":"\u003ch2 data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eStacey Kent - vocals \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"Vinyl featuring Stacey Kent\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/stacey-kent\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/stacey-kent\"\u003e[click here to see more vinyl featuring Stacey Kent]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eJim Tomlinson (saxophone), Colin Oxley (guitar), David Newton (piano), Andrew Cleyndert (bass), Steve Brown (drums).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eWritten by Edward Eliscu (A1), Billy Rose (A1), Vincent Youmans (A1), Cole Porter (A2, B2), Bernice Petkere (A3), Mack Gordon (B1), Harry Revel (B1), Tom Adair (B3), Hal Hopper (B3), Jerome Kern (C1), Johnny Mercer (C1, D2), Fred Coots (C2), Haven Gillespie (C2), Walter Donaldson (C3), Alan Bergman (D1), Marilyn Bergman (D1), Lew Spence (D1), Rube Bloom (D2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAll arrangements by Jim Tomlinson except A2 by Colin Oxley\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Candid\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Curtis Schwartz Studios, Sussex England on November 18 \u0026amp; 19, 1996\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecording Engineer : Curtis Schwartz\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Elliot Meadow\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in July 2019\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 data-mce-fragment=\"1\"\u003e Side A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMore Than You Know\u003c\/li\u003e\n\u003cli\u003eDream Dancing\u003c\/li\u003e\n\u003cli\u003eThere's No You\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThere's A Lull in My Life\u003c\/li\u003e\n\u003cli\u003eIts Delovely\u003c\/li\u003e\n\u003cli\u003eClose Your Eyes\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI'm Old Fashioned\u003c\/li\u003e\n\u003cli\u003eYou Go To My Head\u003c\/li\u003e\n\u003cli\u003eLittle White Lies\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSleep Warm\u003c\/li\u003e\n\u003cli\u003eDay In - Day Out\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003cbr\u003e\u003cbr\u003e« Stacey Kent has a very appealing voice, and her delivery is full of joy, enthusiasm, and subtle creativity. Sticking mostly to veteran standards on this CD (only \"Sleep Warm\" was written after the 1950s), Kent sounds delightful while joined by a fine mainstream quintet. Jim Tomlinson contributes some tenor solos reminiscent in tone of Stan Getz, and pianist David Newton and guitarist Colin Oxley also get some solo space. Such songs as \"More Than You Know,\" \"There's a Lull in My Life,\" \"There's No You,\" and \"Little White Lies\" are all uplifted, making this a very easy CD to enjoy and Stacey Kent a voice to look for in the future. » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e« From 1997.Ken't debut,backed by a quintet with husband Jim Tomlinson on sax,and it's remarkable. Ok, she was a late start at the ripe age of 30, but she's paid her dues at Ronnie Scott's.\u003c\/p\u003e\n\u003cp\u003eApparently Humprey lyttelton herard her demos, which arrived unannounced, and became a champion of this New Jersey-born jazz singer. You can hear why,as she works through 11 less-covered selections from the Great American songbook, remarking in a Billboard interview, \"with this album i was trying to give a mixture of things that people know and gems that got lost, songs that might get missed out of the great standard repertoire'. WOW, did it pay off. » HIFI News Sept issue By Ken Kessler\u003c\/p\u003e\n\u003cp\u003e\"It was one day in 1996 when a demo set turned up in my BBC post-bag, one of many that I receive in my capacity of jazz radio presenter. The singer's name, Stacey Kent, was new to me, and the cassette sat on my desk for weeks taunting my conscience until, faced with a long car trip, I gathered it up with a variety of other tapes and transferred it to my car. On the road, it happened to be the first tape I picked up from the heap on the passenger seat — and the last. The singing held me riveted for the rest of the outgoing journey and throughout the return trip the next day. Now the invitation to write a note for this debut album calls upon me to analyse the cause of this rush of enthusiasm to the head.\u003c\/p\u003e\n\u003cp\u003e\"Let's start with the 'feel.' Stacey Kent grew up in New York, exposed to the music of Frank Sinatra, Nat 'King' Cole, and the jazz masters of the Swing Era. Before she thought of adopting a singing career, she had come to love the repertoire of American popular song, much of which had been established decades before she was born. And it shows in every note she sings.\u003c\/p\u003e\n\u003cp\u003e\"The next stage in my analysis leads me to 'style,' that elusive quality which identifies an artist's handling of the subject matter. Many popular songs through the ages have survived as 'standards' largely through the attention of jazz or jazz-influenced performers. To appreciate Stacey's command of style, listen to 'Day in, Day Out' and hear the natural ease with which she varies the recurring pattern of the song's title.\u003c\/p\u003e\n\u003cp\u003e\"Swing, elegant variation, impeccable pitch and diction — these are all the stock in-trade of an accomplished jazz singer, and to combine them all is an achievement in itself. What makes Stacey Kent so remarkable is her 'sound.' The voice itself is an impressive instrument, in pitch and timbre coming closer to Mildred Bailey than to her acknowledged idols, Billie Holiday and Ella Fitzgerald. Strong and clear, it has the invigorating tang of Vermouth.\u003c\/p\u003e\n\u003cp\u003e\"Of course, all the magic hitherto described could be subverted by inappropriate or insensitive accompaniment.\u003c\/p\u003e\n\u003cp\u003e\"Stacey is richly served by her quintet here. The partnership between her voice and Jim Tomlinson's tenor saxophone is sublime. The latter captures the spirit rather than the substance of Lester Young, whose way it was, not to expand a tune with complex harmonic exploration, but to probe for the essence of it. Listening to Jim's solos such as in 'Sleep Warm,' the irrelevant padding, no pressing need to launch into paraphrase until the moment is ripe.\u003c\/p\u003e\n\u003cp\u003e\"So perfect is the integration of the group as a whole that, as a rhythm section David Newton, Colin Oxley, Andy Cleyndert and Steve Brown respond with faultless sensitivity, born of experience, to the mood of each song. Solos everywhere are of the highest class, with 'Dream Dancing' especially evoking intoxicating stuff from piano and guitar. For me, nothing sums up the rapport and cohesion of the team more concisely than the warmly relaxed bossa nova treatment of 'Close Your Eyes' — a shameless exercise in group seduction.\u003c\/p\u003e\n\u003cp\u003e\"I can't conceive of a more auspicious debut than this.\" — Humprey Lyttelton, liner notes\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 3 \/ 5 , HIFI News : Sound 9\/10  ,  \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40536758321303,"sku":"CJS9737","price":52.5,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/stacey-kent-close-your-eyes-2lp-audiosoundmusic-1.jpg?v=1719851848"},{"product_id":"jamie-cullum-pointless-nostalgic","title":"Jamie Cullum - Pointless Nostalgic (2LP, Pure Pleasure)","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\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\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\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\"\u003eJamie Cullum (\u003c\/span\u003e\u003cspan lang=\"EN-US\" data-mce-fragment=\"1\"\u003ePiano and Vocals), Martin Shaw (Trumpet), \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\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\"\u003eMartin Gladdish (\u003c\/span\u003e\u003cspan lang=\"EN-US\" data-mce-fragment=\"1\"\u003eTrombone),  Matt Wates (Alto Saxophone), \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\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\"\u003eBen Castle (\u003c\/span\u003e\u003cspan lang=\"EN-US\" data-mce-fragment=\"1\"\u003eTenor Saxophone), \u003c\/span\u003e\u003cspan lang=\"EN-US\" data-mce-fragment=\"1\"\u003eDave 0' Higgins (\u003c\/span\u003e\u003cspan lang=\"EN-US\" data-mce-fragment=\"1\"\u003eTenor Saxophone), \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\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\"\u003eGeoff Gascoyne (\u003c\/span\u003e\u003cspan lang=\"EN-US\" data-mce-fragment=\"1\"\u003eBass), Sebastiaan de Krom (Drums).\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Arthur Schwartz (A1), Howard Dietz (A1), Ira Gershwin (A2), Vernon Duke (A2), Harry Warren (A3), Johnny Burke (A3), James Cavanaugh (A4), Larry Stock (A4), Russ Morgan (A4), Ben Cullum (B1), Jamie Cullum (B1, D3), Bob Hilliard (B2), David Mann (B2), Thelonious Monk (B3), George \u0026amp; Ira Gershwin (C1), Colin Greenwood (C2), Ed O'Brien (C2), Johnny Greenwood (C2), Phil Selway (C2), Thom Yorke (C2), George David Weiss (C3), Jerry Bock (C3), Larry Holofcenor (C3), Johnny Mandel (D1), Paul F. Webster (D1), Dave Frishberg (D2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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\"\u003eArrranged by Jamie Cullum (A1, A4, B1, B2, B3, C1, C2, D1, D3), Ben Cullum (B1), Julian Jackson (B2, B3), Ben Castle (B3), Marty Paich (C3), Geoff Gascoyne (A3, C3, D2)\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Candid\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan size=\"2\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan lang=\"EN-US\"\u003eRecorded\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e \u0026amp; mixed and mastered in 2002 by Derek Nash at Clowns Pocket \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003eStudios. Except B1 \u0026amp; C2 recorded and mixed by Mark Chamberlain at Livingstone Studios, in 2002.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan size=\"2\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan lang=\"EN-US\"\u003eProduced\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e by Jamie Cullum and Geoff Gascoyne \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan size=\"2\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan lang=\"EN-US\"\u003eCo-produced by \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003eDerek Nash, Alan Bates \u0026amp; Marc Connor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 2002\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003e\u003cspan size=\"2\"\u003e\u003cspan face=\"Times New Roman\"\u003eMastered by Ray Staff at Air Mastering\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003e\u003cspan size=\"2\"\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2011\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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\"\u003eTracks :\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eYou And The Night And The Music\u003c\/li\u003e\n\u003cli\u003e2. I Can’t Get Started\u003c\/li\u003e\n\u003cli\u003eDevil May Care\u003c\/li\u003e\n\u003cli\u003eYou’re Nobody Till Somebody Loves You\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePointless Nostalgic\u003c\/li\u003e\n\u003cli\u003eIn The Wee Small Hours Of The Morning\u003c\/li\u003e\n\u003cli\u003eWell You Needn’t\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIt Ain’t Necessarily So\u003c\/li\u003e\n\u003cli\u003eHigh And Dry\u003c\/li\u003e\n\u003cli\u003eToo Close For Comfort\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eA Time For Love\u003c\/li\u003e\n\u003cli\u003eLookin’ Good\u003c\/li\u003e\n\u003cli\u003eI Want To Be A Popstar\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« With a few hard-to-find releases under his belt, Pointless Nostalgic marks the more widespread debut of piano-pounding British crooner Jamie Cullum. Barely in his twenties, Cullum has a wise old rasp that usually takes decades of chain-smoking to acquire. Cullum's move to mix jazz standards, American songbook classics, and contemporary popular music was a risky one that could easily isolate fans of each genre. However, Cullum managed to find a unifying thread in all of the styles, tying them together in a manner that seemed like the natural culmination of a diverse record collection. Jazz plays heaviest in the mix, but Cullum's version of it is lively and roguish. A rock \u0026amp; roll spirit among erstwhile snobs, he brings blue jeans to the beret set. The only real downfall of the album is that the music is often outmatched by Cullum's pipes to the point of distraction. The blaring horns are too often off-key and grating, detracting from an otherwise well-performed album. Highlights come courtesy of Cullum's diverse and well-chosen array of cover songs. While so many Harry Connick, Jr. wannabes stick to the standards and limply mimic moves lifted from Frank Sinatra's catalog, Cullum hops from Radiohead to Thelonious Monk with equal verve and accomplishment. Closing number \"I Want to Be a Popstar\" is a playful rumination on the advantages of being a pop star rather than a jazz key pounder. The mischievous romp exemplifies the lighthearted approach that has become Cullum's calling card, endearing him to jazzophiles and screaming young girls alike. Cullum's popularity subsequently skyrocketed with 2004's Twentysomething, which exhibited a fuller grasp of his vocal strength and featured a strong backing band to match. On that album, his increasingly scratchy croon wrings every sultry note out of Jeff Buckley's \"Lover, You Should Have Come Over,\" and he puts a sly dance club spin on \"I Could Have Danced All Night.\" Even with the expert selection of covers, however, it's his own cheeky nod to the restlessness of youth, \"Twentysomething,\" that steals the show. » AllMusic Review by Karen E. Graves\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5  , Discogs : 4.71 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40536984780951,"sku":"CJS 9782","price":52.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/jamie-cullum-pointless-nostalgic-2lp-pure-pleasure-audiosoundmusic-1.png?v=1719851849"},{"product_id":"stacey-kent-in-love-again-the-music-of-richard-rodgers","title":"Stacey Kent - In Love Again - The Music of Richard Rodgers","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003eStacey Kent - \u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003evocals \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"Vinyl featuring Stacey Kent\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/stacey-kent\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Stacey Kent]\u003c\/a\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003eJim Tomlinson (tenor saxophone, flute), Colin Oxley (guitar), David Newton (piano), Simon Thorpe (bass), \u003cspan size=\"2\"\u003e\u003cspan face=\"Times New Roman\"\u003eJasper Kviberg (drums)\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Richard Rodgers (all tracks), Oscar Hammerstein II (A1, B1, B3, B7), Lorenz Hart (A2, A3, A4, A5, A6, B2, B4, B5, B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Candid\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan size=\"2\"\u003eRecorded at \u003cspan lang=\"EN-US\"\u003eCurtis Schwartz Studios\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e,Ardingly, England 3\u003csup\u003erd\u003c\/sup\u003e, 4\u003csup\u003eth\u003c\/sup\u003e July, 7\u003csup\u003eth\u003c\/sup\u003e September 2001\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan size=\"2\"\u003e\u003cspan lang=\"EN-US\"\u003eEngineered \u0026amp; mixed by Curtis Schwartz\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan size=\"2\"\u003e\u003cspan lang=\"EN-US\"\u003eProduced by Jim Tomlinson\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan size=\"2\"\u003e\u003cspan lang=\"EN-US\"\u003eRe-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 2002\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan size=\"2\"\u003eReissued in October 2009\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003e\u003cspan size=\"2\"\u003e\u003cspan face=\"Times New Roman\"\u003eTracks :\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Shall we dance\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Bewitched, Bothered and bewildered\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. My heart stood still\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. It never entered my mind\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. I wish I were in love again\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. Thou swell\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. It might as well be spring\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Nobody’s heart (belong’s to me)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. I’m gonna wash that man right outta my hair\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. This can’t be love\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. Easy to remember\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. Manhattan\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e7. Bali ha’i\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003eWinner of BBC Jazz Awards 'Best Vocalist' in 2002 : \"\u003cspan\u003eWinner of Best Vocalist, Stacey Kent, entranced the audience of radio listeners and VIPs with her take on the Richard Rodgers songbook \" BBC\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« Stacey Kent is back, with her regular combo, for an engaging tribute to Richard Rodgers. In addition to routinely covered songs like \"It Never Entered My Mind\" and \"Bewitched,\" the Britain-based vocalist looks to the South Pacific book and comes up with two items seldom performed in a jazz context -- \"I'm Gonna Wash That Man Right Outa My Hair\" and \"Bali Ha'i.\" Happily, these are two of the best cuts; the former, with its burlesque-ish 6\/8 middle section, works amazingly well. The sound of the disc is strong, highlighting the nicely varied arrangements and the innate charm of Kent's puckish voice. There are a few downsides: a sluggish \"Thou Swell,\" an aimless bossa nova reading of \"It Might as Well Be Spring,\" and a general overabundance of ballads. But swinging tracks like \"This Can't Be Love\" and \"My Heart Stood Still\" (the latter spiced with tasty chord substitutions) make up for the lukewarm spots. » 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 : 3 \/ 5  ,  Discogs : 4.57 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40537054675095,"sku":"CJS9786","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/stacey-kent-in-love-again-the-music-of-richard-rodgers-audiosoundmusic-1.jpg?v=1719851860"},{"product_id":"charlie-byrd-brazilian-byrd","title":"Charlie Byrd - Brazilian Byrd","description":"\u003ch2\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eCharlie Byrd (acoustic guitar with strings, brass \u0026amp; woodwinds) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/charlie-byrd\" title=\"Vinyl featuring Charlie Byrd\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/charlie-byrd\"\u003e[click here to see more vinyl featuring Charlie Byrd]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Antonio Carlos Jobim (all tracks), \u003c\/strong\u003e\u003cstrong\u003eNorman Gimbel (A1, A4), Vinícius de Moraes (A1, A4, B1, B3, B6), Gene Lees (A3, B6), Luiz Bonfá (A6), Aloysio de Oliveira (B4, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by Charlie Byrd (A3, A6, B3), Tom Newsom (A1, A2, A4, A5, B1, B2, B4 to B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Candid\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecording : December 21, 1964 to February 8, 1965 in CBS Studio, 30th Street, 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 1965\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRe-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in November 2013\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e Side A :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e1. Corcovado\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e2. Jazz 'n' Samba\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e3. That Look You Wear\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e4. The Girl From Ipanema\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e5. Samba Do Aviao\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e6. Engano\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e1. Amor E Paz\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e2. Dindi\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e3. Cancao Do Amor Demais\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e4. As Praias Desertas\u003c\/p\u003e\n\u003col start=\"5\"\u003e\n\u003cli\u003eSamba Torto\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eSomeone To Light Up My Life\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eReviews :\u003c\/p\u003e\n\u003cp\u003e« The arrangements by Tommy Newsom for strings, brass, and woodwinds may be a bit sweet and the 13 performances are often under three minutes, but the resulting music is strangely pleasing. Acoustic guitarist Charlie Byrd always had a strong affinity for Brazilian jazz, and he sticks exclusively to Antonio Carlos Jobim songs (including \"Só Danço Samba,\" \"Corcovado,\" \"Dindi,\" and \"The Girl from Ipanema\") during this tasteful and melodic effort. Truly beautiful music. » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003e\"I was a fan of Charlie Byrd from his first album out of his Washington, D.C. base of operations. Yet somehow I missed out on this Columbia LP which came out in 1965 and has arrangements backing Byrd’s acoustic guitar with a string section, brass and some woodwinds. Most of the dozen tracks were arranged in a somewhat sweet fashion by Tom Newsom, with three of the tracks being arranged by Byrd himself. Columbia’s Teo Macero produced the session.\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003eHowever, they’re not cloyingly sweet and certainly better than most jazz-with-orchestral-backing efforts. The music all comes from the great Antonio Carlos Jobim and fits right in with Byrd’s affinity for Brazilian jazz. His unique-sounding guitar is the featured solo instrument in nearly all the tracks. The backing takes three rather different approaches: one with the strings, woodwind and just French horn, one where three other of the woodwinds join the French horn, and one where the whole brass section comes in too.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eByrd originally got hot on Brazilian music when he toured South America in 1961. The next year Tom Newsom was a saxist and arranger with Benny Goodman’s band and spent time in Brazil. So working together, the pair in 1965 have assembled a delightful look at the music of the renowned Brazilian guitarist\/composer\/singer Jobim. The remastering—from Ray Staff at Air Mastering in London—is a terrific job and the warm vinyl sonics should please any audiophile.\" \u003c\/span\u003eAudiophile Audition May 29th 2014 by John Henry\u003c\/p\u003e\n\u003cp\u003e\"W\u003cspan color=\"#000000\" data-mce-fragment=\"1\"\u003ehat a delightful album! No pretense, no navel gazing, no looking for deep, esoteric meanings,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003e\u003cspan color=\"#000000\" data-mce-fragment=\"1\"\u003eBrazilan\u003c\/span\u003e\u003c\/em\u003e\u003cspan color=\"#000000\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003e\u003cspan color=\"#000000\" data-mce-fragment=\"1\"\u003eByrd\u003c\/span\u003e\u003c\/em\u003e\u003cspan color=\"#000000\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eis simply a collection of a dozen lovely tunes, only four of which last over three minutes, performed with enthusiasm and class. Another Columbia recording laid down within the cavernous walls of their famed 30th Street Studio, this Teo Macero-produced, mid-'60s LP features the underappreciated guitarist Charlie Byrd in various musical settings that either he or Tommy Newsom arranged. The fact that all of the tunes were written by Antonio Carlos Jobim, the internationally recognized Brazilian singer, songwriter and guitarist, only adds spice to the mix of sounds\" \u003c\/span\u003eThe Audio Beat Guy Lemcoe Nov 2014\u003c\/p\u003e\n\u003cp\u003eRatings :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5  ,  Discogs : 4 \/ 5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40537119916183,"sku":"PPAN CS9137","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/charlie-byrd-brazilian-byrd-audiosoundmusic-1.jpg?v=1719851861"},{"product_id":"otis-spann-otis-spann-is-the-blues","title":"Otis Spann - Otis Spann Is The Blues","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eOtis Spann (piano and vocals : A1, A3, A5, B1, B3, B5)\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/otis-spann\" title=\"vinyl featuring Otis Spann\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/otis-spann\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Otis Spann]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRobert Lockwood Jr. (guitar and vocals : A2, A4, B2, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Otis Spann (A1, A3, A5, B1, B3, B5), Robert Lockwood Jr. (A2, A4, B2, 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\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Candid\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Fine Recording Studios, New York, August 23rd 1960 by \u003c\/strong\u003e\u003cstrong\u003eGeorge Piro\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Nat Hentoff\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in January 1961\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRe-mastered by Ray Staff at Alchemy\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\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. The Hard Way\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Take A Little Walk With Me\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Otis In The Dark\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Little Boy Blue\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. Country Boy.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e Side B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Beat-Up Team\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. My Daily Wish\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Great Northern Stomp\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. I Got Rambling On My Mind #2\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. Worried Life Blues\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Otis Spann may not have been the blues, but he was sure close to being the blues pianist. Spann provided wonderful, imaginative, tasty piano solos and better-than-average vocals, and was arguably the best player whose style was more restrained than animated. Not that he couldn't rock the house, but Spann's forte was making you think as well as making you dance, and the tracks on Otis Spann Is the Blues will do both. » AllMusic Review by Ron Wynn\u003c\/p\u003e\n\u003cp\u003e« NOT only is there no doubting that Otis Spann is one of the finest exponents of Chicago Blues piano ever, there can also be little doubt that this record, originally released by Candid Records in 1960, is one of the best recordings of Spann as a front man.\u003c\/p\u003e\n\u003cp\u003eHe was normally considered to be Muddy Waters' accompanist and yet he was a great lyrical story teller in the Blues idiom in his own right.  On this recording, he shares vocal duties with Robert Lockwood Junior, who also plays the guitars and the interplay between the two men is tangible. \u003c\/p\u003e\n\u003cp\u003eThe instrumental duet within the track, \"Beat Up Team\", when Spann says, \"Watch out Brother Robert\" and launches into a piano solo which is more than ably answered by Lockwood on the guitar, is a joy and during the intro of the following track, \"My Daily Wish\", the duelling continues in a musical symbiosis which lifts the album well above the ordinary. \u003c\/p\u003e\n\u003cp\u003eA great example of the genre and some damn fine tunes.  Hard to list stand out tracks as they are all so good, however, \"Otis In The Dark\" with its piano solo by Spann, \"Beat Up Team\" and \"My Daily Wish\" are archetypal Blues songs and the album's closing song, \"Worried Life Blues\", sums it all up. » Daily Express Review 2014 by Paul Stewart\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5 ,  Discogs : 4.33 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40537809027223,"sku":"CJS9001","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/otis-spann-otis-spann-is-the-blues-audiosoundmusic-1.jpg?v=1719851861"},{"product_id":"stacey-kent-the-boy-next-door","title":"Stacey Kent - The Boy Next Door (2LP, Pure Pleasure)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\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\"\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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\"\u003eStacey Kent - V\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\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\"\u003eocals \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"Vinyl featuring Stacey Kent\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/stacey-kent\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Stacey Kent]\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\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\"\u003eJim Tomlinson (S\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\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\"\u003eaxophones, backing vocals), \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\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\"\u003eColin Oxley (\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\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\"\u003eguitar) \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\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\"\u003eDavid Newton (p\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\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\"\u003eiano, Keyboards, backing vocals), \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\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\"\u003eDave Chamberlain (B\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\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\"\u003eass), \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\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\"\u003eMatt (\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\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\"\u003eD\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\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\"\u003erums), \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\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\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\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\"\u003eCurtis Schwartz (\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\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\"\u003ebacking vocals)\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Carolyn Leigh (A1), Cy Coleman (A1), Hugh Martin (A2, A3), Ralph Blane (A2, A3), Charles Trenet (A4), Irving Berlin (B1), Cole Porter (B2, D4), Walter Donaldson (B3), Burt Bacharach (B4), Hal David (B4), Carole King (C1), Duke Ellington (C2), Paul Francis Webster (C2), Bill Graham (C3), Joe Carroll (C3), Richard Rodgers (C4), Oscar Hammerstein II (C4), Harry Nemo (D1), Arthur Freed (D2), Nacio Harb Brown (D2), Hoagy Carmichael (D3), Michel Legrand (D5), Paul Simon (D6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Candid\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cstrong\u003eRecorded, engineered and mixed by Curtis Schwartz at Curtis Schwartz Studios, Ardingly, England on February 18th to 22nd 2003\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cstrong\u003eProduced by Jim Tomlinson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cstrong\u003eOriginally released in 2003\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cstrong\u003eReissued in June 2011\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\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\u003eThe Best Is Yet To Come\u003c\/li\u003e\n\u003cli\u003eThe Boy Next Door \u003c\/li\u003e\n\u003cli\u003eThe Trolley Song \u003c\/li\u003e\n\u003cli\u003eQue reste-T-Il De Nos Amours?\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide  B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSay It Isn't So\u003c\/li\u003e\n\u003cli\u003eToo Darn Hot\u003c\/li\u003e\n\u003cli\u003eMakin' Whoopee\u003c\/li\u003e\n\u003cli\u003eWhat The World Needs Now Is Love\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eYou've Got A Friend \u003c\/li\u003e\n\u003cli\u003eI Got It Bad\u003c\/li\u003e\n\u003cli\u003eOoh-Shoo-Be-Doo-Bee \u003c\/li\u003e\n\u003cli\u003ePeople Will Say We're In Love\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eSide D :\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e'Tis Autumn \u003c\/li\u003e\n\u003cli\u003eAll I Do Is Dream of You\u003c\/li\u003e\n\u003cli\u003eI Get Along Without You Very Well\u003c\/li\u003e\n\u003cli\u003eYou're The Top \u003c\/li\u003e\n\u003cli\u003eQue Feras-Tu De Ta Vie? \u003c\/li\u003e\n\u003cli\u003eBookends\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Wrapping her sweet voice around songs by male singers she admires, Stacey Kent delivers another pleasant and low-key album with The Boy Next Door. Kent's tribute choices range from traditional pop (Frank Sinatra, Tony Bennett) to mainstream jazz instrumentalists (Dave Brubeck, Dizzy Gillespie) to the softer side of rock (James Taylor, Simon and -- unmentioned in the liner notes -- Garfunkel). With a gentle conviction akin to early Blossom Dearie without the cheeky flair, the album makes for breezy listening. The 16 tracks don't differ enough in tone, making the album a bit too long, but individual moments of warm openhearted excellence make it worthwhile. The sentimentality of \"Bookends\" or \"'Tis Autumn\" suit her precious delivery well, while the sly moments of \"Makin' Whoopee\" feel out of the singer's reach. The bandmembers stay out of the way for the most part, waiting for their solos rather than interacting much with Kent. Drummer Matt Home's light but lively style is especially accommodating and guitarist Colin Oxley's percussive take on \"Too Darn Hot\" ends up being the album's greatest moment. » AllMusic Review by David Jeffries\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRating\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllmusic : 3 \/ 5 , Discogs : 4.46 \/ 5\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40538394460311,"sku":"PPRLP9993","price":52.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/stacey-kent-the-boy-next-door-2lp-pure-pleasure-audiosoundmusic-1.jpg?v=1719851861"},{"product_id":"memphis-slim-usa","title":"Memphis Slim - USA (Pure Pleasure)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN\"\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan lang=\"EN\"\u003eMemphis\u003c\/span\u003e\u003cspan lang=\"EN\"\u003e Slim (\u003c\/span\u003e\u003cspan lang=\"EN\"\u003evocals \u0026amp; piano), Jazz Gillum (vocals \u0026amp; harmonica), Arbee Stidham (vocals \u0026amp; guitar)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan lang=\"EN\"\u003eComposed by Peter Chatman except A7 composed by Memphis Slim, and B3 which is a traditionnal song\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Candid\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cstrong\u003eRecorded at Nola Penthouse Studios, New York City, January 16\u003csup\u003eth\u003c\/sup\u003e 1961\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cstrong\u003eEngineered by Bob d’Orleans\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cstrong\u003eProduced by Nat Hentoff\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cstrong\u003eRe-mastered by Graeme Durham at The Exchange\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cstrong\u003eOriginally released in 1961\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cstrong\u003eReissued in 2005\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e \u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Born With The Blues\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Just Let Me Be\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Red Haired Boogie\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Blue And Disgusted\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. New Key To The Highway\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. I’d Take Her To Chicago\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e7. Harlem Bound\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. El Capitan\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. I Just Landed In Your Town\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. John Henry\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. I Believe I’ll Settle Down\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. Bad Luck And troubles\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. Late Afternoon Blues\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e7. Memphis Slim, U.S.A.\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eFor the most part, this is a 1961 session wherein the blues raconteur and pianist Memphis Slim runs through a good chunk of his repertoire, the songs that came to mind that afternoon. As such, it’s relaxed entertainment, rather than a fixed recording for a larger audience. Which is not to say an audience can’t enjoy this music. Slim’s piano playing is dynamically rich, delicate at times, and pounding when necessary. His vocals are strong, too, but just as capable of dropping down to just above a whisper to make a point. They just don’t make records like this anymore, documents of an artist at work without any attempt to be outside the moment.\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eQuote from Nat Hentoff’s liner notes: “Aside from the usual hyperbole of record liners, I do think that engineer Bob d’Orleans has caught the full sonic impact of Slim more accurately than on any previous recordings by the Chicago-based wanderer. The best description I know of the sound of Memphis Slim is Stanley Dance’s in the British Jazz Journal: “It’s an outdoors voice with a hard strength that suggests inflexibility, but it bends at the right times. It has a sombre gravity, dignity, shyness, and a shade of melancholy. As he sings, he often seems to withdraw into memories, fond and sad, of other days, other places and other faces.”\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eAllMusic : 3 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40541771694231,"sku":"CJS 9024","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/memphis-slim-usa-audiosoundmusic-1.jpg?v=1719851868"},{"product_id":"booker-ervin-thats-it","title":"Booker Ervin - That's It (Pure Pleasure)","description":"\u003ch2\u003e\n\u003cbr\u003e\u003cbr\u003e \u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eBooker Ervin (tenor saxophone) \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Booker Ervin\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/booker-erwin\" style=\"color: #ff8000;\" 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\u003e\u003cstrong\u003eGeorge Tucker (bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHorace Parlan (piano) \u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/horace-parlan\" title=\"vinyl featuring Horace Parlan\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/horace-parlan\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Horace Parlan]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAl Harewood (drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Booker Ervin (A1, A2, B2, B3), Buddy Bernier (A3), Nat Simon (A3), Ogden Nash (B1), Kurt Weill (B1)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Candid\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eRecorded at Nola Penthouse Studios, New York City on January 6\u003csup\u003eth\u003c\/sup\u003e 1961 by \u003c\/span\u003eBob d’Orleans\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eProduced by Nat Hentoff\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1961\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eRe-mastered by Graeme Durham at The Exchange\u003cbr\u003e\u003cbr\u003eReissued in 2006\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\" face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Times New Roman\"\u003e\u003cspan\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\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. Mojo\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Uranus\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Poinciana\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Speak Low\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Booker’s Blues\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Boo\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Booker Ervin, who always had a very unique sound on the tenor, is heard in prime form on his quartet set with pianist Horace Parlan, bassist George Tucker and drummer Al Harewood. In virtually all cases, the jazz and blues musicians who recorded for Candid in 1960-61 (during its original brief existence) were inspired and played more creatively than they did for other labels. That fact is true for Ervin, even if he never made an indifferent record. In addition to \"Poinciana\" and \"Speak Low,\" Ervin's quartet (which was a regular if short-lived group) performs four of the leader's originals; best known is \"Booker's Blues.\" » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5 ; Discogs : 4.56 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40542130536599,"sku":"PPAN ST 2830","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/booker-ervin-that-s-it-pure-pleasure-audiosoundmusic-1.jpg?v=1719851868"},{"product_id":"copy-of-model","title":"Chris Connor - This Is Chris (Mono)","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\" data-mce-style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eChris Connor (vocals) \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Carmen McRae\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/carmen-mcrae\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/carmen-mcrae\"\u003e[\u003c\/a\u003e\u003ca title=\"vinyl featuring Chris Connor\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/chris-connor\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/chris-connor\"\u003eclick here to see more vinyl featuring Chris Connor]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eJJ Johnson (trombone), Kai Winding (trombone), Herbie Mann, (flute), Joe Puma (guitar), Ralph Sharon (piano), Milt Hinton (bass), Osie Johnson, (drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\" data-mce-style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal analog Master tape: YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord Press: Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLabel: Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal Label : Bethlelem\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecorded in April 1955, in New York City by Tom Dowd\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eProduced by Creed Taylor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRe-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginally released in 1955\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReissued in May 2014\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003eSide A :\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\" data-mce-fragment=\"1\" data-mce-style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\" data-mce-fragment=\"1\" data-mce-style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. Blame It On My Youth\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. It's All Right With Me\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. Someone To Watch Over Me\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. Trouble Is A Man\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e5. All This And Heaven Too\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\" data-mce-fragment=\"1\" data-mce-style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. The Thrill Is Gone\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. I Concentrate On You\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. All Dressed Up With A Broken Heart\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. From This Moment On\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e5. Ridin' High\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\" data-mce-fragment=\"1\" data-mce-style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"During 1953-1955, singer Chris Connor recorded regularly for Bethlehem. This LP has her final recordings for the label (before moving to Atlantic) with such fine sidemen as Herbie Mann (doubling on flute and tenor), pianist Ralph Sharon, guitarist Joe Puma, bassist Milt Hinton, and drummer Osie Johnson. The two-trombone team of J.J. Johnson and Kai Winding (which had recently become very popular) is prominent on four of the ten selections. Connor's cool tone, subtle, emotional delivery and haunting voice were perfect for the music of the 1950s. Highlights of this superior set include \"The Thrill Is Gone,\" \"Blame It on My Youth,\" and \"I Concentrate on You,\" but all ten numbers are rewarding.\" AllMusic Review by Scott Yanow\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBy June 1953, Connor was finding the constant traveling and vocal demands of nightly performances with a big band exhausting. She abruptly left the Kenton band; and, by fall of 1953, she was back in New York. She soon hired Monte Kay to manage her impending solo career, and he found work for her at Birdland. One night after a show, the owner of Bethlehem Records, Gus Wildi, offered her a recording contract on the spot.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eShe signed with the label in 1953 and, in 1954, released dual LPs, Chris Connor Sings Lullabys Of Birdland and Chris Connor Sings Lullabys For Lovers. At age 26, she became a best-selling solo artist for Bethlehem Records; and the label rushed her into the studios to record additional songs. Bethlehem Records released the successful follow-up albums Chris and This Is Chris in 1955. When time came for Connor's contract to expire, she signed for an album deal with Atlantic Records. Connor was the first white female jazz singer to be signed by the label. Ahmet Ertegun and his brother Nesuhi Ertegun's Atlantic label was, at the time, primarily a rhythm and blues label, with artists such as Ruth Brown and Ray Charles.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAllMusic:  4 \/ 5   , Discogs :  5 \/ 5  \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40680604041367,"sku":"PPAN BCP20","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/chris-connor-this-is-chris-mono-audiosoundmusic-1.jpg?v=1719851912"},{"product_id":"copy-of-model-1","title":"Stan Levey - Grand Stan (Mono)","description":"\u003ch2 data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eStan Levey (drums), Conte Candoli (trumpet), Richie Kamuca (tenor sax), Frank Rosolino (trombone), Sonny Clark (piano), Leroy Vinnegar (bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal analog Master tape: YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord Press: Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLabel: Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal Label : Bethlelem\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecorded in Hollywood, Los Angeles, California in november 1956.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRe-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginally released in 1957\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReissued in March 2014\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003eSide A :\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. Yesterdays\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. Angel Cake\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. Why Do I Love You\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. Grand Stan\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide B :\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv data-mce-fragment=\"1\" style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. Hit That Thing\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Blues At Sunrise\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Gal In Calico\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Tiny's Tune\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"Stan Levey cut precious few sessions as a leader, none of them more engaging than Grand Stan. Cut in the middle of the drummer's five-year tenure with Howard Rumsey's Lighthouse All-Stars, the album crackles with energy and invention, capturing the West Coast bop aesthetic at its most potent. Aided by then-unknown pianist Sonny Clark, trumpeter Conte Condoli, bassist Leroy Vinnegar, and tenorist Richie Kamuca, Levey creates an expansive rhythmic canvas for his collaborators, stretching out most songs past the five-minute mark to accommodate a series of crisp, finely honed solos.\" \u003cspan data-mce-fragment=\"1\"\u003eJason Ankeny, AllMusic\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"Stan Levey was a significant bebop drummer who brought stimulation and innovation to such bands as the Gillespie\/Parker Quintet (1945-46), the Stan Kenton Band (1952-54) and the Lighthouse All-Stars ( 1954-60) where he was anchoring the rhythm section at the time of this recording.\u003c\/p\u003e\n\u003cp\u003eIn this 1957 outing called\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eGrand Stan\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003ewere three Stan Kenton Band alumni, trumpeter Conte Candoli, tenor sax stalwart Richie Kamuca, and trombone virtuoso Frank Rosolino. Joining this cohort was the still unheralded pianist Sonny Clark who later participated in a seminal release with Buddy De Franco  and another with guitarist Grant Green. Finally bassist Leroy Vinnegar who was highly sought after on the West Coast for his big toned walking bass style.\u003c\/p\u003e\n\u003cp\u003eBenefiting from arrangements by Marty Paich, Bob Cooper, Bill Holman and Sonny Clark, the band blows up a storm through a collection of popular standards and original compositions from Cooper, Holman and Clark.\u003c\/p\u003e\n\u003cp\u003eSide A opens with “Yesterdays” which was written by Jerome Kern \u0026amp; Otto Harbach in 1933 for the musical\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eRoberta.\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003eIn an arrangement by Marty Paich that stretches the construct of the original melody, the number becomes a feature for trombonist Frank Rosolino. He powers through his long solo in his well-known staccato style, with Vinnegar’s pulsing bass in noticeable support. \u003ci\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003eAnother Kern number is “Why Do I Love You” written in conjunction with Oscar Hammerstein II, and it is again arranged by Paich to feature the pianist Sonny Clark. Done at a super fast tempo, Clark demonstrates he can swing with ease and yet stay within the framework of the number. Levey’s drumming is a propulsive boost to the arrangement.\u003c\/p\u003e\n\u003cp\u003eThis side closes with the title track “Grand Stan” which was written by Bob Cooper another Kenton alumnus. Designed in a medium tempo, it has a boppish line and chord progressions that give the soloists a chance to offer several easy-going choruses. All the front line jump at the chance to be heard, which they do to perfection.\u003c\/p\u003e\n\u003cp\u003eSide B starts with a Bill Holman original “Hit That Thing”. In this up tempo gem, there are sensational opening choruses from Richie Kamuca on tenor sax, Conte Candoli on trumpet, and Rosolino on trombone. However the majority of the time on this track is taken up with a lengthy but well executed drum solo from Stan Levey. Given the fantastic stick work exhibited in his drum solo, it is hard to imagine that Levey was entirely self-taught. Not only that, he played left-handed even though he was naturally right-handed. His first drum influence was Chick Webb, but later Max Roach had the greatest impact on his development.\u003c\/p\u003e\n\u003cp\u003eA 1946 B-movie entitled\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eThe Time, The Place and The Girl\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ebecame recognized  for only one thing. That was the Leo Robin\/Arthur Schwartz song “A Gal In Calico”. The number has found a place in jazz repertoires and the Bill Holman arrangement here will help cement that reputation. Opening with tight voicing of the melody among the front line, the players use that as the jumping off point to deliver a series of choruses that demonstrate some compelling and prolific soloing. All of which is a worthy model of how a simple number can become a jazz showcase.\u003c\/p\u003e\n\u003cp\u003eBob Cooper’s original number “Tiny’s Tune” closes Side B. In this head arrangement there are a number of lengthy exciting choruses strung together starting with a single note winner from Sonny Clark. This is followed by turns from Kamuca, Candoli and Rosolino each of which shows a fierce drive and a sense of vitality they brought to the recording.\" Pierre Giroux, Audiophile Audition\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAllMusic:  4 \/ 5   , Discogs : 4.1 \/ 5  \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40680744747159,"sku":"BCP 71","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/stan-levey-grand-stan-mono-audiosoundmusic-1.jpg?v=1719851912"},{"product_id":"copy-of-model-2","title":"\u003ctc\u003eHoward McGhee - The Return Of Howard McGhee (Mono)\u003c\/tc\u003e","description":"\u003ch2 data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHoward McGhee (trumpet) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/howard-mcghee\" title=\"vinyl featuring Howard McGhee\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/howard-mcghee\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Howard McGhee]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003ePercy Heath (bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003ePhilly Joe Jones (drums) \u003cspan data-mce-fragment=\"1\"\u003e\u003ca title=\"Vinly featuring Philly Joe Jones\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/philly-joe-jones\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/philly-joe-jones\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Philly Joe Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSahib Shihab (sax)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eDuke Jordan (piano) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/fr\/collections\/duke-jordan\" title=\"vinyl featuring duke Jordan\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/fr\/collections\/duke-jordan\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Duke Jordan]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal analog Master tape: YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord Press: Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLabel: Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal Label : Bethlelem\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecorded in NYC, October 22, 1955 by Frank Abbey\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eProduced by Frank Abbey\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRe-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginally released in 1956\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReissued in January 2014\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide A :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e\u003cspan\u003e1. Get Happy\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Tahitian Lullaby\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Lover Man\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Lullaby Of The Leaves\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. You're Teasing Me\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e6. Transpicious\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide B :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e\u003cspan\u003e1. Rifftide\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Oo-wee But I Do\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Don't Blame Me\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Tweedles\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. I'll Remember April\u003c\/span\u003e\u003c\/p\u003e\n\u003cp 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\u003cspan lang=\"EN\" id=\"yui_3_13_0_ym1_1_1387800393998_8552\"\u003eRecorded after one of McGhee’s not infrequent releases from the Penitentary on narcotics charges, hence the title “The Return Of ….”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp id=\"yui_3_13_0_ym1_1_1387800393998_8562\"\u003e\u003cspan lang=\"EN\" id=\"yui_3_13_0_ym1_1_1387800393998_8561\"\u003eHoward McGhee is a wonderful agile soloist, a model for the younger Kenny Dorham. Sharing the spotlight with McGhee is Sahib Shihab on baritone sax, what more can you ask? Lots of baritone solos, and few on alto for variety, Sahib’s presence is not to be overlooked. That angry baritone rasp is so compelling - both Sahib and Pepper Adams showed what could be achieved with this weighty length of brass plumbing if you played it as though it was a tenor or indeed alto, and just ran with the changes, Charlie Parker on steroids.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp id=\"yui_3_13_0_ym1_1_1387800393998_8565\" class=\"yiv5058939013MsoNormal\"\u003e\u003cspan lang=\"EN\" id=\"yui_3_13_0_ym1_1_1387800393998_8564\"\u003eDuke Jordan ’s solid chordal foundations, embellished with glittering runs, is always pushing the tempo along, with “Philly Joe” and Percy Heath picking up any slack. Bop of a very high order from the post-swing cauldron that was 1955\u003c\/span\u003e\u003cspan lang=\"EN\" id=\"yui_3_13_0_ym1_1_1387800393998_8564\"\u003e\u003cspan face=\"Times New Roman\" id=\"yui_3_13_0_ym1_1_1387800393998_8563\"\u003e.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"yiv5058939013MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAllMusic:  4 \/ 5   , Discogs :  4.43 \/ 5  \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40680874606743,"sku":"BCP42","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/howard-mcghee-the-return-of-howard-mcghee-mono-audiosoundmusic-1.jpg?v=1719851911"},{"product_id":"copy-of-model-3","title":"\u003ctranscy\u003eNina Simone - Little Girl Blue (Mono, 180g)\u003c\/transcy\u003e","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eNina Simone (piano and vocals) \u003cspan style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/nina-simone\" title=\"Vinyl featuring Nina Simone\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/nina-simone\"\u003e[click here to see more vinyl featuring Nina Simone]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Bond (bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlbert \"Tootie\" Heath (drums)  \u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/albert-tootie-heath\" title=\"vinyl featuring Albert Tootie Heath\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/albert-tootie-heath\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Albert Tootie Heath]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eBarney Bigard (A1), Duke Ellington (A1), Irving Mills (A1), Willard Robison (A2), Arthur Hamilton (A3), Richard Rodgers (A4, B3), Walter Donaldson (A5, A6), Count Basie (B1), Tadd Dameron (B1), Earl Burroughs (B2), George Gershwin (B4), Nina Simone (B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal analog Master tape: YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord Press: Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLabel: Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal Label : Bethlelem\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecorded late fall, 1957, at Beltone Studio, New York, NY, by \u003c\/strong\u003e\u003cstrong\u003eIrv Greenbaum\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRe-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginally released in 1957\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReissued in Oct 2013\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide A :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. Mood Indigo\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Don't Smoke In Bed\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. He Needs Me\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Little Girl Blue\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. Love Me Or Leave Me\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e6. My baby Just Cares For Me\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide B :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. Good Bait\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Plain Gold Ring\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. You'll Never Walk Alone\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. I Loves You Porgy\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. Central Park Blues\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e« Little Girl Blue, released in 1957, was Nina Simone's first recording, originally issued on the Bethlehem label. Backed by bassist Jimmy Bond and Albert \"Tootie\" Heath, it showcases her ballad voice as one of mystery and sensuality and showcases her uptempo jazz style with authority and an enigmatic down-home feel that is nonetheless elegant. The album also introduced a fine jazz pianist. Simone was a solid improviser who never strayed far from the blues. Check the opener, her reading of Duke Ellington's \"Mood Indigo,\" which finger-pops and swings while keeping the phrasing deep-blue. It is contrasted immediately with one of the -- if not the -- definitive reads of Willard Robison's steamy leave-your-lover ballad \"Don't Smoke in Bed.\" The title track, written by Rodgers \u0026amp; Hart, features \"Good King Wenceslas\" as a classical prelude to one of the most beautiful pop ballads ever written. It is followed immediately by the funky swing in \"Love Me or Leave Me\" with a smoking little piano solo in the bridge where Bach meets Horace Silver and Bobby Timmons. It's also interesting to note that while this was her first recording, the record's grooves evidence an artist who arrives fully formed; many of the traits Simone displayed throughout her career as not only a vocalist and pianist but as an arranger are put on first notice here. \"My Baby Just Cares for Me\" has a stride shuffle that is extrapolated on in the piano break. Her instrumental and improvising skills are put to good use on Tadd Dameron's \"Good Bait,\" which is transformed into something classical from its original bebop intent. \"You'll Never Walk Alone\" feels more like some regal gospel song than the Rodgers \u0026amp; Hammerstein show tune it was. Of course, one of Simone's signature tunes was her version of \"I Loves You, Porgy,\" which appears here for the first time and was released as a single. Her own \"Central Park Blues\" is one of the finest jazz tunes here, and it is followed with yet another side of Simone's diversity in her beautiful take on the folk-gospel tune \"He's Got the Whole World in His Hands,\" with quiet and determined dignity and drama. Another of her instrumentals compositions, \"African Mailman,\" struts proud with deep Afro-Caribbean roots and rhythms. » AllMusic Review by Thom Jurek\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAllMusic: 4 \/ 5   , Discogs :  4.55 \/ 5  \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40680919761047,"sku":"BCP6028","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/nina-simone-little-girl-blue-mono-audiosoundmusic-1.jpg?v=1719851912"},{"product_id":"copy-of-model-5","title":"John Coltrane In The Winner's Circle (Mono)","description":"\u003ch2 data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eTenor Saxophone – John Coltrane (A2, A4, B2, B4) \u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-coltrane\" title=\"vinyl featuring John Coltrane\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-coltrane\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring John Coltrane]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet – Art Farmer (A1, A3, B1, B3) \u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" title=\"Vinyl featuring Art Farmer\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/art-farmer\" style=\"color: #ff8000;\" target=\"_blank\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/art-farmer\"\u003e[click here to see more vinyl featuring Art Farmer]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet – Donald Byrd (A2, A4, B2, B4)  \u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Donald Byrd\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/donald-byrd\" style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/donald-byrd\"\u003e[click here to see more vinyl featuring Donald Byrd]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Oscar Pettiford\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Philly Joe Jones (A2) \u003ca data-mce-fragment=\"1\" title=\"Vinly featuring Philly Joe Jones\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/philly-joe-jones\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/philly-joe-jones\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Philly Joe Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Kenny Burrell (A1, A3, B1, B3) \u003c\/strong\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong\u003e\u003ca title=\"vinyl featuring Kennny Burrell\" href=\"https:\/\/www.audiosoundmusic.com\/fr\/collections\/kenny-burrell\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Kenny Burrell]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Ed Thigpen (A1, A3 to B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Freddie Green (A2),\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlto Saxophone – Gene Quill (A2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBaritone Saxophone – Al Cohn (A2, A4, B2, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eClarinet – Rolf Kuhn (A1, A3, B1, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano – Eddie Costa (A2, A4, B2 to B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrombone – Frank Rehak (A2, A4, B2, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVibraphone – Eddie Costa (A1, A3, B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by Harry Tubbs\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Moross-LaTouche (A1), Mathews (A2), Douglas-Norman-Bearden (A3), Berlin (A4), Kern-Harbach (B1), Darwin-Girard (B2), Lewis (B3), Wheeler (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal analog Master tape: YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord Press: Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLabel: Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal Label : Bethlelem\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecorded September \u0026amp; October 1957 in New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eProduced by Chuck Darwin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRe-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginally released in January 1958 (under the title Winner's circle) and in 1961 (under the title John Coltrane in the Winner's circle)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReissued in Oct 2013\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide A :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. Lazy Afternoon\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Not So Sleepy\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Seabreeze\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Love and the Weather\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide B :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"padding-left: 30px;\"\u003e \u003cspan data-mce-fragment=\"1\"\u003e1. She Didn't Say Yes\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. If I'm Lucky (I'll Be the One)\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. At Home With the Blues\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. Turtle Walk\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"The bebop scene in the late forties and early fifties challenged the parameters of music. One of the offshoot movements was the hard-bop genre which exploded in the fifties and sixties. Among its stars were Miles Davis, Art Blakey (perhaps the quintessential artist of this sound), Cannonball Adderly, Donald Byrd, Kenny Burrell, Art Farmer, Dexter Gordon and John Coltrane. The list is endless and constitutes an unequalled aggregation of talent. Hard bop incorporated many stylistic influences, including blues, gospel, and rhythm and blues. More importantly, this era propelled many talented session players to stardom.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eJohn Coltrane – In The Winners Circle is not exactly a Coltrane album. The session represents a collective session of 1957 Downbeat instrumental winners performing in three different configurations. All of the tracks are arranged by Harry Tubbs, and they are excellent. Solos are set up by larger charts that flow methodically. Opening Side A is an under-appreciated off-Broadway tune, “Lazy Afternoon”. There is a melodic, wistful opening clarinet (Rolf Kuhn) \u0026amp; trumpet (Art Farmer) contrapuntal intro that moves gracefully. From there solos on vibes (Eddie Costa), clarinet, trumpet and guitar (Kenny Burrell) ensue as the arrangement returns to its context. Coltrane (tenor sax) and Donald Byrd (trumpet) take over on “Not So Sleepy”. Both offer solos in addition to Costa (piano), Al Cohn (baritone sax) and Gene Quill (alto sax). There are subtle rhythm shifts and superior full ensemble work. Carrying on some of the Latin nuances is “Seabreeze”. Costa performs another deft vibes solo, while Kuhn and Farmer (this time with a mute) add shadings of their own. Bassist Oscar Pettiford (the only player to appear on all eight cuts) contributes a solo. Along with drummer Ed Thigpen (and Philly Joe Jones on one song) and Costa (who alternates between piano and vibes), they form an all-star rhythm section with flawless timing. The Side A closer is an up-tempo swing version of Irving Berlin’s “Love And The Weather”. The ensemble charts are crisp and Coltrane (tenor), Byrd (trumpet) Costa (piano), Cohn (baritone) and Quill (alto) demonstrate artistic individual play.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide B features more of Tubbs’ impeccable arrangements. “She Didn’t Say Yes” exudes a big band “combo” resonance. Approximating a swing bop construct, a palpable accelerated pace reinvents a classic Jerome Kern number. Vibes, clarinet, bass and guitar are showcased. A compelling ballad piece (“If I’m Lucky, I’ll Be The One”) takes advantage of the full group. The initial melody line is handled by Rehak (trombone) and Coltrane proves himself to be a keenly lyrical tenor soloist. Costa anchors the ensemble with his nimble piano. In a different style, the group shines on “At Home With The Blues”. Kuhn and Farmer rotate on lead, as four different players offer solos. There is a familiarity in the thematic structure, but it is never pedestrian. The merge of leads is fresh and has a rich texture. The final opus (“Turtle Walk”) sparkles in its complexity and agility. A grouped lead (trumpet, trombone) is combined with a descant counterpoint (baritone sax). Costa, Pettiford and Thigpen execute a cool, finger-snapping groove interlude. Later, there is a tempo shift as Cohn assumes the lead. Byrd provides the last solo, and it soars.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePure Pleasure Records has done an outstanding job re-mastering this mono session to 180-gram vinyl. All of the instruments have clarity and rich tonality. There may be some confusion over the title, but John Coltrane – In The Winners Circle is large ensemble bop jazz at its finest.” John Sunnier, Audiophile Audition\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDiscogs :  4.71 \/ 5  \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40681228697751,"sku":"BCP6066","price":35.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/john-coltrane-in-the-winner-s-circle-mono-audiosoundmusic-1.jpg?v=1719851919"},{"product_id":"the-great-zoot-sims-down-home","title":"Zoot Sims - Down Home (Mono)","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eZoot Sims (Tenor Saxophone) \u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Zoot Sims\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/zoot-sims\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/zoot-sims\"\u003e[click here to see more vinyl featuring Zoot Sims]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e Dave McKenna (Piano),\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eGeorge Tucker (Bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eDannie Richmond (Drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal analog Master tape: YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord Press: Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLabel: Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal Label : Bethlelem\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecorded in New York on June 7, 1960\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eProduced by Teddy Charles\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRe-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginally released in 1960\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReissued in September 2013\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide A :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e\u003cspan\u003e1. Jive At Five\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Doggin' Around\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Avalon\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. I Cried For You\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide B :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e\u003cspan\u003e1. Bill Bailey\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Goodnight Sweetheart\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. There'll Be Some Changes Made\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. I've Heard That Blues Before\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Tenor saxophonist Zoot Sims recorded on a regular basis as a leader for most of 45 years, and virtually all of his many sessions are worth acquiring. Sims's Bethlehem date also gives one a look at the great pianist Dave McKenna in his early days, along with bassist George Tucker and drummer Dannie Richmond. Sims mostly explores standards from the swing era (including a rare version of \"Bill Bailey\") on this enjoyable and consistently swinging set. » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"Recorded in 1960 (when tenor players were adopting less structured constructs), Down Home embraces band arrangements. With a skilled rhythm section (Dave McKenna\/piano; George Tucker\/bass and Dannie Richmond\/drums), Sims breathes life into traditional songs... Pure Pleasure Records has achieved its customary, dynamic engineering on Zoot Sims – Down Home. Even in mono fidelity, the overall sound quality is vibrant and sharp. The topical liner notes (by Ira Gitler) divulge insight into the sessions. While not a groundbreaking release, this is one album that stands the test of time.\"\u003cspan data-mce-fragment=\"1\"\u003e Robbie Gerson, Audiophile Audition\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e“John Haley \"Zoot\" Sims had built a solid career by the time he recorded Down Home, although not one rife with innovation. Heavily influenced by Lester Young, Sims combined a heavy dose of West Coast cool and plenty of swing to create a style that was always accessible. None of the songs here is a Sims composition (he rarely wrote his own music), but just listen to him go on \"Bill Bailey,\" for instance, using all of his wiles to draw you in to the tune. With Dave McKenna on piano, George Tucker on bass and, taking a break from his work with Charles Mingus, Dannie Richmond on drums, the rhythm section laid down the perfect beat for Sims to glide over.” John Crossett, The Audio Beat, July 2014\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAllMusic: 4 \/ 5  ; Discogs :  '4.18 \/ 5  ; The Audio Beat : Music 4 \/ 5, Sound 4 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40682646241431,"sku":"PPAN BCP6051","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/zoot-sims-down-home-mono-audiosoundmusic-1.jpg?v=1719851925"},{"product_id":"dexter-gordon-daddy-plays-the-horn","title":"Dexter Gordon - Daddy Plays The Horn (Mono)","description":"\u003ch2\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cspan\u003eDexter Gordon - tenor saxophone \u003cspan style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca title=\"Vinyl featuring Dexter Gordon\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/dexter-gordon\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/dexter-gordon\"\u003e[click here to see more vinyl featuring Dexter Gordon]\u003c\/a\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cspan\u003eKenny Drew (piano) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/kenny-drew\" title=\"vinyl featuring Kenny Drew\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/kenny-drew\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Kenny Drew]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cspan\u003eLeroy Vinnegar (bass), Larry Marable (drum)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal analog Master tape: YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord Press: Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLabel: Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal Label : Bethlelem\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecorded in \u003cspan data-mce-fragment=\"1\"\u003eSeptember 1955 in Hollywood, California, U.S.A\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRe-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginally released in 1956\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReissued in \u003cspan data-mce-fragment=\"1\"\u003eJuly 2013\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide A :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e\u003cspan\u003e1. Daddy Plays The Horn\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Confirmation\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Darn That Dream\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide B :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Number Four\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. Autumn In New York\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. You Can Depend On Me\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Number Four\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. Autumn In New York\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. You Can Depend On Me\u003c\/span\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« During a period of Dexter Gordon's (tenor sax) life -- when he was deep in the throws of chronic drug addiction -- the artist was miraculously able to reignite his career during the latter part of 1955. After several years of being out of the spotlight, Gordon resurfaced on the Big Apple-based indie Bethlehem imprint with the half-dozen sides that comprise Daddy Plays the Horn (1956). Joining him as key constituents of the credited Dexter Gordon Quartet are Kenny Drew (piano), Leroy Vinnegar (bass), and Larry Marable (drums). While the support team provides Gordon top-notch contributions throughout, it is unquestionably Drew who offers the most in terms of active interaction and his prominence can not be overstated. Nowhere is that as noticeable as the good-natured interaction heard on the disc's opener, the Gordon-penned title composition \"Daddy Plays the Horn.\" In fact it could be argued that Drew enhances the tenor to the point of practically being a co-leader. The update of Charlie \"Bird\" Parker's bop standard \"Confirmation\" is taken at a steady mid-tempo pace, allowing plenty of room for the participants to have their say and not get in the way of the melody. Gordon seems considerably more relaxed and comfortable as he spreads line upon line of inspired improvisation. Drew is once again a real treat to hear briefly taking charge of the rhythm section. The pair of ballads on Daddy Plays the Horn are nothing short of stellar and stand as simple, emotive expressions unto themselves. \"Darn That Dream\" embraces the warmth of Gordon's tenor as his sensual phrasing leaves just enough space for Drew to sonically bridge the gap with his own unhurried and stylish chords. The generically monikered \"Number Four\" is anything but ordinary. The Gordon original jumps right from the opening and the ensemble lets loose with equally solid licks beneath his cool tone. Drew gets in the driver's seat missing nary a measure to reveal what could easily be his most tasteful contributions to date. The same can be said of bassist Vinnegar, who is briefly spotlighted on an efficient (if not somewhat sparse) solo. \"Autumn in New York\" -- the album's other essential ballad -- is proof that despite Gordon's addiction, he had retained his singular and precious sense of lyricism. Indeed, the Great American Songbook entry has rarely been permeated in such a meaningful way. The seamless transitions between Gordon and Drew are further evidence of their undeniable bond. Saving what may be the best example of the gathered instrumentalists flexing their respective be-bop muscle, \"You Can Depend on Me\" rounds out the platter with a bang. Each bandmember gets a final opportunity to shine -- which they individually take full advantage of. In 2005, the Shout! Factory label reissued Daddy Plays the Horn, placing the six selections in the correct running order, and the digital remastering by Randy Perry has the classic sounding better than ever. » AllMusic Review by Lindsay Planer \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"\u003cspan\u003eBethlehem Records was a major jazz label in the 1950's formed by Gus Wildi with an impressive roster of artists including singers Nina Simone, Carmen MacRae, Chris Conner \u0026amp; Mel Torme, to name a few; arrangers: Marty Paich, Russ Garcia, Frank Hunter; and musicians including: Dexter Gordon, Roland Kirk, Charles Mingus, Frank Rosolino, Herbie Mann, Stan Levey, Art Blakey, Milt Hinton, Errol Garner, Zoot Sims, Duke Ellington, JJ Johnson and many, many others.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe label distinguished itself by giving artists creative control of their projects and presented albums of rather cutting edge graphic design. Its legacy is a lengthy discography that freshly and ambitiously captured and preserved an era of truly amazing music including West Coast Cool Jazz, East Coast Bop, and Vocalists. For many of the artists, their first or greatest recorded work happened at Bethlehem. By trusting its staff and artists to make their own creative decisions, to experiment, and thus to flourish, Bethlehem actively helped create and not just document a whole and diverse era of Jazz music.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDuring a period of Dexter Gordon's (tenor sax) life -- when he was deep in the throws of chronic drug addiction -- the artist was miraculously able to reignite his career during the latter part of 1955. After several years of being out of the spotlight, Gordon resurfaced on the Big Apple-based indie Bethlehem imprint with the half-dozen sides that comprise Daddy Plays the Horn (1956). While the support team provides Gordon top-notch contributions throughout, it is unquestionably Drew who offers the most in terms of active interaction and his prominence can not be overstated. Nowhere is that as noticeable as the good-natured interaction heard on the disc's opener, the Gordon-penned title composition \"Daddy Plays the Horn.\" In fact it could be argued that Drew enhances the tenor to the point of practically being a co-leader. The update of Charlie \"Bird\" Parker's bop standard \"Confirmation\" is taken at a steady mid-tempo pace, allowing plenty of room for the participants to have their say and not get in the way of the melody. Gordon seems considerably more relaxed and comfortable as he spreads line upon line of inspired improvisation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDrew is once again a real treat to hear briefly taking charge of the rhythm section. The pair of ballads on Daddy Plays the Horn are nothing short of stellar and stand as simple, emotive expressions unto themselves. \"Darn That Dream\" embraces the warmth of Gordon's tenor as his sensual phrasing leaves just enough space for Drew to sonically bridge the gap with his own unhurried and stylish chords. The generically monikered \"Number Four\" is anything but ordinary. The Gordon original jumps right from the opening and the ensemble lets loose with equally solid licks beneath his cool tone.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDrew gets in the driver's seat missing nary a measure to reveal what could easily be his most tasteful contributions to date. The same can be said of bassist Vinnegar, who is briefly spotlighted on an efficient (if not somewhat sparse) solo. \"Autumn in New York\" -- the album's other essential ballad -- is proof that despite Gordon's addiction, he had retained his singular and precious sense of lyricism. Indeed, the Great American Songbook entry has rarely been permeated in such a meaningful way. The seamless transitions between Gordon and Drew are further evidence of their undeniable bond. Saving what may be the best example of the gathered instrumentalists flexing their respective be-bop muscle, \"You Can Depend on Me\" rounds out the platter with a bang.\" Audio Beat Review\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAllMusic:  4 \/ 5   , Discogs :  4.53 \/ 5  \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40693705670807,"sku":"BCP36","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/dexter-gordon-daddy-plays-the-horn-mono-audiosoundmusic-1.jpg?v=1719851965"},{"product_id":"clarke-terry-color-changes","title":"Clark Terry - Color Changes (Pure Pleasure)","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eClark Terry (trumpet, flugelhorn) \u003ca title=\"vinyl featuring Clark Terry\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/clark-terry\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/clark-terry\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Clark Terry]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eJimmy Knepper (trombone)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eJulius Watkins (French horn)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eYusef Lateef (tenor, flute, English horn, oboe) \u003ca title=\"vinyl featuring Yusef Lateef\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/yusef-lateef\"\u003e\u003cspan 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\u003e\u003cspan\u003eSeldon Powell (tenor, flute)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTommy Flanagan (piano) \u003ca title=\"vinyl featuring Tommy Flanagan\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/tommy-flanagan\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/tommy-flanagan\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Tommy Flanagan]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eJoe Benjamin (bass)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eEd Shaughnessy (drums)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eBudd Johnson (piano : B2)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Candid\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eRecorded at Nola Penthouse Studios, New York City, \u003cspan data-mce-fragment=\"1\"\u003eNovember 19th 1960 \u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eEngineered by Bob d'Orleans\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003eProduced by \u003cspan face=\"Times New Roman\"\u003eNat Hentoff\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan\u003eRe-mastered by Graeme Durham at The Exchange, U.K.\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1961\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in October 2006\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. Blue Waltz (la Valse Bleue)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Brother Terry\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Flutin and Fluglin\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. No Problem\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan face=\"Times New Roman\"\u003e1. \u003cspan data-mce-fragment=\"1\"\u003eLa Rive Gauche\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. Nahstye Blues\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. Chat Qui Peche (A Cat That Fishes)\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\" face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« This is one of flügelhornist Clark Terry's finest albums. Terry had complete control over the music and, rather than have the usual jam session, he utilized an octet and arrangements by Yusef Lateef, Budd Johnson, and Al Cohn. The lineup of musicians (C.T., trombonist Jimmy Knepper, Julius Watkins on French horn, Yusef Lateef on tenor, flute, oboe, and English horn, Seldon Powell doubling on tenor and flute, pianist Tommy Flanagan, bassist Joe Benjamin, and drummer Ed Shaughnessy) lives up to its potential, and the charts make good use of the sounds of these very individual stylists. The material, which consists of originals by Terry, Duke Jordan, Lateef, and Bob Wilber, is both rare and fresh, and the interpretations always swing. Highly recommended » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePossessor of the happiest sound in jazz, flügelhornist Clark Terry always plays music that is exuberant, swinging, and fun. A brilliant (and very distinctive) soloist, he gained early experience playing trumpet in the viable St. Louis jazz scene of the early '40s (where he was an inspiration for Miles Davis) and, after performing in a Navy band during World War II, he gained a strong reputation playing with the big band of Charlie Barnet (1947-1948), the orchestra and small groups of Count Basie (1948-1951), and particularly with Duke Ellington (1951-1959). Terry, a versatile swing\/bop soloist who started specializing on flügelhorn in the mid-'50s, had many features with Ellington (including \"Perdido\") and started leading his own record dates during that era. He recorded regularly in the 1960s including a classic set with the Oscar Peterson Trio and several dates with the quintet he co-led with valve trombonist Bob Brookmeyer.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 5 \/ 5 , Discogs : 4.77 \/ 5 , \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003eScott Yanow :  Music 9, Sound 9\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003cbr\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40693804040343,"sku":"CJS 9009","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/clark-terry-color-changes-pure-pleasure-audiosoundmusic-1.jpg?v=1719851965"},{"product_id":"charles-mingus-presents-charles-mingus","title":"\u003ctc\u003eCharles Mingus - Presents Charles Mingus (Pure Pleasure)\u003c\/tc\u003e","description":"\u003ch2\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eCharles Mingus (bass) \u003ca style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/charles-mingus\" title=\"All vinyl featuring Charles Mingus\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/charles-mingus\"\u003e[click here to see more vinyl featuring Charles Mingus]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEric Dolphy (alto saxophone, bass clarinet) \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-style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Eric Dolphy]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTed Curson (trumpet)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDannie Richmond (drummer)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Candid\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eRecorded at Nola Penthouse Studios, New York City, on \u003cspan data-mce-fragment=\"1\"\u003eOctober 20, 1960\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eby \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eBob d’Orleans\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\" size=\"3\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003eProduced by \u003cspan face=\"Times New Roman\"\u003eNat Hentoff\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1961\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2004\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. Folk Forms, No. 1\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Original Faubus Fables\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. What Love\u003cbr data-mce-fragment=\"1\"\u003e2. All The Things You Could Be By Now If Sigmund Freud’s Wife Was Your Mother\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Times New Roman\" size=\"3\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\"…This record is required listening for any lover of jazz, even those who are generally shy of the more avant-garde sound of Dolphy mixed with the creative genius that always defined Mingus. It is a classic that deserves a place on the shelf along side of more accessible and better-known Columbia classics Mingus Ah Um and Mingus Dynasty…The original Candid pressings were first rate, and this re-issue combines all the strengths of the original with a better mastering chain and superior vinyl.\" Dennis Davis, Hi-Fi+, Issue 42\u003c\/p\u003e\n\u003cp\u003e« Charles Mingus has a fascinating way of offering music that is grounded in tradition while remaining startlingly original. The freshness of a disc like Charles Mingus Presents Charles Mingus, has the effect of rendering much of what passes for jazz as tedious. The band is small for Mingus, and includes Eric Dolphy on alto saxophone and bass clarinet, Ted Curson on trumpet, and Dannie Richmond on drums. It would be one of Dolphy and Curson's last recording dates with the artist, and they seem determined to go all out for it. The leader's bassline kicks off \"Folk Forms No. 1,\" followed by Dolphy outlining the melody, and then joined by Curson. A simple riff develops into a lively New Orleans funeral march that's developed for 12 minutes. \"Original Faubus Fables\" is serious in intent -- a political attack on segregation governor Faubus -- but Mingus and Richmond's singing is difficult to listen to with a straight face. Still, this doesn't distract from the wonderful music. Again and again, the elasticity of the sound is fascinating, at once spacious with the bass and drums balanced against the brass and then noisy, with the horns wailing and crying. The last two pieces, \"What Love?\" and the outrageously titled \"All the Things You Could Be by Now if Sigmund Freud's Wife Was Your Mother,\" are much looser, bordering on free jazz. The album accomplishes what the best of Mingus accomplishes: the perfect tension between jazz played as an ensemble and jazz played as totally free. » AllMusic Review by Ronnie D. Lankford, Jr.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 5 \/ 5 , Discogs : 4.57 \/ 5 ; Hi-Fi+:  Recording = 9\/10; Music = 10\/10\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40694075228311,"sku":"CJS9005","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/charles-mingus-presents-charles-mingus-pure-pleasure-audiosoundmusic-1.jpg?v=1719851975"},{"product_id":"max-roach-we-insist-freedom-now-suite","title":"Max Roach - We Insist - Freedom Now Suite (Mono)","description":"\u003cdiv\u003e\n\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN\"\u003e\u003cspan size=\"3\"\u003e\u003cspan\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eMax Roach (drums) \u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/max-roach\" title=\"Vinyl featuring Max Roach\" target=\"_blank\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Max Roach]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eAbbey Lincoln (vocal)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eColeman Hawkins (Tenor sax) \u003cspan style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" title=\"Vinyl featuring Coleman Hawkins\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/coleman-hawkins\"\u003e[click here to see more vinyl featuring Coleman Hawkins]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eWalter Benton (tenor sax)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eBooker Little (trumpet) \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Booker Little\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/booker-little\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Booker Little]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eJulian Priester (trombone)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eJames Schenk (bass)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eBabatunde Olatunji (conga)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eThomas Du Vall (percussion)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eRay Mantilla (percussion\u003c\/strong\u003e)\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003cspan lang=\"EN-US\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Candid\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Candid\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eRecorded at\u003cspan data-mce-fragment=\"1\"\u003e Nola Penthouse Studios, NYC, August 31\u003c\/span\u003e\u003csup data-mce-fragment=\"1\"\u003est\u003c\/sup\u003e\u003cspan data-mce-fragment=\"1\"\u003e, September 6\u003c\/span\u003e\u003csup data-mce-fragment=\"1\"\u003eth\u003c\/sup\u003e\u003cspan data-mce-fragment=\"1\"\u003e 1960 by Bob d’Orleans\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\" size=\"3\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003eProduced by \u003cspan data-mce-fragment=\"1\"\u003eMax Roach\u003c\/span\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan\u003eRemastered by\u003c\/span\u003e\u003cspan\u003e Graeme Durham at The Exchange\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1961\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. Driva Man\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Freedom Day\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003c\/span\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. Prayer\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Protest\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Peace\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. All Africa\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e6. Tears For Johannesburg\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Times New Roman\" size=\"3\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« We Insist! Max Roach's Freedom Now Suite, co-authored by Max Roach and Oscar Brown, Jr., was a pivotal work in the early-'60s African-American protest movement, and continues to be relevant in its message and tenacity. It represents a lesson in living as to how the hundreds of years prior were an unnecessary example of how oppression kept slaves and immigrants in general in their place. Vocalist Abbey Lincoln expresses this oppression as effectively as anyone could with her thespian-based wordless vocals, and lyrics written by Brown that tell the grim story of the struggle of African-American for far too long. Musically, Roach assembled one of the greatest bands, from his own emerging ensemble with trombonist Julian Priester and trumpeter Booker Little, to the legendary Coleman Hawkins and lesser-known, underappreciated tenor saxophonist Walter Benton. Percussionists Ray Mantilla and Michael Olatunji gave the poetic pieces sung by Lincoln enough substance and spice to also refer to Afro-Cuban and South American prejudice and urgency for change. Hawkins is particularly impressive, as his emotional range during the deep and dour, 5\/4 slave song \"Driva' Man\" clearly feeds off of Lincoln's blues singing about quittin' time. \"Triptych; Prayer\/Peace\/Protest\" is the magnum opus of the set, introduced by Roach's signature drum moves, an eerie operatic vocal or oppressed angst yelling from Lincoln, and a 5\/4 beat from the percussionist against a calmer vocal component, all written for interpretive dance. Of the modern jazz that Roach is renowned for, the horns jump into furious hard bop with solos from Little, Benton, and Priester on \"Freedom Day\" after Lincoln quietly invites you to \"whisper\/listen,\" while the obscure bassist James Schenck leads in 6\/8 and 5\/4 ostinato over Lincoln's sustained tones on \"Tears for Johannesburg,\" with the layered horns in and out of well-wrought harmonies, and another triad of instrumental solos. \"All Africa\" sports lyrics about being on the beach, or maybe the beach head in the battle for freedom, as chants of tribal names echo similar village beats. This is a pivotal work in the discography of Roach and African-American music in general, its importance growing in relevance and timely, postured, real emotional output. Every modern man, woman, and child could learn exponentially listening to this recording -- a hallmark for living life. » AllMusic Review by Michael G. Nastos \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Based upon the diversity of music, quality of product and their extraordinary rate of progress, Pure Pleasure Records is our re-issue record company of the year.\" - hi-fi+\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 5 \/ 5 , Discogs : 4.76 \/ 5 , \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003cbr\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40694244376727,"sku":"CJM 8002","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/max-roach-we-insist-freedom-now-suite-audiosoundmusic-1.jpg?v=1719851982"},{"product_id":"nancy-wilson-but-beautiful","title":"Nancy Wilson - But Beautiful","description":"\u003ch2\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\n\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003eNancy Wilson (vocal), Hank Jones (piano), Ron Carter (bass), Grady Tate (drums),  Gino Bertachini (guitar)\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eRecorded at\u003cspan data-mce-fragment=\"1\"\u003e New York City on November 4-6, 1969\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003eProduced by \u003cspan data-mce-fragment=\"1\"\u003eDavid Cavanaugh\u003c\/span\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan\u003eRemastered by\u003c\/span\u003e\u003cspan\u003e Steve Hoffman \u0026amp; Kevin Gray\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1971\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in \u003cspan data-mce-fragment=\"1\"\u003eDecember 2009\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e\u003cspan\u003e1.\u003c\/span\u003e\u003c\/span\u003e Happiness is a thing called Joe\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Oh! Look at me now\n\u003cp\u003e3. Glad to be unhappy \u003cbr\u003e4. Do it again \u003cbr\u003e5. But beautiful \u003cbr\u003e6. Easy Living\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e\u003cspan\u003e1. \u003c\/span\u003e\u003c\/span\u003ePrelude to a kiss\u003cbr\u003e 2. I thought about you \u003cbr\u003e3. For heaven's sake\n\u003cp\u003e4. Supper time \u003cbr\u003e5. I'll walk alone \u003cbr\u003e6. Darn That Dream\u003cbr\u003e 7. In A Sentimental Mood\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\" face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« Nancy Wilson has been on the fringes of jazz throughout her career, mostly performing middle-of-the-road pop and R\u0026amp;B. Most of her albums were major productions, but her 1969 effort, But Beautiful, is quite different. On a relaxed and tasteful program of ballads (including three previously unreleased numbers), Wilson sounds properly expressive and a bit influenced by Dinah Washington, while backed by a flawless rhythm section comprised of pianist Hank Jones, guitarist Gene Bertoncini, bassist Ron Carter, and drummer Grady Tate. Her performances are straightforward, a little soulful, and very mindful of the melody and the lyrics. There is little of jazz interest here, but this is superior ballad singing and one of Wilson's finest recordings. » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA highly successful and respected jazz and soul singer, Nancy Wilson bridges the gap between the classic pop vocal era of Peggy Lee, Frank Sinatra and Ella Fitzgerald and the belting R\u0026amp;B divas of today. Though Nancy Wilson has always cited the emotionally naked, androgynous vocal style of Jimmy Scott as her primary influence, her voice carries definite echoes of Dinah Washington and Sarah Vaughan. Yet Wilson also has always had a strong feeling for post-Sam Cooke soul and the tartness of her delivery carries more than an echo of the sometimes-icy Lena Horne. Young and heart-stoppingly beautiful, Wilson was discovered singing in a N.Y.C. jazz club in the late 1950s by Cannonball Adderley, who told his management at Capitol Records that they needed to scoop her up before another label did. Wilson was immediately signed and started recording for Capitol, the premier vocal label of the 1950s and '60s. She released a couple of very respectable LPs with star arranger Billy May but actually crossed over to radio and the pop charts with two small group jazz platters with her bestselling label mates (one with George Shearing (The Swinging's Mutual) and the other with Cannonball Adderley).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCatapulted to the pop stratosphere, Wilson was the bestselling artist on Capitol Records' roster (beating out everyone from Nat King Cole to the Beach Boys) until the Beatles crossed the pond and eclipsed everything and everybody in their culture-changing wake. A fine album from this '60s period, But Beautiful, a jazz ballad set led by pianist Hank Jones. In the '70s and '80s, Nancy Wilson slowly made the transition from pop star to adult contemporary soul singer. From the 1990s to the present day, Wilson returned to alternating jazz standards, quiet storm and adult contemporary ballads, while putting on a sensational jazz show in concert.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe longevity of Wilson's career and the continuing strength of her voice are almost unheard of in modern pop music, though her career -- and her affinity with jazz, blues and soul -- shares many parallels with one-time Capitol labelmate Lou Rawls.\" By \u003c\/span\u003e\u003cspan\u003eNick Dedina\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 4 \/ 5 , Discogs : 4.64 \/ 5 , \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40694265741463,"sku":"PPAN ST798","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/nancy-wilson-but-beautiful-audiosoundmusic-1.jpg?v=1719851982"},{"product_id":"bobbie-gentry-ode-to-billie-joe","title":"Bobbie Gentry - Ode To Billie Joe","description":"\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN\" mce-data-marked=\"1\"\u003e\u003cspan size=\"3\" mce-data-marked=\"1\"\u003e\u003cspan mce-data-marked=\"1\"\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eBobbie Gentry (Composer, Guitar, Vocals)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eArranged by Jimmie Haskel \u0026amp; Shorty Rogers\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eRecorded in 1967 by \u003cspan data-mce-fragment=\"1\"\u003eJoe Polito\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003eProduced by \u003cspan data-mce-fragment=\"1\"\u003eKelly Gordon\u003c\/span\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan\u003eRemastered by\u003c\/span\u003e\u003cspan\u003e Sean Magee at Abbey Road Studios\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1967\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in \u003cspan data-mce-fragment=\"1\"\u003eJune 2010\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e\u003cspan\u003e1. \u003c\/span\u003e\u003c\/span\u003eMississippi Delta \u003cbr\u003e2. I Saw an Angel Die\u003cbr\u003e3. Chickasaw County Child\n\u003cp data-mce-fragment=\"1\"\u003e4. Sunday Best \u003cbr\u003e5. Niki Hoeky\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e1.\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/strong\u003ePapa, Woncha Let Me Go to Town With You?\u003cbr\u003e 2. Bugs\u003cbr\u003e3. Hurry, Tuesday Child\u003cbr\u003e4. Lazy Willie \u003cbr\u003e5. Ode To Billie Joe\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\"As usual, the Pallas pressing is exceptional -- free from artifacts and quiet to the very depths of the groove. Pure Pleasure has the most wide-ranging catalog among reissue labels, and this album is right at home with other off-the-beaten-track titles.\"\u003cb\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e- Marc Mickelson, www.theaudiobeat.com\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« Gentry's debut LP, which went to number one on the pop charts, was a promising but not wholly satisfying disc, with the singer penning all but one of the songs. Inevitably, the title track dwarfed everything else by comparison, but a greater problem was that several of the other tunes recycled variations of the \"Ode to Billie Joe\" riff. On the other hand, \"Mississippi Delta\" is gloriously tough, throaty swamp rock; few other women pop singers have sounded as raw. Other good cuts were \"I Saw an Angel Die,\" an effective mating of Gentry's country-blues guitar riffs and low-key orchestration, and the jazz waltz-timed \"Papa, Woncha Let Me Go to Town With You.\" Her vocals are poised and husky throughout the record, on which she was definitely on the right track -- one that she was quickly diverted from, into more MOR-oriented sounds. » AllMusic Review by Richie Unterberger\u003c\/p\u003e\n\u003cp\u003eGentry's first 1967 album is a masterpiece, it's a simple as that. An album of hauntingly beautiful songs penned by Bobbie herself bar one track. The album is an uncluttered, straight down the line collection of smoky voiced gems, mostly with the simplest guitar accompaniment, but with a quirky, almost psychedelic twist on each track. The album is in a very similar vein and feel to Rodiguez'sstunning Cold fact which came out three years later, and side by side you would imagine the later album may have been inspired by Bobbie's seminal Ode To Billy Joe. This album can also easily compare with Dusty's In Memphis for it's sheer intimacy and soulful feel and is certainly in the same league musically.\u003c\/p\u003e\n\u003cp\u003eAfter this first album, Bobbie moved into a more MOR groove, which in a way makes this such a stand out and important album. Very, very highly recommended especially as it has now been re-mastered at Abbey Road by Sean Magee.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 4.5 \/ 5 , Discogs : 4.2 \/ 5 , Audio Beat Rated 3.5\/5 Music, 3.5\/5 Sound\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40694278029463,"sku":"PPAN ST 2830","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/bobbie-gentry-ode-to-billie-joe-audiosoundmusic-1.jpg?v=1719851982"},{"product_id":"quicksilver-messenger-service-happy-trails","title":"Quicksilver Messenger Service - Happy Trails","description":"\u003cdiv\u003e\n\u003ch2 data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER \u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eJohn Cipollina (guitar, vocals), Gary Duncan (guitar, vocals), Greg Elmore (drums), David Freiberg (bass, vocals)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\"\u003eLimited edition\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 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 : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eRecorded l\u003cspan data-mce-fragment=\"1\"\u003eive at Fillmore East And West and Golden State Recorders , S.F.; Nov. 19, 1968\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1969\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in \u003cspan data-mce-fragment=\"1\"\u003eJune 2009\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. Who Do You Love - Part 1\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. When You Love\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. Where You Love\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. How You Love\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e5. Which Do You Love\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e6. Who Do You Love - Part 2\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e1. Mona\u003cbr data-mce-fragment=\"1\"\u003e2. Maiden of the Cancer Moon\u003cbr data-mce-fragment=\"1\"\u003e3. Calvary\u003cbr data-mce-fragment=\"1\"\u003e4. Happy Trails\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\" style=\"color: #ff2a00;\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\" style=\"color: #ff2a00;\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cb\u003eRolling Stone 500 Greatest Albums of All Time - Rated 189\/500\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\"If you weren't there, this is the next best thing: the definitive live recording of the mid-Sixties San Francisco psychedelic-ballroom experience. Mostly taped at the two Fillmores, in San Francisco and New York, Quicksilver Messenger Service's second album captures twin guitarists, John Cipollina and Gary Duncan, in high, bright flight, making rare magic from a couple of old Bo Diddley numbers (\"Mona,\" \"Who Do You Love?\"), while the gorgeous, composed intricacies of \"Maiden of the Cancer Moon\" and the acid-flamenco studio epic \"Calvary\" prove that psychedelia was not just about tripping out.\" \u003cspan\u003e- www.rollingstone.com\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\"...this is an excellent reissue that will bring good musical cheer and acid flashbacks to aging and not so aging analog loving hippies worldwide.\"\u003cb\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e- Michael Fremer, www.musicangle.com\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« Without question, this follow-up to Quicksilver Messenger Service's self-titled debut release is the most accurate in portraying the band on vinyl in the same light as the group's critically and enthusiastically acclaimed live performances. The album is essentially centered around the extended reworkings of Bo Diddley's \"Who Do You Love?\" and \"Mona,\" as well as the lesser lauded -- yet no less intense -- contribution of Gary Duncan's (guitar\/vocals) \"Calvary.\" This album is the last to feature the original quartet incarnation of QMS. The collective efforts of John Cipollina (guitar\/vocals), Greg Elmore (percussion), David Freiberg (bass\/vocals), and the aforementioned Duncan retain the uncanny ability to perform with a psychedelic looseness of spirit, without becoming boring or in the least bit pretentious. The side-long epic \"Who Do You Love?\" suite is split into an ensemble introduction and coda as well as four distinct sections for the respective bandmembers. The perpetually inventive chops of QMS are what is truly on display here. The musicians' unmitigated instrumental prowess and practically psychic interaction allow them to seamlessly weave into and back out of the main theme. Yet all the while, each player takes center stage for uncompromising solos. \"Mona\" and its companion, \"Calvary,\" continue in much the same fashion. Here the members of QMS play off each other to form a cohesive unit. This track also contains some of Cipollina's finest and most memorable fretwork. He is able to summon sonic spirits from his guitar in a way that is unlike any of his Bay Area contemporaries. A prime example of his individuality is the frenetic \"Maiden of the Cancer Moon\" -- ascending from the remnants of \"Mona.\" The angst and energy in Cipollina's guitar work and line upon line of technical phrasing could easily be considered the equal of a Frank Zappa guitar solo. The brief title track, a cover of Roy Rogers and Dale Evans' \"Happy Trails,\" seems almost insignificant in the wake of such virtuoso playing. It clears the sonic palette and also bids adieu to this particular fab foursome of psychedelia. » AllMusic Review by Lindsay Planer\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 5 \/ 5 , Discogs : 4.24 \/ 5 , Michael Fremer : Music 8, Sound 8\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40694948855959,"sku":"APPR 120","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/quicksilver-messenger-service-happy-trails-audiosoundmusic-1.jpg?v=1719851983"},{"product_id":"leadbelly-huddie-ledbetter-s-best-his-guitar-his-voice-his-piano","title":"Leadbelly - Huddie Ledbetter’s Best - His Guitar, His Voice, His Piano","description":"\u003ch2\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/h2\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eLeadbelly (12 string guitar \u0026amp; piano on A3, B3), Paul Mason Howard: zither (A4, A5, B1, B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eRecorded in 1944\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1962\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1.Goodnight Irene\u003cbr\u003e 2. Grasshoppers In My Pillow \u003cbr\u003e3. The Eagle Rocks \u003cbr\u003e4. Rock Island Line \u003cbr\u003e5. Ella Speed \u003cbr\u003e6. Backwater Blues\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Take This Hammer\u003cbr\u003e 2. Tell Me, Baby \u003cbr\u003e3. Eagle Rock Rag \u003cbr\u003e4. Western Plain \u003cbr\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e5. Sweet Mary Blues \u003cbr\u003e6. On A Christmas Day\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\" style=\"color: #ff2a00;\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cb\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« Leadbelly's last recording sessions for a commercial record label, held in the early fall of 1944, yielded a dazzling 12 songs, embracing virtuoso guitar blues (\"Grasshoppers in My Pillow\"), pounding piano-driven scatting (\"The Eagle Rocks,\" with Leadbelly himself at the ivories, a talent for which he wasn't usually recognized), and familiar standards done in some startlingly different ways, including \"Goodnight, Irene,\" \"Rock Island Line,\" and \"Ella Speed,\" done with the understated accompaniment of a zither (courtesy of Paul Mason Howard) as well as his own guitar. Leadbelly was in excellent voice and top form on guitar and piano -- having gone to California to test the commercial waters, he met Tex Ritter, an old friend, who arranged for Leadbelly to come to his house and, with Merle Travis playing as well and Capitol executive Lee Gillette present, auditioned then and there for the label; he was energized by the experience, and Capitol's recording caught the brightest as well as the deepest tones in his playing, thus making this record one of the very best showcases for acoustic 12-string guitar of the period. Sadly, only a handful of these tracks were issued during the man's own lifetime, thus convincing him that they were another career dead end -- in 1956 (and again in 1962) they emerged with an impassioned annotation by Dave Dexter Jr., imploring people to buy these last commercial sides by one of the most celebrated bluesmen of the century. It never sold well on vinyl, though it moved steadily for years as one of the few major-label releases by Leadbelly, and was even available very briefly on CD from Capitol at the end of the 1980s. Beat Goes On Records then released Huddie Ledbetter's Best in 1998 with an upgraded transfer (slightly richer and louder) and new annotation. » AllMusic Review by Bruce Eder\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 4 \/ 5 , Discogs : 4.11 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40695008886935,"sku":"PPAN SM1821","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/leadbelly-huddie-ledbetter-s-best-his-guitar-his-voice-his-piano-audiosoundmusic-1.png?v=1719851983"},{"product_id":"quicksilver-messenger-service","title":"Quicksilver Messenger Service","description":"\u003cdiv\u003e\n\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Cipollina (guitar, vocals), Gary Duncan (guitar, vocals), Greg Elmore (drums, percussion), David Frieberg (bass, vocals)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eRecorded in\u003c\/span\u003e\u003c\/strong\u003e\u003c\/strong\u003e\u003cspan face=\"Times New Roman\"\u003e \u003c\/span\u003e\u003cstrong\u003eLos Angeles, October 25, 1967, December 6, 1967,  December 18,1967,  March 3, 1968\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eProduced by \u003c\/span\u003e\u003c\/strong\u003eNick Gravenites, Harvey \u003c\/strong\u003e\u003cstrong\u003eBrooks \u0026amp; Pete\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1968\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued Jan 2011\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1.Pride of Man \u003cbr\u003e2. Light Your Windows \u003cbr\u003e3. Dino's Song \u003cbr\u003e4. Gold and Silver\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cp\u003e\u003cspan\u003e1. Too Long \u003cbr\u003e2. The Fool\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\" size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« Quicksilver Messenger Service's debut effort was a little more restrained and folky than some listeners had expected, given their reputation for stretching out in concert. While some prefer the mostly live Happy Trails, this self-titled collection is inarguably their strongest set of studio material, with the accent on melodic folk-rock. Highlights include their cover of folksinger Hamilton Camp's \"Pride of Man,\" probably their best studio track; \"Light Your Windows,\" probably the group's best original composition; and founding member Dino Valenti's \"Dino's Song\" (Valenti himself was in jail when the album was recorded). \"Gold and Silver\" is their best instrumental jam, and the 12-minute \"The Fool\" reflects some of the best and worst traits of the psychedelic era. »vAllMusic Review by Richie Unterberger\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 4.5 \/ 5 , Discogs : 4.34 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40695060529303,"sku":"PPAN ST2904","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/quicksilver-messenger-service-audiosoundmusic-1.jpg?v=1719851993"},{"product_id":"june-christy-the-cool-school","title":"June Christy - The Cool School (Mono)","description":"\u003cdiv\u003e\n\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan size=\"2\"\u003e\u003cspan face=\"Times New Roman\"\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan size=\"2\"\u003e\u003cspan face=\"Times New Roman\"\u003eJune Christy (vocal) with The Joe Castro Quartet, Joe Castro (piano , celeste), Howard Roberts (guitar), Leroy Vinnegar (bass), Larry Bunker (drums, vibraphone, bongos)\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eRemastered by Sean Magee \u003cspan data-mce-fragment=\"1\"\u003eat Abbey Road Studios\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1960\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued 2012\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. Give A Little Whistle\u003cbr data-mce-fragment=\"1\"\u003e2. The Magic Window\u003cbr data-mce-fragment=\"1\"\u003e3. Baby's Birthday Party\u003cbr data-mce-fragment=\"1\"\u003e4. When You Wish Upon A Star\u003cbr data-mce-fragment=\"1\"\u003e5. Baubles, Bangles And Beads\u003cbr data-mce-fragment=\"1\"\u003e6. Aren't You Glad You're You\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cp\u003e\u003cspan\u003e1. Kee-Mo Ky-Mo\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Scarlet Ribbons\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Looking For a Boy\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Small Fry\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. Ding Dong! The Witch Is Dead\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e6. Swinging On A Star\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\" size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« The Cool School remains the most complex and contradictory album in the June Christy catalog: a collection of children's music crafted without sentimentality or saccharine, it brilliantly articulates the confusion, isolation, and yearning that form the core of childhood experience. Equally surprising, the arrangements are the most direct and unadorned of Christy's career, eschewing horns and cotton-candy fluff to focus squarely on her crisp, nimble vocals and the Joe Castro Quartet's driving rhythms. Familiar songs like \"Swinging on a Star\" and \"Looking for a Boy\" are stripped of artifice to recapture their innate power and mystery. In short, The Cool School celebrates the intelligence of children, and refuses to pander to audiences of any age. » AllMusic Review by Jason Ankeny\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 4 \/ 5 , Discogs : 4.6 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40695127572631,"sku":"PPAN T1398","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/june-christy-the-cool-school-mono-audiosoundmusic-1.jpg?v=1719851994"},{"product_id":"peggy-lee-i-like-men","title":"Peggy Lee - I Like Men","description":"\u003cdiv\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePeggy Lee (vocals) \u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/peggy-lee\" title=\"vinyl and SACD featuring Peggy Lee\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more products featuring Peggy Lee]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBenny Carter (alto saxophone), Pete Candoli (trumpet), Frank Rosolino (trombone), Jimmy Rowles (piano), Barney Kessel (guitar), Shelly Manne (drums)\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJack Marshall (arranger, conductor)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in \u003cspan data-mce-fragment=\"1\"\u003eOctober 1958 at Capitol Tower, Los Angeles.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eRemastered by \u003cspan data-mce-fragment=\"1\"\u003eSteve Hoffman \u0026amp; Kevin Gray\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003eProduced by David Cavanaugh\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1960\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued \u003cspan data-mce-fragment=\"1\"\u003eNovember 2009\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. Charley, My Boy\u003cbr\u003e2. Good For Nothing Joe\u003cbr\u003e3. I Love To Love\u003cbr\u003e4. When A Woman Loves A Man\u003cbr\u003e5. I Like Men!\u003cbr\u003e6. I'm Just Wild About Harry\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cp\u003e\u003cspan\u003e1.My Man\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Bill\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. So In Love\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Jim\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. It's So Nice To Have A Man\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e6. Around The House\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e7. Oh Johnny, Oh Johnny, Oh!\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\" size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\"If you’re bemused by the current obsession with ‘’the American Songbook’’ even the BBC got in on the act with a week of specials devoted to it, this is an ideal time to hear one of the finest practitioners of the genre, before it became retro-cool. Ms Lee, arguably one of the half-dozen or so finest female popular music vocalists of the 20th Century, sexily slides through a dozen lesser-known gems, including her politically-incorrect composition which provides this LP with its utterly non-contemporary title. But stuff that: this is an album to play after you ’ve run out of Mad Men DVDs, when you long for a time when men were men and women didn’t mind it.\" - Ken Kessler, Hi-Fi News\u003c\/p\u003e\n\u003cp\u003e« Peggy Lee and arranger\/conductor Jack Marshall's concept for the album I Like Men! is embodied in the title and in the title song that the two wrote together. The songs, from the annals of Tin Pan Alley and Broadway, specify several particular men: \"Charley, My Boy,\" \"Good for Nothing Joe,\" \"I'm Just Wild About Harry,\" \"Bill,\" \"Jim,\" and \"Oh Johnny, Oh Johnny, Oh!\" But sometimes Lee objectifies the object of her affection as simply male: \"When a Woman Loves a Man,\" \"My Man,\" \"It's So Nice to Have a Man Around the House.\" And sometimes she generalizes even further by simply paying tribute to romance: \"I Love to Love,\" \"So in Love.\" The sentiments, if ever faithful, vary from friskiness to attachment and even outright slavery (\"My Man,\" popularized in the U.S. by Fanny Brice, may be the ultimate torch song, though somehow it remains light in Lee's rendition). Sometimes, the man is not particularly accomplished (\"Good-for-Nothin' Joe\") or attractive (\"Bill,\" \"Oh Johnny! Oh Johnny! Oh!\"). It doesn't seem to matter. Lee, as stated up-front, likes men. Marshall seems to like musicians, and he employs a lot of them, giving each song a different setting and instrumentation, from lush strings to small jazz ensembles. Lee is her usual buoyant self throughout, and even if the concept is really just another excuse to put together an album of standards, it gives her fans the opportunity to hear her sing them. » AllMusic Review by William Ruhlmann\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 3 \/ 5 , Discogs : 4.5 \/ 5 , \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003eHi-Fi News, Sound Quality Rating: 85%\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003cbr\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40695166075031,"sku":"PPANT1131","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/peggy-lee-i-like-men-audiosoundmusic-1.jpg?v=1719851993"},{"product_id":"peggy-lee-the-man-i-love","title":"Peggy Lee - The Man I Love (Mono)","description":"\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePeggy Lee (vocals) \u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/peggy-lee\" title=\"vinyl and SACD featuring Peggy Lee\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more products featuring Peggy Lee]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOrchestra Conducted by\u003c\/span\u003e\u003cspan\u003e Frank Sinatra\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/frank-sinatra\" title=\"vinyl \u0026amp; SACD featuring Frank Sinatra\"\u003e \u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more Vinyl\/SACD featuring Frank Sinatra]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eArranged by Nelson Riddle\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by \u003cspan data-mce-fragment=\"1\"\u003eRon McCaster at Capitol Studios\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1957\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued March 2012\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cp style=\"font-weight: 400;\"\u003e1.The Man I Love \u003cbr\u003e2.Please Be Kind \u003cbr\u003e3.Happiness Is a Thing Called Joe\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e4. (Just \u003c\/span\u003eOne Way\u003cspan style=\"font-weight: 400;\"\u003e to Say) I Love You \u003cbr\u003e5.That's All 6.Something Wonderful\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cp\u003e\u003cspan\u003e1.He's My Guy \u003cbr\u003e2.Then I'll Be Tired of You \u003cbr\u003e3.My Heart Stood Still\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e4.If I Should Lose You \u003cbr\u003e5.There Is No Greater Love \u003cbr\u003e6.The Folks Who Live on the Hill\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\" style=\"color: #ff2a00;\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« Around the same time that Peggy Lee decamped her longtime label home, Capitol Records, for what turned out to be a five-year sojourn at Decca Records in 1952, an apparently washed-up Frank Sinatra signed with Capitol. In 1957, when Lee returned to Capitol, Sinatra had re-established himself as a major recording artist. Meanwhile, the recording world had changed with the emergence of the 12-inch LP as an industry standard. The Man I Love, Lee's first recording for Capitol in the format after re-signing, matched her with the company's flagship artist, Sinatra, who was credited as the album's conductor, his name printed on the front cover in the same size as Lee's. A year earlier, Sinatra had conducted his Tone Poems of Color album for Capitol, and though the singer did not read music and relied on arranger Nelson Riddle, he again proved himself able to make his intentions clear in working with Lee. The Man I Love is a concept album in the manner pioneered by Sinatra at Capitol, a group of 12 songs chosen to express a single theme. That theme, as the title suggests, is a woman's unwavering devotion to a man, as expressed in songs often composed by gilt-edged songwriters (Gershwin, Arlen, Rodgers, Kern, etc.) and taken from Broadway shows. That devotion is not starry eyed, however; in several songs, Lee acknowledges the flaws in her paramour (e.g., \"Something Wonderful\"), but then explains them away and reconfirms her commitment. In fact, toward the end she worries what she would do \"If I Should Lose You\" before declaring \"There Is No Greater Love\" and finally idealizing the long-term relationship in the closing song, \"The Folks Who Live on the Hill.\" It wouldn't be surprising to find that Sinatra directed Lee to sing like one of his favorite singers, Billie Holiday, since she often does, laying back in understated vocal performances to reinforce the near-victimhood of the woman depicted in the songs. Riddle supports these interpretations with lush string charts that hint of dark feelings. The result is a superb pairing of singer, conductor, and arranger on an album that re-conceives Lee as a Capitol recording artist in the Sinatra concept album mold. » AllMusic Review by William Ruhlmann\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 3.5 \/ 5 , Discogs : 3.94 \/ 5\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003cbr\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40705720582295,"sku":"PPAN T864","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/peggy-lee-the-man-i-love-mono-audiosoundmusic-1.jpg?v=1719852017"},{"product_id":"nat-king-cole-at-the-piano-penthouse-serenade","title":"Nat King Cole - At The Piano, Penthouse Serenade (Mono)","description":"\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eNat King Cole - piano \u0026amp; vocal (B5 to B10) \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/nat-king-cole\" title=\"vinyl featuring Nat King Cole\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/nat-king-cole\"\u003e[click here to see more vinyl featuring Nat King Cole]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Collins, guitar, Charlie Harris (bass), Bunny Shawker (drums : A1, A2, A3, A4, A7, A8, A8, A9, B1), Lee Young (drums : A5, A6, B2, B3), Jack Costanzo (bongos, conga : A4, A8, B5, B7, B9, B10)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003eRemastered by \u003cspan data-mce-fragment=\"1\"\u003eSean Magee at Abbey Road Studios\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2008\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003eSide A :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cspan\u003e1. Penthouse Serenade \u003cbr\u003e2. Somebody Loves Me \u003cbr\u003e3. Laura 4. Once In A Blue Moon \u003cbr\u003e5. Don't Blame Me 6. Little Girl \u003cbr\u003e7. Polka Dots \u0026amp; Moonbeams \u003cbr\u003e8. Down By The Old Mill Stream \u003cbr\u003e9. If I Should Lose You\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cp\u003e\u003cspan\u003e1. Rose Room\u003cbr\u003e2. I Surrender Dear (take 2) \u003cbr\u003e3. It Could Happen To You \u003cbr\u003e4. I Surrender Dear (take 1) \u003cbr\u003e5. Too Marvelous For Words \u003cbr\u003e6. Unforgettable \u003cbr\u003e7. Walkin' My Baby Back Home \u003cbr\u003e8. Too Young 9. That's My Girl \u003cbr\u003e10. Paper Moon\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« The year after he had formally disbanded his trio to turn his attention to vocal pop music, Nat King Cole reversed himself and went into the studio with guitarist John Collins, bassist Charlie Harris, and drummer Bunny Shawker and recorded the eight-song 10\" LP Penthouse Serenade, a quiet, reflective set of standards like \"Somebody Loves Me\" and \"Laura\" that he performed instrumentally at the piano. The album confirmed that, whatever success he might be having as a singer, he hadn't lost his touch. » AllMusic Review by William Ruhlmann\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 4.5 \/ 5 , Discogs : 4.44 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40705870364823,"sku":"PPAN T332","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/nat-king-cole-at-the-piano-penthouse-serenade-mono-audiosoundmusic-1.jpg?v=1719852028"},{"product_id":"carmen-mcrae-sings-lover-man-other-billie-holiday-classics","title":"Carmen McRae - Sings Lover Man \u0026 Other Billie Holiday Classics","description":"\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCarmen McRa (vocals) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/carmen-mcrae\" title=\"vinyl featuring Carmen McRae\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Carmen McRae]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNat Adderley (cornet), Eddie “Lockjaw” Davis (tenor), Mundell Lowe (guitar), Norman Simmons (piano), Bob Cranshaw (bass), Walter Perkins (drums)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Times New Roman\" size=\"3\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan size=\"2\"\u003eRecorded in 1962\u003c\/span\u003e\u003cspan size=\"2\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"2\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eRemastered by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan\u003eProduced by Teo Macero\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003eOriginally released in 1962\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in May 2018\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cspan\u003e1. Them There Eyes \u003cbr\u003e2. Yesterdays \u003cbr\u003e3. I'm Gonna Lock My Heart\u003cbr\u003e4. Strange Fruit \u003cbr\u003e5.Miss Brown To You 6. My Man\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cp\u003e1. I Cried For You \u003cbr\u003e2.Lover Man \u003cbr\u003e3.Trav'Lin' Light\u003cbr\u003e4. Some Other Spring \u003cbr\u003e5.What A Little Moonlight Can Do \u003cbr\u003e6. God Bless The Child\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cbr\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003e\"\u003c\/strong\u003eReleased in 1962, and produced by the great Teo Macero, this masterpiece was McRae's tribute to Holiday, her idol and major influence. McRae - a stylist many authorities consider shamfully underrated-chose 12 perfect numbers for paying homage to Lady Day, including a sublime 'Strange Fruit', a salaciously sexy 'Miss Brown To You' and endingthis with a reverant and heart-felt 'God Bless The Child'.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eIt's about as poignant as a tribute can be, McRae's regular trio augmented by guests including Nat Adderly and Eddie 'Lockjaw' Davis.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSonically, this is classic Columbia of the era, with vocal textures, power and detail to make you swoon.\" \u003c\/em\u003eHIFI NEWS , August 2018 by Ken Kessler\u003c\/p\u003e\n\u003cp\u003e\"\u003cem\u003eSinger Carmen McRae had an intimate knowledge of Billie Holiday since they lived in the same block when the former was growing up in Harlem, New York, according to the authoritative biography of Holiday by Donald Clarke. In fact, being childhood friends was not the only thing they had in common since Carmen's birthday came the day after Billie's and they regularly celebrated together, invariably over-indulging. Thus, when it came to Carmen McRae interpreting songs that the late Billie Holiday had immortalised, the music was in good hands and this album, recorded in two sessions during 1961, and released in 1962, more than lives up to the billing.It certainly helped that McRae was surrounded by a crème de la crème billing of instrumentalists, and ones who were used to accompanying top calibre vocalists. These included Norman Simmons on piano, Bob Cranshaw (he of 'Sidewinder fame with Lee Morgan) on the acoustic bass, and Walter Perkins on the drums, and with production duties courtesy of Teo Macero, who of course also produced Miles Davis among others. Guesting were the considerable talents of Nat Adderley on cornet and Eddie 'Lockjaw' Davis on tenor saxophone. Carmen McRae possessed a unique voice and one that, according to writer Keith Shadwick, was not just a singer's singer; she was a musician's singer as well.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eCarmen was adept to take more liberties with the material than Billie and in this respect, she was closer in affinity to both Ella Fitzgerald and Sarah Vaughan, who were technically the most gifted. Furthermore, McRae, in her phrasings, dispensed with sentimentality whereas the emotive voice of Billie Holiday was the polar opposite and this was a major distinction between the two.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAs the excellent back cover sleeve notes from noted San Francisco based jazz journalist Ralph J. Gleason, one of her greatest admirers, attest, Carmen McRae imbued the songs with her own inimitable style. That meant a cool character reading of both, Strange fruit' and, a dispassionate take on, 'Lover man', while she excelled with ad-libs on the more uptempo material such as, 'Yesterdays' (a favourite song of a future lady of jazz, Dianne Reeves, who emerged in the mid-late 1980's). Subsequently, Carmen McRae would record in a variety of contexts during the 1960's and 1970's, from reworking the then new standard, 'Take five', with the Dave Brubeck quartet as part of the Jazz Ambassadors line-up for Columbia through to covering the new sounds of soul with string accompaniment on, 'For once in my life', for Atlantic records.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe album contained within represents a high point in her career and is on a par arguably with her greatest live recording, 'The Great American Songbook', from an intimate 1971 double album at a Los Angeles club, and the end of career opus, 'Carmen sings Monk'. Carmen McRae would go on to record for Blue Note, Concord (especially with George Shearing) and its Latin-Jazz off-shoot, Concord Picante, on the memorable, 'Heatwave', album from 1982, with the latter recording especially recommended and again it was her ability to distance herself from the emotional lyrics that impresses.\" \u003cspan data-mce-fragment=\"1\"\u003eUK VIBE Magazine by Tim Stenhouse June 2018\u003c\/span\u003e\u003c\/em\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\"\u003c\/strong\u003eWith her strong alto, huge range, and ability to change moods, McRae varies her sound throughout, sometimes sounding deliberately gravelly, then switching to softly sweet and romantic, matching the timbre of the instruments accompanying her. She alternates her tempo from slow and dramatic to lively, jazzy, flirty, or intimate. Always, she and the musicians accompanying her are in perfect sync, both in interpreting the lyrics and improvising with the melodies.\u003c\/p\u003e\n\u003cp\u003eEvery song is a winner. \"Them There Eyes,\" begins with McRae singing off-rhythm, accompanied by a simple bass (Bob Cranshaw) and drums (Walter Perkins) before the sax (Eddie \"Lockjaw\" Davis) enters. \"I'm Gonna Lock My Heart,\" is the happiest, with McRae hitting some surprising high notes. \"Miss Brown to You,\" swings in a loose, flirty manner, and \"I Cried for You\" features McRae sounding like a muted trumpet and wailing. \"Lover Man\" is wonderfully bluesy, with a toe-tapping rhythm and improvisation, while \"A Little Moonlight,\" with great piano (Norman Simmons), sax (Eddie \"Lockjaw\" Davis) and trumpet (Nat Adderley) solos, is wild and impassioned.\u003c\/p\u003e\n\u003cp\u003e\"Yesterdays,\" my favorite, begins as a slow, harshly melancholy song with sensitive piano background, then suddenly pauses slightly in the middle, and shifts to a faster, jazzier, more rhythmic line in which McRae is up and down and all over the scale. \"Strange Fruit,\" one of Holiday's signature songs, is finely articulated, and McRae's phrasing and ironically sweet tones give even more emphasis to the horrifying lyrics as Mundell Lowe's guitar provides the mournful accompaniment. \"God Bless the Child,\" written by Holiday, is slow and intimate, and as McRae phrases the story, her wailing adds poignancy to the lyrics.\u003c\/p\u003e\n\u003cp\u003eBlessed with a voice and style that naturally adapts to any kind of jazz, along with the ability to articulate lyrics with perfect enunciation and phrasing, McRae is the consummate musician here. Singing some of Billie Holiday's best songs, and accompanied by world class artists with whom she is totally in sync, McRae in this LP is as good as it gets.\" Mary Whipple\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 4.5 \/ 5  ,  Discogs : 5 \/ 5 , \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003eHIFI NEWS : 90\/100 Sound Quality\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003cbr\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40706198962327,"sku":"PPANCS8530","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/carmen-mcrae-sings-lover-man-and-other-billie-holiday-classics-audiosoundmusic-1.jpg?v=1719852028"},{"product_id":"sarah-vaugha-after-hours-with-sarah-vaughan","title":"Sarah Vaughan - After Hours With Sarah Vaughan (Mono)","description":"\u003cdiv\u003e\n\u003cdiv\u003e\n\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eCOMPILATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSarah Vaughan - vocals \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/sarah-vaughan\" title=\"vinyl featuring Sarah Vaughan\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/sarah-vaughan\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Sarah Vaughan]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cstrong\u003e\u003cspan size=\"2\"\u003eRecorded in \u003cspan data-mce-fragment=\"1\"\u003eNew York City (\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003eA1, A5 on June 1, 1951 ; A2 on March 19, 1952 ; A3 on July 7, 1949 ; A4, A6 on December 21, 1949 ; B1 on January 10, 1949 ; B2 on July 27, 1950 ; B3 on September 28, 1949 ; B4 on September 5, 1950 ; B5 on April 4, 1951 ; \u003c\/strong\u003e\u003cstrong\u003eB6 on July 7, 1949)\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan size=\"2\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eRemastered by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003eOriginally released in 1955\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cp\u003e1. After Hours \u003cbr\u003e2. Street Of Dreams \u003cbr\u003e3. You Taught Me To Love Again\u003cbr\u003e4. You’re Mine You \u003cbr\u003e5. My Reverie \u003cbr\u003e6. Summertime\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cp\u003e1. Black Coffee \u003cbr\u003e2. Thinking Of You \u003cbr\u003e3. I Cried For You \u003cbr\u003e4. Perdido\u003cbr\u003e5. Deep Purple \u003cbr\u003e6. Just Friends\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\"Sarah Vaughan signed for Columbia in 1949 and her chart successes continued with the charting of \"Black Coffee\" in the summer of 1949. During her tenure at Columbia through 1953, Vaughan was steered almost exclusively to commercial pop ballads, a number of which had chart success.\u003c\/p\u003e\n\u003cp\u003eNo matter what she's singing you can't help but notice her amazing control and range. She's able to float effortlessly from the lowest end of the scale to the highest without effort. Her singing is as much second nature as breathing is to most of us.\u003c\/p\u003e\n\u003cp\u003eI don't know if you've ever heard the term phrasing applied to singing, it's not something you hear often anymore. To be honest it’s not something I'm sure I can define. The closest I can come to is it refers to a singer's ability to associate the lyrics of a song with the music. However, it means more than just being able to carry a tune. It's how you sing the words and music together. It's the ability to turn your voice into a lead instrument in a band and take one word and extend it over a whole series of notes. However it doesn't just mean the ability to sustain a note, it's continuing to sing the melody but with only one or a few words without them losing meaning or throwing the continuity of the song out of whack.\u003c\/p\u003e\n\u003cp\u003eListen to Vaughan wrap her voice around a word and you begin to understand what is meant by the term. You also realize why you don't hear the term used very often anymore as very few modern singers have this ability. To be fair the music of today doesn't really lend itself to that style of singing either. However hearing a singer of the quality of Vaughan you begin to regret its passing. I'm sure there are jazz singers around who have the ability, but we don't hear them on a regular basis.\u003c\/p\u003e\n\u003cp\u003eOf course it's this ability which allowed her to be equally comfortable with any style of music she wished to sing. On this LP we hear her sail through a series of smoothly orchestrated pop tunes. Even the version of Gershwin's \"Summertime\" is given the uptempo treatment. This might have been a collection of rather commercial standards, but she gives them a soulfulness that raises them above the level of just another pop song. She might not be as emotionally raw as Billie Holliday, but that doesn't stop her from being able to imbue even the simplest of songs with the heart necessary to make them soar. \" Richard Marcus\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDiscogs : 4 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40706350940311,"sku":"PPAN CL660","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/sarah-vaughan-after-hours-with-sarah-vaughan-mono-audiosoundmusic-1.jpg?v=1719852027"}],"url":"https:\/\/www.audiosoundmusic.com\/fr\/collections\/limited.oembed?page=35","provider":"AudioSoundMusic","version":"1.0","type":"link"}