{"title":"Pre-order","description":"","products":[{"product_id":"i-put-a-spell-on-you","title":"Nina Simone - I put a spell on you","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eNina Simone - vocals, piano \u003cspan style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/nina-simone\" title=\"Vinyl featuring Nina Simone\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/nina-simone\"\u003e[click here to see more vinyl featuring Nina Simone]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRudy Stevenson (Guitar),\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by \u0026amp; Conductor : Hal Mooney (A1, A3-5, B1-2, B4), Horace Ott (A2, A6, B5-6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eWritten by Jalacy Hawkins (A1), Screamin' Jay Hawkins (A1), Charles Aznavour (A2, B5), Marcel Stellman (A2), Yves Stephane (A2), Jacques Brel (A3), Leon Carr (A4), Earl Shulman (A4), Irma Jurist (A5), Eve Merriam (A5), Andy Stroud (A6, B6), Leslie Bricusse (B1), Anthony Newley (B1), Rudy Stevenson (B2), udy Stevenson (B3), Leslie Bricusse (B4), Anthony Newley (B4), Marcel Stellman (B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e1 LP, Stoughton Printing gatefold old-style tip-on jackets\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRecord Press : Quality \u003cspan data-mce-fragment=\"1\"\u003eRecord Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLabel : Acoustic Sounds Series\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label : Philips\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRecorded January 1965\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMastered by Ryan K. Smith at Sterling Sound, Nashville\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\u003cstrong\u003eProduced by Hal Mooney (Reissue Supervision, Chad Kassem)\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\u003cstrong\u003eOriginally issued in March 1965\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\u003cstrong\u003e\u003cbr\u003eReissued in Nov 2020\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eTracks\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Put A Spell On You\u003c\/li\u003e\n\u003cli\u003eTomorrow Is My Turn\u003c\/li\u003e\n\u003cli\u003eNe Me Quitte Pas\u003c\/li\u003e\n\u003cli\u003eMarriage Is For Old Folks\u003c\/li\u003e\n\u003cli\u003eJuly Tree\u003c\/li\u003e\n\u003cli\u003eGimme Some\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFeeling Good\u003c\/li\u003e\n\u003cli\u003eOne September Day\u003c\/li\u003e\n\u003cli\u003eBlues On Purpose\u003c\/li\u003e\n\u003cli\u003eBeautiful Land\u003c\/li\u003e\n\u003cli\u003eYou've Got To Learn\u003c\/li\u003e\n\u003cli\u003eTake Care Of Business\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ci\u003e\"I Put a Spell On You\u003c\/i\u003e\u003cspan\u003e is a thoughtful, often joyful sophisticated set of well-chosen, popular songs (pop of that era is unlike today’s pop) that Nina Simone delivers with unerring charm and warmth. It’s her most consistently excellent Philips era album and it and \u003c\/span\u003e\u003ci\u003ePastel Blues\u003c\/i\u003e\u003cspan\u003e, both released in 1965, are ideal showcases for both Simone’s enduring artistry and for what made her Philips era records special. The sound of both of these records is the best that’s been produced from these tapes and both records are well worth owning.\" Michael Fremer, \u003cem data-mce-fragment=\"1\"\u003eAnalogPlanet.com\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« One of her most pop-oriented albums, but also one of her best and most consistent. Most of the songs feature dramatic, swinging large-band orchestration, with the accent on the brass and strings. Simone didn't write any of the material, turning to popular European songsmiths Charles Aznavour, Jacques Brel, and Anthony Newley, as well as her husband, Andy Stroud, and her guitarist, Rudy Stevenson, for bluesier fare. There are really fine tunes and interpretations, on which Simone gives an edge to the potentially fey pop songs, taking a sudden (but not uncharacteristic) break for a straight jazz instrumental with \"Blues on Purpose.\" The title track, a jazzy string ballad version of the Screamin' Jay Hawkins classic, gave the Beatles the inspiration for the phrasing on the bridge of \"Michelle.\" » AllMusic Review by Richie Unterberger\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eI Put a Spell on You\u003c\/em\u003e is the 1965 album by Nina Simone, and features some of her best known songs. \"I Put a Spell on You\" is a song originally by Screamin' Jay Hawkins. The original version gave the song an ironic theme, but Simone transformed it into a thrilling love song, complete with horns and strings. It had become one of her most well-known songs. She used the title for her autobiography \u003cem\u003eI Put A Spell On\u003c\/em\u003e \u003cem data-mce-fragment=\"1\"\u003eYou\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e (1992).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003eAllMusic : 3 \/ 5 , Discogs :  4.45 \/ 5 , Rate your Music : 3.8 \/ 5\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003eMichael Fremer : \u003c\/span\u003eMusic = 9\/11; Sound = 9\/11\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40347620835479,"sku":"APHI 33201","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/nina-simone-i-put-a-spell-on-you-audiosoundmusic-1.jpg?v=1719851369"},{"product_id":"pet-sounds-the-beach-boys","title":"\u003ctranscy\u003eThe Beach Boys - Pet Sounds (1LP, Mono, 33 tours, 200g)\u003c\/transcy\u003e","description":"\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\" title=\"vinyl featuring The Beach Boys\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring the Beach Boys]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003ePerformed by The Beach Boys : Brian Wilson (vocals, bass guitar, keyboards), Mike Love (vocals, percussion, saxophone, Electro-Theremin), Al Jardine (vocals, rhythm guitar, bass guitar), Bruce Johnston (vocals, keyboards, bass guitar), Dennis Wilson (vocals, drums, keyboards).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Brian Wilson (all tracks), Tony Asher (A1, A2, A3, A4, B1, B3, B4, B6), Mike Love (A5), Michael Ruff (A3), Terry Sachen (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, Stoughton tip-on jackets\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded July 12, 1965 - April 13, 1966 at Columbia Studios (Hollywood, CA), Gold Star Recording Studios (Hollywood, CA), Sunset Sound Studios (Los Angeles, CA), Western Studios (Los Angeles, CA)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMastered by Kevin Gray \u003cb data-mce-fragment=\"1\"\u003eat Cohearent Audio\u003c\/b\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginally issued on May 16th, 1966 in mono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eReissued in Nov 2015\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWouldn’t It Be Nice\u003c\/li\u003e\n\u003cli\u003eYou Still Believe In Me\u003c\/li\u003e\n\u003cli\u003eThat’s Not Me\u003c\/li\u003e\n\u003cli\u003eDon’t Talk (Put Your Head On My Shoulder)\u003c\/li\u003e\n\u003cli\u003eI’m Waiting For The Day\u003c\/li\u003e\n\u003cli\u003eLet’s Go Away For Awhile\u003c\/li\u003e\n\u003cli\u003eSloop John B\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGod Only Knows\u003c\/li\u003e\n\u003cli\u003eI Know There’s An Answer\u003c\/li\u003e\n\u003cli\u003eHere Today\u003c\/li\u003e\n\u003cli\u003eI Just Wasn’t Made For These Times\u003c\/li\u003e\n\u003cli\u003ePet Sounds\u003c\/li\u003e\n\u003cli\u003eCaroline No\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Ranked 55\/100!\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003eRolling Stone 500 Greatest Albums of All Time - Rated 2\/500\u003cbr\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003e\u003cbr\u003eRolling Stone 500 Greatest Songs of All Time - \"Sloop John B\" - Rated 278\/500\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 61\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"one of the most innovative recordings in rock\", 101 Albums that Changed Popular Music (2009)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"It was \u003cem\u003ePet Sounds\u003c\/em\u003e that blew me out of the water…I love the album so much. I've just bought my kids each a copy of it for their education in life. I figure no one is educated musically 'til they've heard that album.\" – Paul McCartney\u003c\/p\u003e\n\u003cp\u003e\"All of us, Ginger (Baker), Jack (Bruce), and I consider \u003cem\u003ePet Sounds\u003c\/em\u003e to be one of the greatest pop LPs to ever be released. It encompasses everything that's ever knocked me out and rolled it all into one.\" – Eric Clapton\u003c\/p\u003e\n\u003cp\u003e\"Overall though, this new reissue is the best sounding of all. The bottom end has more weight and solidity and the instrumental separation and front to back layering is nothing short of astonishing compared to the pleasing mush offered up by other editions. ... Pet Sounds belongs in every serious rock record collection and if you're going to have but one version this one from Analogue Productions is the one to have.\"  Michael Fremer,\u003cspan\u003e \u003c\/span\u003eAnalogPlanet.com\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\"Produced, composed and arranged by Brian Wilson, \u003cem\u003ePet Sounds\u003c\/em\u003e stands as the Beach Boys' pinnacle. The album is brimming with beautiful ballads, exotic instrumentation, lush five-part harmonies, and aching sentimentality. Recorded largely with session players from L.A.'s fabled Wrecking Crew, \u003cem\u003ePet Sounds\u003c\/em\u003e was Wilson's chance to step away from songs about surfing and cars, instead crafting tender songs about adolescent love, both newfound and lost, as well as innocence and bewilderment. Analogue Productions' two-disc 45 RPM, 180-gram stereo album boasts exceptionally detailed separation and aptly showcases \u003cem\u003ePet Sounds\u003c\/em\u003e' shimmering sonics. Mark Linett produced this stereo mix with an assembled digital multi-track master that synched the original four-track instrumental master with the four- and eight-track vocal overdub master. It was then mixed to 15 ips 1\/4-inch analog tape with SR noise reduction. How good is it? Carol Kaye's picked Fender P-Bass is tight and punchy on the intro to \"God Only Knows,\" and the clarity reveals the swelling emotion of Carl Wilson's angelic lead vocal to announce that you've entered the Church of Rock 'n' Roll. Say amen.\" Greg Cahill, \u003cem\u003eThe Absolute Sound\u003c\/em\u003e, December 2017\u003c\/p\u003e\n\u003cp\u003e« The best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound. Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. \"Wouldn't It Be Nice,\" \"God Only Knows,\" \"Caroline No,\" and \"Sloop John B\" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as \"You Still Believe in Me,\" \"Don't Talk,\" \"I Know There's an Answer,\" and \"I Just Wasn't Made for These Times.\" It's often said that this is more of a Brian Wilson album than a Beach Boys recording (session musicians played most of the parts), but it should be noted that the harmonies are pure Beach Boys (and some of their best). Massively influential upon its release (although it was a relatively low seller compared to their previous LPs), it immediately vaulted the band into the top level of rock innovators among the intelligentsia, especially in Britain, where it was a much bigger hit. » AllMusic Review by Richie Unterberger\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 5 \/ 5 ,  Rate your Music : 4.18 \/ 5\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMichael Fremer : Music = 11\/11, Sound = 11\/11\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGreg Cahill, The Absolute Sound : Music 5\/5, Sonics 4.5\/5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40374721216663,"sku":"AAPP 067M","price":120.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-beach-boys-pet-sounds-1lp-mono-33rpm-200g-audiosoundmusic-1.jpg?v=1719851398"},{"product_id":"masterpieces-duke-ellington","title":"\u003ctranscy\u003eDuke Ellington - Masterpieces (2LP, 45 tours, Mono)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003eDuke Ellington, piano \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/duke-ellington\" title=\"Vinyl featuring Duke Ellington\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/duke-ellington\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Duke Ellington]\u003c\/span\u003e\u003c\/a\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Strayhorn (piano). Russell Procope, Paul Gonzalves, Johnnie Hodges, Jimmy Hamilton (saxophone). Nelson Williams, Andrew Ford, Harold Baker, Ray Nance, William Anderson (trumpet). Quentin Jackson, Lawrence Brown, Tyree Glenn (trombone). Mercer Ellington (horn). Sonny Greer (drums). Wendell Marshall (bass). Yvonne Lanauze (vocals).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Duke Ellington (A1, B1, C1, D1), Albany Bigard (A1), Irving Mills (A1, B1, D1), Eddie Delange (D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Production\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in New York on December 18, 1950\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Ryan K. Smith at Sterling Sound\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1951\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMood Indigo\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSophisticated Lady\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Tattooed Bride\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSolitude\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 1\/100!\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003e\u003cspan\u003eMichael Fremer, Analog Planet's Best Reissues of the Decade, March 2020\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e“Amazingly, it took Columbia Records until the very end of 1950, two years into the LP era and the transition from disc to magnetic tape recording, to get Duke Ellington and His Orchestra into the studio to cut a long-playing record. For the first time in his recording career, Ellington was able to forego the three-minutes-and-change restrictions in running time of the 78 rpm disc -- he and the band rose to the occasion with extended (11-minute-plus) \"uncut concert arrangements\" of \"Mood Indigo,\" \"Sophisticated Lady,\" and \"Solitude,\" augmented with one splendid newer work, \"The Tattooed Bride.\" And it's taken 15 years into the CD boom before Masterpieces By Ellington has been given the treatment that it deserves. Sony Music of Japan reissued this classic recording in 1998, remastered using the company's 20-bit-based Super Bit Mapping digital system, and results are astonishing -- the band sounds like it's in the same room with the listener, and that goes double for the piano and the soloists (including singer Yvonne Lanauze) on \"Mood Indigo.\" Even in this august company, \"The Tattooed Bride\" is a swinging virtuoso piece that, as everyone present must have known, couldn't possibly have been captured in this manner in any era before this session -- this was also one of the last sessions to feature the classic Ellington lineup with Johnny Hodges, Lawrence Brown, and Sonny Greer, before their exodus altered the band's sound, and so it's a doubly precious piece (as is the whole album), among the last written specifically for this lineup.” AllMusic Review by Bruce Eder\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e:\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5 ; Discogs : 4.83\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40375735255191,"sku":"APJ4418-45","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/duke-ellington-masterpieces-2lp-45rpm-mono-audiosoundmusic-1.jpg?v=1719851398"},{"product_id":"ella-and-louis-ella-fitzgerald-louis-armstrong","title":"\u003ctc\u003e\u003ctranscy\u003eElla Fitzgerald, Louis Armstrong - Ella and Louis (2LP, 45 tours)\u003c\/transcy\u003e\u003c\/tc\u003e","description":"\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLouis Armstrong - trumpet, vocals \u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/louis-armstrong\" title=\"vinyl featuring Louis Armstrong\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Louis Armstrong]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eElla Fitzgerald - vocals \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/ella-fitzgerald\" title=\"vinyl featuring Ella Fitzgerald\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Ella Fitzgerald]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOscar Peterson - piano \u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/oscar-peterson\" title=\"vinyl featuring Oscar Peterson\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Oscar Peterson]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLouie Bellson (drums), Ray Brown (bass), Barrett Deems (drums), Herb Ellis (guitar), Ed Hall (clarinet), Dale Jones (bass), Billy Kyle (piano), Buddy Rich (drums), Trummy Young (trombone)\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Paul James (A1), Kay Swift (A1), Irving Berlin (A2, C3), John Blackburn (A3), Karl Suessdorf (A3), George \u0026amp; Ira Gershwin (B1, C1), Jerry Livingston (B2), Al J. Neiburg (B2), Marty Symes (B2), Walter Gross (B3), Jack Lawrence (B3), Mitchell Parish (C2), Frank Perkins (C2), Hoagy Carmichael (D1), Ned Washington (D1), Vernon Duke (D2), E.Y. \"Yip\" Harburg (D2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Verve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded August 16, 1956 in Capitol Studios, Hollywood, CA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by George Marino at Sterling Sound\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProducer : Norman Granz\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1956\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2011\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eCan't We Be Friends\u003c\/li\u003e\n\u003cli\u003eIsn't This a Lovely Day\u003c\/li\u003e\n\u003cli\u003eMoonlight in Vermont\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThey can't take that away from Me\u003c\/li\u003e\n\u003cli\u003eUnder a Blanket of Blue\u003c\/li\u003e\n\u003cli\u003eTenderly\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eA Foggy Day\u003c\/li\u003e\n\u003cli\u003eStars Fell on Alabama\u003c\/li\u003e\n\u003cli\u003eCheek to Cheek\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Nearness of You\u003c\/li\u003e\n\u003cli\u003eApril In Paris\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cheader\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/header\u003e\u003cheader\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e2013 Stereophile Magazine Record to Die For\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/header\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"All hail Analogue Productions, the audiophile record company in Salina, Kansas, for hiring the best engineers to invent a new formula for pressing vinyl. The results are simply staggering. Check out the 45rpm remaster of the 1956 Ella \u0026amp; Louis (Fitzgerald \u0026amp; Armstrong). If you have a good stereo, you'll swear they're in the room!\" — Fred Kaplan, Slate, December 2011\u003c\/p\u003e\n\u003cp\u003e« Ella and Louis is an inspired collaboration, masterminded by producer Norman Granz. Both artists were riding high at this stage in their careers, and Granz assembled a stellar quartet of Oscar Peterson (piano), Buddy Rich (drums), Herb Ellis (guitar) and Ray Brown (bass). Equally inspired was the choice of material, with the gruffness of Armstrong's voice blending like magic with Fitzgerald's stunningly silky delivery. Outstanding are Irving Berlin's \"Cheek to Cheek\" and \"Isn't This a Lovely Day,\" and everything else works like a dream, with the golden star going to the Gershwin brothers' \"They Can't Take That Away from Me.\" Gentle and sincere, this is deserving of a place in every home. » AllMusic Review by Rovi Staff\u003c\/p\u003e\n\u003cp\u003e\"\u003cspan data-mce-fragment=\"1\"\u003eElla was the most popular female jazz singer in the U.S. for over a half century, selling over 40 million albums. Louis was considered one of the founders of jazz, and was known around the world as Satchmo. He had toned down his earlier whooping and shoveling sort of delivery a bit, but it’s still the same old Satchmo. The two perform 30 of their favorite songs together on this Blu-ray, in a musical match made in heaven. The Great American Songbook is the source of most of the tunes, and their delivery shows the world just how these songs should be sung.\" John Sunier, Audiophile Audition, \u003cspan class=\"published\" data-mce-fragment=\"1\"\u003eDec 29, 2013\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5 , Discogs : 4.6 \/ 5  , Rate your Music : 3.81 \/ 5\u003c\/p\u003e\n\u003cp\u003eMichael Fremer : 8 \/ 10 for Music, 9 \/ 10 for Sound\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40375825006743,"sku":"AVRJ4003-45","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/ella-fitzgerald-and-louis-armstrong-ella-and-louis-2lp-45rpm-180g-audiosoundmusic-1.jpg?v=1719851398"},{"product_id":"ole-coltrane-john-coltrane","title":"\u003ctranscy\u003eJohn Coltrane - Ole Coltrane (45 tours, Mono)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSoprano Saxophone (A1, B1), \u003c\/strong\u003e\u003cstrong\u003eTenor Saxophone (C1, D1) - \u003cmeta charset=\"utf-8\"\u003eJohn Coltrane -  \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-coltrane\" title=\"vinyl featuring John Coltrane\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-coltrane\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more VInyl\/SACD featuring John Coltrane]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlto Saxophone - George Lane (C1, D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass - Art Davis (A1, B1, C1), \u003c\/strong\u003e\u003cstrong\u003eReggie Workman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums - Elvin Jones\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca title=\"vinyl featuring Elvin Jones\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvin-jones\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvin-jones\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more Vinyl\/SACD featuring Elvin Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFlute - George Lane (A1, B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano - McCoy Tyner  \u003ca title=\"vinyl featuring McCoy Tyner\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/mccoy-tyner\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/mccoy-tyner\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more Vinyl\/SACD featuring McCoy Tyner]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet - Freddie Hubbard \u003ca title=\"Vinyl featuring Freddie Hubbard\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/freddie-hubbard\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/freddie-hubbard\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more Vinyl\/SACD featuring Freddie Hubbard]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eWritten by John Coltrane (A1, B1, C1) and McCoy Tiner (D1)\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\"\u003eRecord Press : Pallas\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\"\u003eLabel : Org Music\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\"\u003eOriginal Label : Atlantic\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\"\u003eRecording : \u003c\/span\u003eMay 25, 1961 at A\u0026amp;R Studio, New York City by Phil Ramone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRemastered by Bernie Grundman and\u003c\/strong\u003e\u003cstrong\u003e Chris Bellman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eProducer : Nesuhi Ertegun\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginally released in 1961\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReissued in 2013\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eSide A : Olé (Part 1)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eSide B : Olé (Part 2)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eSide C : Dahomey Dance\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eSide D : Aisha\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« The complicated rhythm patterns and diverse sonic textures on Olé Coltrane are evidence that John Coltrane was once again charting his own course. His sheer ability as a maverick -- beyond his appreciable musical skills -- guides works such as this to new levels, ultimately advancing the entire art form. Historically, it's worth noting that recording had already commenced two days prior to this session on Africa\/Brass, Coltrane's debut for the burgeoning Impulse! label. The two sets complement each other, suggesting a shift in the larger scheme of Coltrane's musical motifs. The assembled musicians worked within a basic quartet setting, featuring Coltrane on soprano and tenor sax, McCoy Tyner on piano, and Elvin Jones on drums, with double-bass chores held down by Art Davis and Reggie Workman. Added to that are significant contributions and interactions with trumpeter Freddie Hubbard and Eric Dolphy on flute and alto sax (although Dolphy's contract with another record label prevented him from being properly credited on initial pressings of the album). The title track is striking in its resemblance to the Spanish influence heard on Miles Davis' Sketches of Spain. This is taken a bit further as Coltrane's combo stretches out with inspired improvisations from Dolphy, Hubbard, Tyner, and Coltrane, respectively. \"Olé\" likewise sports some amazing double-bass interaction. The combination of a bowed upright bass played in tandem with the same instrument that is being plucked has a sinister permeation that undoubtedly excited Coltrane, who was perpetually searching for sounds outside the norm. The haunting beauty of \"Aisha\" stands as one of the finest collaborative efforts between Tyner, the song's author, and Coltrane. The solos from Hubbard, Dolphy, and an uncredited Tyner gleam from within the context of a single facet in a multi-dimensional jewel. » AllMusic Review by Lindsay Planer\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5,  Discogs : 4.73 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40376541577367,"sku":"JCOLOCOLBL-LP00","price":79.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/john-coltrane-ole-coltrane-45rpm-mono-audiosoundmusic-1.jpg?v=1719851419"},{"product_id":"charles-mingus-mingus-at-antibes","title":"Charles Mingus - Mingus At Antibes (2LP)","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003eCharles Mingus (b,p) \u003ca style=\"color: #ff8000;\" title=\"All vinyl featuring Charles Mingus\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/charles-mingus\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/charles-mingus\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Charles Mingus]\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eEric Dolphy (as, cl) \u003ca title=\"vinyl featuring Eric Dolphy\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/eric-dolphy\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/eric-dolphy\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Eric Dolphy]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBooker Ervin (tenor saxophone) \u003ca style=\"color: #ff8000;\" title=\"vinyl featuring Booker Ervin\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/booker-erwin\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/booker-erwin\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Booker Ervin]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTed Curson (tp); Bud Powell (p); Dannie Richmond (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Charles Mingus, except C1 written by \u003c\/strong\u003e\u003cstrong\u003eGene DePaul, Patricia Johnston, Don Raye\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e2 LPs, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label :  Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecording: July 1960 live at the Antibes Jazz Festival, Juan-les-Pins, France, by Dannie Richmond\u003cbr\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eProduction: Neshui Ertegun\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1976\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2019\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTracks : \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003cp\u003e                1 Wednesday Night Prayer Meeting\u003c\/p\u003e\n\u003cp\u003e                2. Prayer For Passive Resistance\u003c\/p\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003cp\u003e                1. What Love?\u003c\/p\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003cp\u003e                1. I'll Remember April\u003c\/p\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003cp\u003e                1. Folk Forms I\u003c\/p\u003e\n\u003cp\u003e                1. Better Git Hit In Your Soul\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« During 1960, bassist Charles Mingus led one of his finest bands, a pianoless quartet with Eric Dolphy (on alto, flute, and bass clarinet), trumpeter Ted Curson, and drummer Dannie Richmond. For this live concert, the band is augmented by the great tenor Booker Ervin for some stirring music. All of the music is memorable: \"Wednesday Night Prayer Meeting,\" \"Prayer for Passive Resistance,\" \"What Love,\" \"Folk Forms No. 1,\" and \"Better Get Hit in Yo' Soul.\" The immortal pianist Bud Powell sits in on a fine version of \"I'll Remember April\" and Dolphy and Ervin in particular generate a great deal of heat during some of their solos. » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eYou can be sure that jazz fans in the year 1960 were unfamiliar with Charles Mingus’s LPs \"Blues And Roots\" or \"Mingus Ah-Um\" when they poured into the Pinède Gould Arena at the Antibes Jazz Festival held in Juan-les-Pins, France on 13 July. At any rate, as can be seen in a short video clip, all the seats were occupied. In addition, a really good trumpeter was there, whose name would later resound throughout Europe: Ted Curson. What is more, the legendary Bud Powell, who lived in France, was invited as a special guest for one number that required a pianist.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe Jazz Workshop – which was how Mingus called his working ensemble – presented repertoire that was familiar to all the musicians: \"Better Git It In Your Soul\", \"Wednesday Night Prayer Meeting\" and Dolphy’s wonderful solo on the bass clarinet in \"What Love?\". Besides this there was \"Cry For Freedom\" as \"Prayer For Passive Resistance\" was also named, and \"Folk Forms\", also known as \"Ummh\". As a mark of respect towards the guest musician, it was decided to perform the evergreen \"I’ll Remember April\", with Powell’s improvisation being applauded enthusiastically by the audience.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCharles Mingus was to play in numerous concerts in the 60s and 70s; he recorded more than two-dozen official LPs, accused several concert organizers and tour managers of extortionate robbery, and trampled on illegal recording tapes. But the present live recording was made by the ORTF and released officially later by Atlantic Records. It is now re-released after many years and is a rare document in the annals of music history.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAllMusic : 5 \/ 5, \u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,35\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5, \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,13\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40399579545751,"sku":"SD 2-3001","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/charles-mingus-mingus-at-antibes-2lp-audiosoundmusic-1.jpg?v=1719851457"},{"product_id":"paul-desmond-easy-living","title":"\u003ctranscy\u003ePaul Desmond - Easy Living\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003ePaul Desmond - alto saxophone \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-desmond\" title=\"vinyl featuring Paul Desmond\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-desmond\"\u003e[click here to see more vinyl featuring Paul Desmond]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Jim Hall (guitar) \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jim-hall\" title=\"vinyl featuring Jim Hall\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/jim-hall\"\u003e[click here to see more vinyl featuring Jim Hall]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGene Wright, Gene Cherico, Percy Heath (bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eConnie Kay (drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Jack Segal (A1), Robert Wells (A1), Lew Brown (A2), Sammy Fain (A2), Johnny Burke (A3, A4), James Van Heusen (A3, A4), Ralph Rainger (B1), Leo Robin (B1), Alan Jay Lerner (B2), Frederick Loewe (B2), Lorenz Hart (B3), Richard Rodgers (B3), Paul Desmond (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"production_info\"\u003e\u003cstrong\u003eRecording: June 1963, July and September 1964, June 1965 at RCA Studio, New York City by \u003c\/strong\u003e\u003cstrong\u003e\u003cspan\u003eRay Hall\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eProduction: George Avakian\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1966\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"production_info\"\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"production_info\"\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWhen Joanna Loved Me\u003c\/li\u003e\n\u003cli\u003eThat Old Feeling\u003c\/li\u003e\n\u003cli\u003ePolka Dots And Moonbeams\u003c\/li\u003e\n\u003cli\u003eHere's That Rainy Day\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEasy Living\u003c\/li\u003e\n\u003cli\u003eI've Grown Accustomed To Her Face\u003c\/li\u003e\n\u003cli\u003eBewitched\u003c\/li\u003e\n\u003cli\u003eBlues For Fun\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« As the Paul Desmond\/Jim Hall quartet's recording activities gradually came to a halt by 1965, RCA Victor assembled the remains of a number of their later sessions into one last album. These are anything but leftovers, however -- indeed, they constitute the best Desmond\/Hall album since Take Ten, more varied in texture and mood, and by and large more inspired in solo content, than Bossa Antigua and Glad to Be Unhappy. As a near-ideal example of this collaboration at its intuitive peak, \"Polka Dots and Moonbeams\" opens with Hall paraphrasing the tune, and Desmond comes in on the bridge with a perfectly timed rejoinder that sounds as if he's asking a question. \"Here's That Rainy Day\" is another apt match of a standard to Desmond's sophisticated personality; he is at his dry, jaunty best on the uptempo \"That Old Feeling\"; and both have a ball jamming on the blues in Desmond's wry, quick \"Blues for Fun.\" » AllMusic Review by Richard S. Ginell\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« The gorgeous tone produced by alto saxophonist, Paul Desmond was famously compared to a dry martini. Desmond was a master of the altissimo register on the alto sax. His alto high notes have a sensuousness that can only be compared to Willie Smith or Johnny Hodges, but Desmond’s tone to me comes closer to elegance than to the soulfulness that the other two alto giants possessed. Paul’s playing was seemingly effortless, that surely belied his talents.\u003c\/p\u003e\n\u003cp\u003eDesmond was most famous for his extended tenure with Dave Brubeck, and also for composing “Take Five,” which may be the most well known jazz composition ever, especially for casual jazz fans.\u003c\/p\u003e\n\u003cp\u003eAfter the late 1960s, his membership in Brubeck’s group was only periodic up until his death in 1977. Later in his career, Paul made a series of albums with cool toned guitarist, Jim Hall, that are available as a hard to find box set on RCA. Hall was a perfect partner for Desmond, as each was understated and lightly swinging, as they explored jazz standards. Their communication was symbiotic, and counterpoint was often used.\u003c\/p\u003e\n\u003cp\u003eThe boutique vinyl label, Speakers Corner, from Europe, has recently released Easy Living, which was recorded using three different bass players over a three year period, and issued in 1966. The drummer on all the sessions was Connie Kay, who was most famous for his time with the Modern Jazz Quartet. The bassists were Gene Wright (from Brubeck’s group); Gene Cherico (who was with Stan Getz at that time); and Percy Heath, the most well known, and brother of Jimmy and Tootie.\u003c\/p\u003e\n\u003cp\u003eSong selection are well known standards, with the exception of “Blues for Fun,” the only uptempo, largely improvised tune recorded. This track has the only real bass solo on the album, this one features Gene Cherico.\u003c\/p\u003e\n\u003cp\u003e“When Joanna Loved Me” opens on Side 1 with Paul’s breathy, velvety tone fully on display. Jim Hall gets his solo time, as well, as the pattern for the album gently falls into place. The bass and drums throughout strictly comp. On “Joanna” Gene Wright provides the steady heart beat that is noticeable,  and contributes to the relaxed swing.\u003c\/p\u003e\n\u003cp\u003eThere is a great solo for Hall on “That Old Feeling.” The “floating on air” quality of Desmond’s playing is intoxicating. “Polka Dots and Moonbeams” is reflective in nature, and “Here’s That Rainy Day” closes the first side a bit more uptempo.\u003c\/p\u003e\n\u003cp\u003eThe title track pretty well confirms that Paul Desmond is the proper choice to describe its name. He makes it almost effortless, as such is easy living. Both “I’ve Grown Accustomed to Her Face” and “Bewitched” are classic tunes, and ear candy for late night listening. The closing “Blues for Fun” as mentioned earlier, lets the alto\/guitar duo stretch out a bit to improvise, and give some “heat” and has the welcome solo from Cherico.\u003c\/p\u003e\n\u003cp\u003eAll in all, a winning session from two consummate pros, and the acoustics are top notch as engineer, Ray Hall, as usual, was well up to the task. Vinyl lovers and fans of Desmond and Hall, will surely enjoy this warmly recorded re-release. » Jeff Krow, Audiophile Audition, Apr 9, 2019\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhy should you buy this LP? 1. Because of its super sound? Of course! 2. Because Paul Desmond and Jim Hall are playing? Naturally! 3. For \"Easy Living\"? Surely one of the best numbers in one of the most multifaceted versions! 4. Because you missed out on the first release in 1966? Well, don’t make the same mistake in 2018!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNot everyone wants to purchase all Victor recordings by Paul Desmond and Jim Hall with umpteen alternate takes in a voluminous CD Box, to listen to it all, and to find it just wonderful to show off on the record shelf. The eight numbers on \"Easy Living\" constitute the height of Desmond’s career anyway after he had at last managed to take his leave from Dave Brubeck’s group. And the change from purely chordal playing and single notes from Jim Hall is more airy and more inspiring than the meaty piano clusters of his former boss. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAnd don’t forget either that half of the Modern Jazz Quartet, namely the bassist Percy Heath and the drummer Connie Kay, deliver an exquisite skeletal structure over which the musicians can improvise brilliantly.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLPs are, and remain, unbeatable, both as regards sound and feel. And happily they are also a safe investment – maybe not all, but \"Easy Living\" with Paul Desmond and Jim Hall most definitely!\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"production_info\"\u003e \u003c\/p\u003e\n\u003cp class=\"production_info\"\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp class=\"production_info\"\u003eAllMusic : 4.5 \/  5  ,   \u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,43\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  ,  \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,70\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40400057335959,"sku":"LSP-3480","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/paul-desmond-easy-living-audiosoundmusic-1.jpg?v=1719851485"},{"product_id":"the-modern-jazz-quartet-fontessa","title":"\u003ctranscy\u003eThe Modern Jazz Quartet - Fontessa \u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003eJohn Lewis (piano)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMilt Jackson (vibraharp) \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Milt Jackson\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/milt-jackson\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/milt-jackson\"\u003e[click here to see more vinyl featuring Milt Jackson]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePercy Heath (double bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eConnie Kay ( drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWriten by \u003c\/strong\u003e\u003cstrong\u003eJohn Lewis (A1, A3), Earl Brent (A2), Matt Dennis (A2), Harold Arlen (B1), E.Y. \"Yip\" Harburg (B1), Milt Jackson (B2), Ann Ronell (B4), Dizzy Gillespie (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: January and February 1956 by Rudy Van Gelder in mono\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Nesuhi Ertegun\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1956\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2017\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan\u003e :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eVersailles (Porte De Versailles)\u003c\/li\u003e\n\u003cli\u003eAngel Eyes\u003c\/li\u003e\n\u003cli\u003eFontessa\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eOver The Rainbow\u003c\/li\u003e\n\u003cli\u003eBluesology\u003c\/li\u003e\n\u003cli\u003eWillow Weep For Me\u003c\/li\u003e\n\u003cli\u003eWoodyn You\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« This LP has a particularly strong all-around set by the Modern Jazz Quartet. While John Lewis' \"Versailles\" and an 11-minute \"Fontessa\" show the seriousness of the group (and the influence of Western classical music), other pieces (such as \"Bluesology,\" \"Woody 'N You\" and a pair of ballads) look toward the group's roots in bop and permit the band to swing hard. » AllMusic Review by Scott Yanow\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« As members of Dizzy Gillespie’s big band, John Lewis and Milt Jackson were establishing a reputation as premier jazz instrumentalists. John Lewis was revered for his inclination toward classical music and its organic integration with jazz. Milt Jackson was a fierce instrumentalist, inspired by bebop. After forming the John Lewis Quartet in 1952, the beginning of a four-decade prominence on the jazz scene was launched. Eventually, the “final” lineup was established with the addition of Percy Heath and Connie Kay. Under the name Modern Jazz Quartet, the ensemble were adept at recording their own albums (on various labels) and collaborating with a variety of jazz icons (Ben Webster, Jimmy Giuffre, Oscar Peterson, Sonny Rollins), Their ability to master improvisation and polyphony was unprecedented. They were adept at restrained, but inspired instrumental jams. Their earliest successes, “Django” and “Bags Groove” have become jazz standards. The Modern Jazz Quartet enjoyed various resurgences throughout their illustrious career, but they were at a creative apex in the 50’s with their catalog on Verve and Atlantic.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has released a re-mastering of Fontessa, (Atlantic\/1956). The original recording was engineered by Rudy Van Gelder and John Kraus. Their grasp of mono aural landscapes is superb and the vinyl re-mastering is faithful to the hi-frequency “roll-off” that defined that sound. Side One opens with a Lewis composition, “Versailles”. With a triangle for percussion, Lewis and Jackson play together and intermingle on the melody. The dual-pronged translation mirrors the distinctive, contrasting styles of Lewis (precise, serious) and Jackson (improvisational, bluesy). Heath’s understated double bass fits in perfectly. Perhaps the unique artistry of MJQ is best represented by the ruminative cover of “Angel Eyes”. With a single-note underlying vibraharp and triangle, Lewis executes his graceful, but complex piano notations. The melodic context has a sultry cinematic resonance. Lewis’ poignancy complements Jackson’s energetic be-bop phrasing.\u003c\/p\u003e\n\u003cp\u003eAlways celebrating interpretive range, the title track is visionary. Fortunately, Lewis (the composer) has provided context to this “suite” in the liner notes. Lewis and Jackson combine on a classical-infused prelude (with deft cymbals). The first “movement” is vampy with blues imagery. There are unusual chords and musical structures folded into a medium-swing cool jazz groove. The next part is more improvisational as both Jackson  and Lewis (with a surprising gospel flavor) sustain lyrical flashes against a loping bass rhythm. The final segment is more contemporary with edginess and spare dissonance. Kay executes a rare cymbal solo. Side B is loaded with different arrangements. Everyone is familiar with Harold Arlen’s “Over The Rainbow”. Jazz musicians have always been drawn to this piece for its haunting, emotional melody. Lewis delivers a silky intro before he is joined by Milt on the patented dual lead with counterpoint. The physical dexterity of the vibraphone performance is dynamic and explosive. There is a quasi-bounce temp change, before the two soloists combine on a simple, but gorgeous harmony.\u003c\/p\u003e\n\u003cp\u003e“Bluesology” (written by Milt Jackson) is an accomplished concoction of swinging jazz blues. Milt percolates on vibraharp, while John lats down soulful riffs. The overall sound is fuller, almost like a 4-piece big band. In a switch, Lewis shines with improvisational acuity on an extended solo with sprightly chords and soulful inflection. Jackson finishes the jam and the band executes another tempo change at the end. “Willow Weep For Me” is a change of pace with a moody late-night balladry. Again, Lewis can integrate with the rhythm section and layer counterpoint simultaneously. There is a slight rhythm up tick, before the return to bluesy rumination. The finale (“Woodyn You”) is homage to the group’s mentor, Dizzy Gillespie. As advertised it is a polyrhythmic bebop arrangement with syncopation, stops and big time swing flourishes. The amazing coherency of contrasting instrumentalists is intriguing and compelling. Jackson rollicking riffs and Lewis’ understated play merge seamlessly.\u003c\/p\u003e\n\u003cp\u003eThe overall sound mix of Speakers Corner’s vinyl re-mastering is excellent. The mono fidelity is crystalline. The listener can differentiate each individual instrument  at all times. The mic placement is brilliant, as evidenced by the precise rendering of minor details like a cymbal or triangle. The vibraphone tonality is crisp and sharp, but also glows with echo. There are band notes (from the Atlantic album) by renowned critic Ralph J. Gleason (San Francisco Chronicle, Down Beat).\u003c\/p\u003e\n\u003cp\u003eFontessa is a jazz classic, made greater by a technology update! » Robbie Gerson, Audiophile Audition, Apr 11, 2018\u003c\/p\u003e\n\u003cp\u003eThe famous critic and jazz expert Ralph J. Gleason quite rightly mentioned two highly distinctive men in his liner notes – John Donne and Pablo Picasso. Almost four hundred years and a great deal of seawater separate the two exceptional artists from England and Spain. Nevertheless the four black US-Americans who make up the Modern Jazz Quartet bridge the gap between time and continents effortlessly.\u003cbr\u003eAnd what’s more, blues is also to be heard – and bebop! And evergreens from the Broadway shows of the Thirties too!\u003c\/p\u003e\n\u003cp\u003eIn contrast to some of the other rather more dawdling and laid-back MJQ LPs, \"Fontessa\" offers diversified and intense music. Nothing is routine, perhaps because the drummer Connie Kay had replaced Kenny Clark just one year previously. But maybe too because Milt Jackson’s blues influence inspired John Lewis perceptibly to forget all about discipline. All seven numbers are true gems. But if you want a special hint, just listen to \"Bluesology\". Well, perhaps the present author is too much of a Milt Jackson fan. Be that as it may, the music magazine \"Rolling Stone\" gave this LP a five-star rating!\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5 , \u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,12\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,76\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40404107493527,"sku":"1231","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-modern-jazz-quartet-fontessa-audiosoundmusic-1.jpg?v=1719851504"},{"product_id":"charles-lloyd-forest-flower","title":"\u003ctranscy\u003eCharles Lloyd - Forest Flower\u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCharles Lloyd (ts, fl) \u003ca title=\"Vinyl featuring Charles Llyod\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/charles-lloyd\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/charles-lloyd\"\u003e[click here to see more vinyl featuring Charles Llyod]\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eKeith Jarrett (p) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/keith-jarrett\" title=\"vinyl featuring Keith Jarrett\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/keith-jarrett\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see vinyl featuring Keith Jarrett]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e Cecil McBee (b) \u003ca title=\"vinyl featuring Cecil McBee\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/cecil-mcbee\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/cecil-mcbee\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Cecil McBee]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJack DeJohnette (dr) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jack-dejohnette\" title=\"vinyl featuring Jack Dejohnette\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/jack-dejohnette\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Jack DeJohnette]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Charles Lloyd (A1, A2), Keith Jarrett (B1); Cecil McBee (B2), Brooks Bowman (B3)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: September 1966 live at Monterey Jazz Festival by Wally Heider\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan\u003eProduction: George Avakian\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1967\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2016\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks : \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Forest Flower - Sunrise\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Forest Flower - Sunset\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Sorcery\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Song of Her\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. East of The Sun\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Your ear won't know where to tune in : to Jarrett's dazzling jagged runs (that years later show up in Mike Garson's 'Alladin Sane' Bowie accompaniment), or DeJohnette's driving cymbal work or McBee's muscular playing on his 'Song of Her' or the rousing concluding piece, a speedy take on the standard 'East of the Sun,' which the group takes apart and then gleefully re-assembles much to the crowd's delight. Lloyd's fleet playing is an album standout. ... Kevin Gray's cut is far superior to my original Atlantic pressing, which despite all of the Dual 1009SK\/Shure V15 plays, remains quiet and fully extended on top. However, this reissue is far more dynamic and far better EQ'd, especially in the far more transparent midrange that also manages to well convey the outdoor space.\" Michael Fremer, \u003c\/span\u003e\u003cem\u003eAnalogPlanet.com\u003c\/em\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« When Charles Lloyd brought his new band to Monterey in 1966, a band that included Keith Jarrett on piano, Jack DeJohnette on drums, and the inimitable -- though young -- Cecil McBee on bass, no one knew what to expect. But they all left floored and this LP is the document of that set. It is difficult to believe that, with players so young (and having been together under a year), Lloyd was able to muster a progressive jazz that was so far-reaching and so undeniably sophisticated, yet so rich and accessible. For starters, the opening two title tracks, which form a kind of suite (one is \"Forest Flower-Sunrise,\" the other \"Sunset\"), showcased the already fully developed imagination of Jarrett as a pianist. His interplay with DeJohnette -- which has continued into the 21st century in a trio with Gary Peacock -- is remarkable: whispering arpeggios surrounded by large chords that plank up the drumming as DeJohnette crosses hands and cuts the time in order to fluctuate the time. Lloyd's own solos are demonstrative of his massive melodic gift: his improvisation skirted the edges of what was happening with Coltrane (as everyone's did), but his own sense of the deep wellspring of song and the cross-pollination of various world musics that were happening at the time kept him busy and lyrical. Elsewhere, on Jarrett's own \"Sorcery,\" his linking front-line harmonics with Lloyd is stellar -- this isn't communication, it's telepathy! Jarrett's angular solo is buoyed up by Lloyd's gorgeous ostinato phrasing. By the time the band reaches its final number, a sky-scorching version of Brooks Bowman's \"East of the Sun,\" they have touched upon virtually the entire history of jazz and still pushed it forward with seamless aplomb. Forest Flower is a great live record. » AllMusic Review by Thom Jurek\u003c\/p\u003e\n\u003cp\u003eIt was a clever move by George Avakian, producer at Atlantic Records, to record live the Charles Lloyd Quartet during their appearance in Monterey, and to release the LP under the title \"Forest Flower\". Although the hippy flower-power movement tended towards a rather different musical genre at the end of the Sixties, they were blown away by this music. The four artists attracted masses of people and ensured that every seat was taken and all standing room filled at jazz festivals such as Newport, Molde (Norway), Antibes (France) and the Fillmore East and West. The super group also appeared in Monterey, 120 Km south of San Francisco, the centre of the hippy movement, on 18 September 1966.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOn the LP we have the almost 18-minute-long title piece and the standard work \"East Of The Sun\", which were recorded at the festival. The disc is complemented by a Keith Jarrett composition and one by Cecil McBee, both of which were recorded in the studio ten days before the festival.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOf particular note is the rich interplay, the energy that is palpable throughout, the perfect harmony in each and every change of mood, and the intensity. Even 50 years later, it is quite clear that Charles Lloyd managed to break down the barriers between pop and jazz.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCharles Lloyd is committed to this objective to this very day! All four musicians are still active, although they no longer appear together as a group. Such a special treat for the ears is offered by this newly mastered disc only.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/p\u003e\n\u003cp\u003eAllmusic : 5 \/ 5 , \u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,19\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:  \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,94\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003eMichael Fremer : Music = 10 \/ 11; Sound = 9 \/ 11\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40404370882711,"sku":"SD-1473","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/charles-lloyd-forest-flower-audiosoundmusic-1.jpg?v=1719851509"},{"product_id":"thelonious-monk-its-monks-time","title":"\u003ctranscy\u003eThelonious Monk - It's Monk's Time\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThelonious Monk - piano \u003cspan data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/thelonious-monk\" title=\"vinyl featuring Thelonious Monk\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/thelonious-monk\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" 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 data-mce-fragment=\"1\"\u003eCharlie Rouse - tenor saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eButch Warren (b); Ben Riley (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Thelonious Monk (A3, B1, B3), Al Dubin (A1), Harry Warren (A1), Eubie Blake (A2), Andy Razaf (A2), George Gershwin (B2), Ira Gershwin (B2)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: January - March 1964\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan\u003eProduction: Teo Macero\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1964\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2012\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLulu's Back In Town\u003c\/li\u003e\n\u003cli\u003eMemories Of You\u003c\/li\u003e\n\u003cli\u003eStuffy Turkey\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBrake's Sake\u003c\/li\u003e\n\u003cli\u003eNice Work If You Can Get It\u003c\/li\u003e\n\u003cli\u003eShuffle Boil\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« Although often unrightfully maligned by self-proclaimed \"purists,\" Thelonious Monk did some brilliant work during his early- to mid-'60s stint for Columbia Records. It's Monk's Time (1964) contains some of the best -- if not arguably the best -- studio sides that the pianist cut during his final years as a recording musician. The album's title turned out to be somewhat prophetic, as Time magazine featured Monk as the cover subject for its February 28, 1964, edition. Interestingly, he was to have been profiled by the periodical the previous November; however, the assassination of then-President John F. Kennedy took obvious precedence. It had been almost a full year since his previous studio release, Criss-Cross (1963), and there had been a significant alteration in the rhythm section, which now incorporated the respective talents of both Butch Warren (bass) and Ben Riley (drums) as well as longtime cohort Charlie Rouse (tenor sax). From four sessions in early 1964, It's Monk's Time gathers four quartet and two solo sides, presenting the pinnacle of what these musicians offered stylistically as well as from the standpoint of presentation. There is sense of mischievous playfulness in Monk's nimble keyboard work, especially notable on the beautifully off-kilter unaccompanied opening to \"Lulu's Back in Town,\" and the same practically impish quality also drives the solo performance on \"Nice Work if You Can Get It.\" Both pop standards are prime examples of the bop pioneer's inimitable approach to arranging, and also provide an uncanny insight to his influences. Immediately evident are the styles of stride legends from the well-known Willie \"The Lion\" Smith and James P. Johnson to the slightly more obscure and decidedly frenetic playing of Cliff Jackson, as well as the ragtime approach of Walter L. Rose. The results are bound together in Monk's arithmetically advanced delivery and harmonic composition. The combo -- especially Rouse -- effectively supports and punctuates the tricky timing of \"Stuffy Turkey\" and the more aggressive bop of \"Brake's Sake.\" The latter title also unleashes some tasty interaction between Monk and Rouse, sonically exemplifying their practically single-minded synergy. The concluding cut, \"Shuffle Boil,\" is one of the lost gems of the artist's later work. It sports an effortless swing over a sophisticated and challenging melodic structure. Bassist Warren steps up to the plate, providing a supple and pulsating bed for both Monk and Rouse as they trade solos. » AllMusic Review by Lindsay Planer\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eWith its three compositions by Thelonious Monk, one might call this LP from 1964 “3 Standards and 3 Monks”. The 'High Priest' of bebop had reached a further pinnacle in his career and performed with his fantastic, skilful and well-rehearsed quartet at numerous festivals and concerts. As if in a dream, the musicians penetrate the apparently simple yet rhythmically complicated themes, interrupted again and again by Monk’s solo escapades on the piano. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOn the stage, Monk often stood up and jigged around the piano like a lumbering dancing bear, with one of his distinctive hats on his head; he plonks down on the piano stool after the Charlie Rouse solo; his enormous feet tap back and forth to the beat; he constantly fiddles with the ring on his finger; and he creates the most wonderful improvisations ever heard with his 'false' fingering.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCalling all jazz fans: Listen to Thelonious Monk, and you will have a ball – most especially if you put this super disc with the promising title \"It’s Monks Time\" on your turntable!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 4 \/ 5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,20\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,08\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40405027651735,"sku":"CS 8984","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/thelonious-monk-it-s-monk-s-time-audiosoundmusic-1.jpg?v=1719851545"},{"product_id":"miles-davis-miles-smiles","title":"\u003ctranscy\u003eMiles Davis - Miles Smiles (1LP, 33 tours)\u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMiles Davis - trumpet \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\" title=\"vinyl featuring Miles Davis\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Miles Davis]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWayne Shorter - tenor saxophone \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/wayne-shorter\" title=\"vinyl featuring Wayne Shorter\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/wayne-shorter\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Wayne Shorter]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHerbie Hancock - piano \u003ca title=\"vinyl featuring Herbie Hancock\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/herbie-hancock\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/herbie-hancock\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Herbie Hancock]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\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 data-mce-fragment=\"1\"\u003eTony Williams (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Wayne Shorter (A1, A3, B1), Miles Davis (A2), Eddie Harris (B2), Jimmy Heath (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: October 1966 at Columbia Records­Studios, New York, by Frank Laico\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Teo Macero\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1967\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2008\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Meeting Of The Spirits\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Dawn\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. The Noonward Race\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. A Lotus On Irish Streams\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. Vital Transformation\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. The Dance Of Maya\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e7. You Know You Know\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e8. Awakening\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eReviews :\u003c\/p\u003e\n\u003cp\u003e« With their second album, Miles Smiles, the second Miles Davis Quintet really began to hit their stride, delving deeper into the more adventurous, exploratory side of their signature sound. This is clear as soon as \"Orbits\" comes crashing out the gate, but it's not just the fast, manic material that has an edge -- slower, quieter numbers are mercurial, not just in how they shift melodies and chords, but how the voicing and phrasing never settles into a comfortable groove. This is music that demands attention, never taking predictable paths or easy choices. Its greatest triumph is that it masks this adventurousness within music that is warm and accessible -- it just never acts that way. No matter how accessible this is, what's so utterly brilliant about it is that the group never brings it forth to the audience. They're playing for each other, pushing and prodding each other in an effort to discover new territory. As such, this crackles with vitality, sounding fresh decades after its release. And, like its predecessor, ESP, this freshness informs the writing as well, as the originals are memorable, yet open-ended and nervy, setting (and creating) standards for modern bop that were emulated well into the new century. Arguably, this quintet was never better than they are here, when all their strengths are in full bloom. » AllMusic Review by Stephen Thomas Erlewine \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eExcept for the taping of a live performance at the Portland Festival, Miles Davis’s discography for 1966 only lists the recordings made for the LP \"Miles Smiles\"! How strange when one considers the usual large output of Miles and his ensembles for Columbia Records in the Sixties.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe bass player Ron Carter was best suited for the complicated rhythm part and remained Miles’s 'number one' in a quintet which gave a new interpretation to compositions by Wayne Shorter and jazz hits such as \"Freedom Jazz Dance\" by Eddie Harris and Jimmy Heath’s \"Gingerbread Boy\".\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEvery second of the nine-minute-long \"Footprints\" by Shorter is an absolute highlight, while the drumming of the young Tony Williams in \"Freedom Jazz Dance\" is full of vitality, with a quick pulse, and even described as »threatening« in the liner notes. This music is neither 'new stream' nor 'old guard' but good modern jazz according to Anthony Tuttle. That’s exactly what \"Miles Smiles\" was upon its release 40 years ago – and that’s what it is to this day! And that Miles Davis smiled for once thanks to the great musical relationship between the five individualists is certainly no mere rumour.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRatings :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 5 \/ 5 , D\u003c\/span\u003e\u003cspan\u003eiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,48\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,96\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40405108064407,"sku":"CS 9401","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/miles-davis-miles-smiles-1lp-33rpm-audiosoundmusic-1.jpg?v=1719851555"},{"product_id":"henry-mancini-the-music-from-peter-gunn","title":"\u003ctranscy\u003eHenry Mancini - The music from Peter Gunn\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eComposed and conducted by Henry Mancini\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpets: Pete Candoli, Ray Linn, Frank Beach, Uan Rasey, Conrad Gozzo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrombones: Dick Nash, Jimmy Priddy, Milt Bernhart, Karl DeKarske\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrench horns: John Graas, Vincent DeRosa, Richard Perissi, John Cave\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReeds: Ted Nash, Plas Johnson, Ronny Lang, Paul Horn, Gene Cipriano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano: John Williams\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar: Bob Bain, Al Hendrickson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVibraphone: Victor Feldman, Larry Bunker\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass: Rolly Bundock\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums: Shelly Manne, Alvin Stoller, Jack Sperling\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\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003eAugust 26, 31, and September 4, 29, 1958 at Radio Recorders, Hollywood\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan\u003eProduced by Simon Rady\u003c\/span\u003e\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\u003e\u003cspan\u003eReissued in 2013\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePeter Gunn\u003c\/li\u003e\n\u003cli\u003eSorta Blue\u003c\/li\u003e\n\u003cli\u003eThe Brothers Go to Mother's\u003c\/li\u003e\n\u003cli\u003eDreamsville\u003c\/li\u003e\n\u003cli\u003eSession at Pete's Pad\u003c\/li\u003e\n\u003cli\u003eSoft Sounds\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFallout!\u003c\/li\u003e\n\u003cli\u003eThe Floater\u003c\/li\u003e\n\u003cli\u003eSlow and Easy\u003c\/li\u003e\n\u003cli\u003eA Profound Gass\u003c\/li\u003e\n\u003cli\u003eBrief and Breezy\u003c\/li\u003e\n\u003cli\u003eNot from Dixie\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Remember how strikingly contemporary it seemed when Miami Vice used Phil Collins and Glenn Frey on its soundtrack, or years later when the producers of Gilmore Girls and The O.C. showcased young indie bands on their shows? Well, it was just that revolutionary in 1958 when Blake Edwards, producer of the otherwise fairly standard detective show Peter Gunn, tapped the young composer Henry Mancini to write a soundtrack informed by the West Coast-style cool jazz of Dave Brubeck and Chet Baker. The soundtrack album for Peter Gunn may be best known for the cool twang guitar riff of the main theme (later lifted wholesale by the B-52's for \"Planet Claire,\" among others who recognized its forbidding cool), but this is his most jazz-influenced soundtrack work. There's some particularly impressive work by drummer Shelly Manne and vibes player Victor Feldman, whose cool, understated playing seems to deliberately recall that of Milt Jackson. » AllMusic Review\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is not only a great LP but a key piece of jazz and pop music history. Back in 1958, \"Peter Gunn\" was one of the unexpected hits of the new television season, capturing the imagination of millions of viewers by mixing private eye action with a jazz setting. Composer Henry Mancini was more than fluent in jazz, and his music nailed down the popularity of the series. With the main title theme, a driving, ominous, exciting piece of music to lead off the album, \"The Music from Peter Gunn\" became a huge hit, charting extraordinarily high for a television soundtrack and doing so well that RCA Victor came back the next year asking for a second helping (\"More Music From Peter Gunn\") from Mancini.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe music holds up: \"Session At Pete’s Pad\" is a superb workout for the trumpets of Pete Candoli, Uan Rasey, Conrad Gozzo, and Frank Beach, while Barney Kessel’s electric guitar gets the spotlight during \"Dreamsville\"; and \"Sorta Blue\" and \"Fallout\" are full-ensemble pieces that constitute quintessential 'cool' West Coast jazz of the period. In other words, it’s all virtuoso orchestral jazz, presented in its optimum form.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 5 \/ 5 ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:  \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,24\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:  \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,92\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40405159968919,"sku":"LSP-1956","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/henry-mancini-the-music-from-peter-gunn-audiosoundmusic-1.jpg?v=1719851560"},{"product_id":"the-butterfield-blues-band-east-west","title":"\u003ctranscy\u003eThe Butterfield Blues Band - East-West\u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eThe Butterfield Blues Band \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/the-butterfield-blues-band\" title=\"CD and vinyl featuring The Butterfield Blues Band\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more vinyl featuring The Butterfield Blues Band]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePaul Butterfield (hca, voc); Elvin Bishop, Mike Bloomfield (g); Mark Naftalin (org); Jerome Arnold (b); Billy Davenport (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten  by Robert Johnson (A1), Allen Toussaint (A2), Nat Adderley, Jr. (A5), Oscar Brown (A5), Michael Nesmith (B1), Maxwell Street Jimmy Davis (B2), Muddy Waters (B2), Mike Bloomfield (B4), Nick Gravenites (B4). A3, A4 and B3 are traditional songs.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Elektra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: July 1966 at Chess Studios, Chicago (IL), by Jac Holzman\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduction: Barry Friedman, Mark Abramson, Paul Rothchild\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1966\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2020\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWalkin' Blues\u003c\/li\u003e\n\u003cli\u003eGet Out Of My Life, Woman\u003c\/li\u003e\n\u003cli\u003eI Got A Mind To Give Up Living\u003c\/li\u003e\n\u003cli\u003eAll These Blues\u003c\/li\u003e\n\u003cli\u003eWork Song (order of solos: Mike Bloomfield, Paul Butterfield, Mark Naftalin, Elvin Bishop)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMary, Mary\u003c\/li\u003e\n\u003cli\u003eTwo Trains Running\u003c\/li\u003e\n\u003cli\u003eNever Say No (Vocal: Elvin Bishop)\u003c\/li\u003e\n\u003cli\u003eEast-West (order of solos: Elvin Bishop, Paul Butterfield, Mike Bloomfield)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« The raw immediacy and tight instrumental attack of the Paul Butterfield Blues Band's self-titled debut album were startling and impressive in 1965, but the following year, the group significantly upped the ante with its second LP, East-West. The debut showed that Butterfield and his bandmates could cut tough, authentic blues (not a given for an integrated band during the era in which fans were still debating if a white boy could play the blues) with the energy of rock \u0026amp; roll, but East-West was a far more ambitious set, with the band showing an effective command of jazz, Indian raga, and garagey proto-psychedelia as well as razor-sharp electric blues. Butterfield was the frontman, and his harp work was fierce and potent, but the core of the band was the dueling guitar work of Mike Bloomfield and Elvin Bishop, especially Bloomfield's ferocious, acrobatic solos, while Mark Naftalin's keyboards added welcome washes of melodic color, and the rhythm section of bassist Jerome Arnold and drummer Billy Davenport were capable of both the rock-solid support of veteran blues players and the more flexible and artful pulse of a jazz combo, rising and relaxing with the dynamics of a performance. The Butterfield Blues Band sounded muscular and exciting on classic blues workouts like \"Walkin' Blues,\" \"Two Trains Running,\" and \"I Got a Mind to Give Up Living,\" but the highlights came when the band pushed into new territory, such as the taut New Orleans proto-funk of \"Get Out of My Life, Woman,\" the buzzy and mildly trippy \"Mary, Mary,\" and especially two lengthy instrumental workouts, the free-flowing jazz of Nat Adderley's \"Work Song\" and the title track, a fiery mix of blues, psychedelia, Indian musical patterns, and several other stops in between, with Butterfield, Bloomfield, and Bishop blowing for all their worth. East-West would prove to be a pivotal album in the new blues-rock movement, and it was the Paul Butterfield Blues Band's greatest achievement; Bloomfield would be gone by the time they cut their next LP to form the Electric Flag, and as good as Bishop was, losing the thrust and parry between the two guitarists was a major blow. But East-West captures a great group in high flight as the bandmembers join together in something even more remarkable than their estimable skills as individuals would suggest, and its importance as a nexus point between rock, blues, jazz, and world music cannot be overestimated. » AllMusic Review by Mark Deming\u003c\/p\u003e\n\u003cp\u003e« Paul Butterfield was one of the most influential and possibly overlooked rock pioneers of the 1960’s. A musical stalwart, he began his career in the Chicago folk blues scene. He formed a band that first garnered attention backing Bob Dylan’s infamous electric set at the 1965 Newport Folk Festival. Eventually signed to Elektra Records, the Butterfield Blues Band featured two stalwart guitarists, Mike Bloomfield and Elvin Bishop. Their self-titled debut saw limited commercial success, but became a staple of the mid 1960’s rock scene. Their rollicking translations of electric Chicago-style blues was driven by the harmonica expertise of Butterfield and the dual guitar assault of Bloomfield and Bishop. The band became regulars at Fillmore West and Fillmore East. Additionally, they played the Monterey Pop Festival and Woodstock. They were credited with advancing the psychedelic rock\/blues genre. The Butterfield Blues Band reached a creative zenith in 1966 with the East–West album. This was the last project of the core members. They intermingled jazz and soul into their repertoire, and included two extended instrumental jams. Paul Butterfield was inducted into the Blues Hall Of Fame and the band became members of the Rock And Roll Hall Of Fame. Sadly he passed away in 1984.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner Records has released a 180-gram vinyl remastering of East–West. Joining the Butterfield\/Bloomfield\/Bishop triumvirate, is the rhythm section of Mark Naftalin (organ, piano) Jerome Arnold (bass) and Billy Davenport (drums). True to their roots, Side One kicks off with a Robert Johnson cover, “Walkin’ Blues”. It is classic Delta blues, cultivated with Chicago swagger. Butterfield’s earnest vocals and harp accents are framed by a steady roots pulse. Bloomfield’s scintillating guitar licks play against the band leader on harp. Switching to soul-based blues, Allen Touissant’s “Get Out Of My Life, Woman” (a r \u0026amp; b hit for Lee Dorsey) has a relaxed groove that features a catchy vamp on piano (Naftalin). Small touches like a tempo uptick at the end showcase the chemistry of the sextet. In what can be described as authentic, “down home” blues, “I Got A Mind To Give Up Living” distills the aching melancholy of the blues with imagery like, “shop for a tombstone” and after reading a lover’s letter, being “better off dead”. The band wraps itself around Bloomfield’s piercing guitar inflections. On “All These Blues”, the focus is on Butterfield. His rousing harmonica solo and emotional vocal delivery is timeless. East–West is transcendental due to its pair of extended instrumental jams. Nat Adderley’s jazz classic “Work Song”  manages to combine the freewheeling aesthetics of bop jazz with the tighter structures of blues rock. Bloomfield offers the first solo, fluid with meticulous timing. Butterfield follows with crisp rawness, spurred on by Arnold’s galloping bass. Naftalin’s  unconventional tonality on organ is a nice touch. Elvin Bishop displays a variety of stylish technique with a muscular resonance. All four soloists riff in a wild, climactic exchange.\u003c\/p\u003e\n\u003cp\u003eButterfield East-WestEast–West is anything but predictable. “Mary Mary” is a vintage Sixties guitar effect-laden pop translation of a pre Monkees Michael Nesmith composition. Nesmith would cover this song with his “TV” band and surprisingly, so did RUN-D.M.C. Reverting back to basics, Muddy Waters’ “Two Trains Running” is straight up blues. This seems intuitive as the album was recorded at Chess Studios in The Windy City. All of the hooks and crisp tempo pay tribute to Muddy. Bloomfield adds yet another explosive solo. Elvin Bishop gets to sing lead on “Never Say No”. His languid, deeper-voiced singing adds to the painstaking slow-burning flow, augmented by swirling organ. The title finale is mesmerizing. In a genre-merging arrangement, this Mike Bloomfield\/Nick Gravenites composition sets a high bar for acid rock. It is a precursor to Big Brother \u0026amp; The Holding Company, The Grateful Dead and Jefferson Airplane. According to lore, the LSD-fueled inspiration merged elements of free jazz to psychedelic rock. The complex motifs include Middle Eastern droning, hypnotic modality and various musical counterpoints. Drummer Billy Davenport is phenomenal, adapting a 4 beat groove pattern. He anchors this occasionally spacey instrumental with aplomb. Butterfield’s harmonica sounds like a floating saxophone, articulating exotic themes. Bloomfield and Bishop play off each other with harmony and flair. For anyone who wants to experience the auditory punch of this number, a good pair of stereo headphones is a must.\u003c\/p\u003e\n\u003cp\u003eThis vinyl 180-gram pressing of East–West by Speakers Corner is outstanding. The sonic details are precise and vibrant. The mix layer is balanced with ample stereo separation. It is a veritable historical document and a valuable addition to any rock collection. » Robbie Gerson, Audiophile Audition, Apr 2, 2021\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn 1965, just one year after Paul Butterfield had formed his blues band – named after himself - and launched one of the very best groups among the white Chicago blues community, the band produced this dynamic and visionary album. The group presents a wide range of contrasting numbers, both eastern and western, which reflect the LP’s title – something totally new and innovative. In the first few titles, traditional standard numbers come over rather enigmatically while supporting original and rhythmic compactness, but this soon gives over to a tactically well-formed instrumentation and lengthy solo interludes. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe all-embracing motto 'blues' is taken up by the band in Nat Adderley’s \"Work Song\" at the very latest, with mind-expanding ways of playing and varying sounds. Catapulted by Mike Bloomfield’s artistry on the guitar into the world of rock, all the musicians celebrate these well-known jazz standards and each man contributes his personal skill into forging a perfectly balanced team effort.\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThe title number \"East-West\" ultimately demolishes the world of the blues. In the tonal mixture of confidently prepared rock ingredients and borrowings from Indian music (raga rock), we have an amalgamation of rock, blues, jazz and oriental melodies which result in an emotional, unheard-of sound that is well worth the hearing.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 5 \/ 5 ; \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4.31\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 ; \u003c\/span\u003eAudiophile Audition : 4.5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40405645394071,"sku":"EKS-7315","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-butterfield-blues-band-east-west-audiosoundmusic-1.jpg?v=1719851571"},{"product_id":"buddy-guy-junior-wells-play-the-blues","title":"\u003ctranscy\u003eBuddy Guy \u0026 Junior Wells - Play The Blues\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eBuddy Guy - Vocals, Rhythm Guitar \u003cspan style=\"color: #ff8000;\"\u003e[\u003c\/span\u003e\u003ca style=\"color: #ff8000;\" title=\"Vinyl featuring Buddy Guy\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/buddy-guy\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/buddy-guy\" data-mce-style=\"color: #ff8000;\"\u003eClick here to see more vinyl featuring Buddy Guy\u003c\/a\u003e\u003cspan style=\"color: #ff8000;\"\u003e]\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJunior Wells (A1 - B1, B3, B5) - Vocals, harmonica \u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e\u003ca title=\"vinyl featuring Junior Wells\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/junior-wells\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more vinyl featuring Junior Wells]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEric Clapton - Guitar (A1 - B1, B3, B5) \u003ca title=\"vinyl featuring Eric Clapton\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/eric-clapton\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/eric-clapton\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Eric Clapton]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDr. John (A1, A4, B1) - Piano \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/dr-john\" title=\"vinyl featuring Dr. John\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/dr-john\"\u003e[click here to see more vinyl featuring Dr. John]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJ. Geils - Rhythm Guitar (B2, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMagic Dick (B2, B5) - Harmonica\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass : Carl Radle (A1), Daniel Klein (B2, B5), Leroy Stewart (A2 - B1, B3, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBody Percussion [Foot Tapping] : Juke Joint Jimmy (B2, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums : Jim Gordon (A1), Roosevelt Shaw (A2 - B1, B3, B4), Stephen Bladd (B2, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOrgan : Michael Utley (A1 - B1, B3, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano : Michael Utley (A2, A3, A5, B3, B5), Seth Justman (B2, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTenor Saxophone : A.C. Reed (A1 - B1, B3, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eBuddy Guy (A1, B2), Sonny Boy Williamson (A2), Junior Wells (A3, A5), T-Bone Walker (A4), Mel London (B1), Willie Mabon (B3), Maxwell Davis (B4), Joe Liggins (B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: October 1970 at Criteria Studios, Miami (FL), by Ron Albert and April 1972 at Intermedia Studios, Boston (MA), by  Richard Oulleppe (B2, B5), Ron Albert (A1 - B1, B3, B5)\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction : \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003eAhmet Ertegun (A1 - B1, B3, B5), Eric Clapton (A1 - B1, B3, B5), Michael Cuscuna (B2, B5), Tom Dowd (A1 - B1, B3, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered [Overdub] by Bobby Warner (A1, B2), Gene Paul (A1, B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRe-mixed by Harry Maslin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1975\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued Sept 2020\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eA Man Of Many Words\u003c\/li\u003e\n\u003cli\u003eMy Baby Left Me (She Left Me A Mule To Ride)\u003c\/li\u003e\n\u003cli\u003eCome On In This House - Have Mercy Baby\u003c\/li\u003e\n\u003cli\u003eT - Bone Shuffle\u003c\/li\u003e\n\u003cli\u003eA Poor Man's Plea\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMessin' With The Kid\u003c\/li\u003e\n\u003cli\u003eThis Old Fool\u003c\/li\u003e\n\u003cli\u003eI Don't Know\u003c\/li\u003e\n\u003cli\u003eBad Bad Whiskey\u003c\/li\u003e\n\u003cli\u003eHoneydripper\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e“Blues music shaped Rock ’N’ Roll from its inception. While relegated to specialty label status, its legendary performers never crossed over to significant mainstream success. They were destined to watch mainstream artists and emerging stars like Elvis Presley and Jerry Lee Lewis capitalize on the new derivative idiom. There were some exceptions, most notably Chuck Berry and Little Richard, but the vast majority of early rock artists were not the pioneering blues players like Muddy Waters, Howling Wolf, Willie Dixon or Sonny Boy Willamson. When the British Invasion took hold, blues music was further separated from its roots, as groups like The Rolling Stones, Fleetwood Mac and Cream rose to stardom. In some cases, these rock stars paid homage and lent support to these forgotten trailblazers.\u003c\/p\u003e\n\u003cp\u003eThere has been no greater influence on rock guitarists than Buddy Guy. His “disciples” include Jimi Hendrix, Eric Clapton, Jeff Beck, Jimmy Page, Stevie Ray Vaughan, Gary Clark Jr. and Keith Richards to name a few. Amazingly, Guy remains active in the studio. He gained initial acclaim as part of Muddy Waters’ house band in Chicago. But his most prolific collaboration is with the great harmonica player, Junior Wells. Wells’ style of play also was influential in the English rock scene. The partnership of Guy and Wells spanned nearly thirty years. Speakers Corner has released a 180-gram re-mastered vinyl of Buddy Guy \u0026amp; Junior Wells Play The Blues. Aided by a stellar cadre of session musicians (including Eric Clapton, A.C. Reed, Mike Utley and Dr. John), blues jamming is front and center. Side One opens with a Buddy Guy original, “A Main Of Many Words”. This is “big city blues”, gritty and swinging. Guy offers animated vocals (with some well-timed screaming) and an incendiary guitar solo. It seems appropriate that Junior Wells takes over on the Sonny Boy Williamson opus, “My Baby She Left Me (She Left Me A Mule To Ride)”. His muscular voice contrasts with his partner and he contributes a nimble, articulate harp run. Next up is a two-song medley of Wells material. The duo share “down ’n’ dirty” singing on “Come On In This House”.. Then there is an ear-catching up tempo break to “Have Mercy Baby”. The musicians downshift to sultry resonance seamlessly as Guy’s impeccable guitar riffs permeate the arrangement.\u003c\/p\u003e\n\u003cp\u003eEqually adept at covers, “T-Bone Shuffle” is as advertised, timeless blues swing. The condensed structure and impassioned guitar solo are veritable templates for blues transitioning to rock. It is familiar, but impressive in its urgency. Wells is terrific on “Poor Man’s Blues” with his ardent earthy pleas and offers another crisp harmonica solo. The production of Play The Blues is top-notch, but not overdone. The raw essence of the music prevails. Side Two continues the celebration. Junior Wells’ most recognizable song is “Messin’ With The Kid”. This version is pure blues, a veritable historical document. There are grooves and hooks galore. In testimony to the blues life, “This Old Fool” moves briskly with harp accents and a full-bodied electric guitar. With a creative touch, “I Don’t Know” invokes a slow-walk cadence, showcasing  a call and response with the band. What would blues music be without a cautionary tale. “Bad Bad Whiskey” fits the bill perfectly. Wells’ sorrowful intonation is enveloped in a loping tempo. A bottle neck guitar (Eric Clapton) is a nice touch. The finale is truly a big finish. In the only instrumental on the album, “Honeydripper” dazzles with authentic roadhouse swagger, right down to the tinkling piano riffs.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner records has done an outstanding job in re-mastering Buddy Guy \u0026amp; Junior Wells Play The Blues to 180-gram vinyl. The overall mix is balanced, with excellent stereo separation. This vinyl update is a must for collectors and blues aficionados.” Robbie Gerson, Audiophile Audition, February 2021\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe blues is perhaps one of the most private things from which a human being can suffer. However, to play the blues, and thus to express a man’s innermost feelings and state of mind, is probably the most important task of black music. With Buddy Guy and Junior Wells, we have two disciples from the world of the blues who express their highly personal blues with profound instrumental proficiency. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe enormously talented, self-taught guitarist Buddy Guy was ranked 23rd in Rolling Stones magazine’s list “100 Greatest Guitarists of All Time”, and several times he was awarded one of the coveted Grammy awards. Junior Wells entered Muddy Waters’ 'academy' at the tender age of 18 and played the blues harp with enormous passion and virtuosity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn this recording, the musicians condense their rock playing over a bone-dry bass line to create a mantra-like funky style (\"A Man Of Many Words\"), passing on with fleet-footed steps to a slender chirping sound on the mandolin with a 12-bar blues construction and creating an earthy groove (\"T-Bone Shuffle\"). Then the duo works perseveringly on an unrelenting chord (\"A Poor Man’s Plea\"), only to return to two numbers that pulsate forcefully with a snappy and jagged offbeat (\"This Old Fool\").\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThe handpicked band, among them being co-producer Eric Clapton who is eternalized on the rhythm and bottleneck guitar, and the voodoo rocker Dr. John who occasionally contributes his magic on the keyboard, make this album a truly collectible sound experience.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 4.3 \/ 5 ; \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4.21\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 ; \u003c\/span\u003eAudiophile Audition : 4.5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40405706899607,"sku":"SD33-364","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/buddy-guy-and-junior-wells-play-the-blues-black-vinyl-audiosoundmusic-1.jpg?v=1719851571"},{"product_id":"dr-john-the-sun-moon-herbs","title":"\u003ctranscy\u003eDr. John - The Sun, Moon \u0026 Herbs\u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDr. John (Malcom John Rebennack Jr.) - \u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003evocal, piano, organ, vib, percussions \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/dr-john\" title=\"vinyl featuring Dr. John\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Dr. John]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eEric Clapton - guitar \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/eric-clapton\" title=\"vinyl featuring Eric Clapton\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Eric Clapton]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTommy Ferrone (guitar); Bobby Keys (sax); Ed Hoerner, Jim Price (tp); Ken Terroade (fl); Walter Davis (p); Ronnie Barron (org); Jesse Boyce (b); John Boudreaux (dr); The Memphis Horns \u0026amp; backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Dr. John\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve, insert\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atco\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: July - October 1970 at Trident Studios, London, by Roy Baker and Dimension Recorders, Hollywood (CA), by Judd Philips\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Dr. John \u0026amp; Charles Greene\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1971\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2020\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBlack John The Conqueror\u003c\/li\u003e\n\u003cli\u003eWhere Ya At Mule\u003c\/li\u003e\n\u003cli\u003eCraney Crow\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFamiliar Reality-Opening\u003c\/li\u003e\n\u003cli\u003ePots On Fiyo (File Gumbo)\/Who I Got To Fall On (If The Pot Get Heavy)\u003c\/li\u003e\n\u003cli\u003eZu Zu Mamou\u003c\/li\u003e\n\u003cli\u003eFamiliar Reality-Reprise\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Originally intended as a triple album, The Sun, Moon \u0026amp; Herbs was chopped up, whittled down and re-assembled into this single-disc release, and while Dr. John never liked this version much, perhaps the single disc is testament to the \"less is more\" theory. The seven cuts are all quite lengthy and the spells Dr. John and his consorts weave are dark and swampy. \"Black John the Conqueror\" comes from old Cajun folklore which the good Dr. has modernized and given a beat. The swampy \"Craney Crow\" is the younger sibling of his earlier \"Walk On Guilded Splinters\" and has a similar effect on the listener. \"Pots on Fiyo (Fils Gumbo)\" combines Latin American rhythms with lots of Cajun chants and spells. The vocals are nearly incomprehensible and actually serve as another instrument in the mix. \"Zu Zu Mamou\" is so thick that you can almost cut the music with a knife. Here, the atmosphere takes on a whole other meaning altogether. The Sun, Moon \u0026amp; Herbs is best listened to on a hot, muggy night with the sound of thunder rumbling off in the distance like jungle drums. Dr. John was definitely onto something here, but just what is left up to the listener. » AllMusic Review by James Chrispell \u003c\/p\u003e\n\u003cp\u003e« t has always been difficult to accurately describe the music of Malcolm John Rebennack Jr. Known commercially as Dr. John (The Night Tripper), he forged a unique trailblazing career as a songwriter, performer, session player and cultural icon.More importantly, Rebennack channeled the multi-faceted New Orleans mystique with a daring mixture of blues, rock, jazz, boogie woogie and funk. He achieved mainstream crossover success with singles like “The Right Place” and “Such A Night”. Rebennack recorded for over three decades. His personal life (with legendary rebellious outlaw stories and innuendos) only fueled his larger-than-life persona, as did his live performances.  He remained faithful to his New Orleans roots.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner Records has released a re-mastered 180-gram vinyl of Dr. John’s seminal album, The Sun Moon \u0026amp; Herbs. This album was recorded in 1970, while Rebennack was stranded in England. Originally part of a triple-disc, Dr. John assembled his own New Orleans musical posse with an all-star “Delaney \u0026amp; Bonnie” band reunion (Eric Clapton, Bobby Whitlock, Carl Radle, Jim Gordon, Bobby Keys) to create a murky, atmospheric conjuring of Storyville culture. Side One opens with “Black John The Conqueror”. Intermingled with a funky slow-hook blues piano (Walter Davis Jr.), the tale of a local shaman is expressed as a mystical testimonial with gravely lead vocals. As with many of Dr. John’s arrangements, there is a hypnotic, long repeat chorus (voiced by Whitlock and Doris Troy) that comes off like a soulful litany and scintillating horn accents. The musician’s palpable homesick musings are front and center on “Where Ya At Mule”. This ultimate longing for NOLA is expressed with shuffling second line cadences and specific imagery (“… gumbo cooker, alligator hooker…”). A key change is ear-catching before the final “There’s no place like home” refrain that will not remind any listener of The Wizard Of Oz. The swampy vibe (which permeates the record) is invoked throughout “Craney Crow”. A complex assortment of Caribbean chanting and a processional funeral march frame the weird (even by Dr. John standards) track.\u003c\/p\u003e\n\u003cp\u003eSide Two is different and more cohesive. On the compelling “Familiar Reality-Opening”, a tight Memphis-soul groove is established. As Dr. John relates his “I’ve been here before” storytelling, he contributes rolling piano runs. There is an organic musical feel with a talking verse in translating the existential to anecdotal reflection. It is the most accessible ensemble cut on The Sun The Moon \u0026amp; Herbs. The sequencing of the songs on this side coalesces with the spirit of “Familar Reality”. “Pots On Fiyo (File Gumbo)\/Who I Got To Fall On (If The Pot Gets Heavy” is an exotic Crescent City allegory (in two parts) that expresses itself with local food references (okra, sausage, oysters). The contextual eclecticism is mysterious. There are considerable jazzy inflections in Davis Jr.’s piano. Conga (Calvin “Fuzzy” Samuels”), a nimble key shift and brief free-from music lead into obscure chanting of Louisiana imagery. A closing verse in French enhances this moody tapestry. With a tuba and mournful acoustic guitar lines, “Zu Zu Mamou” is a menacing reverie that grabs the listener, and never lets go. In particular a whispering dialogue (Dr. John and Doris Troy) feeds the overall ambiance. A refreshingly brief (1:53) finale (“Familiar Reality-Reprise”) provides an explosive soul-drenched end to this flamboyant excursion.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has done an outstanding job in re-mastering The Sun Moon \u0026amp; Herbs to 180-gram vinyl. The overall mix is crisp, but maintains the density and atmospheric murkiness. Dr. John’s evocative, gritty vocals are captured with vibrancy. The hi-gloss gatefold album packaging is top-notch. All of John John Miller’s surreal art design is a visual treat. » Robbie Gerson, Audiophile Audition\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"The Sun, Moon \u0026amp; Herbs\" was originally conceived as a triple album, but it was fragmented, stripped down and put together again to form the present single-disc LP. And although Dr. John never liked this version much, it is proof of the theory 'less is more'. None of the seven tracks are suitable for broadcasting on the radio and the spells that Dr. John and his companions weave are dark and swampy. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Black John The Conqueror\" has its origins in ancient Cajun folklore, which the good Dr. modernised and gave a beat. The swampy \"Craney Crow\" is the younger sibling of his earlier \"Walk On Guilded Splinters\" and has a similar effect on the listener. \"Pots On Fiyo (Filé Gumbo)\" combines Latin-American rhythms with a wealth of Cajun chants and spells. The vocals are almost unfathomable and serve rather more as an additional musical instrument in the mix. \"Zu Zu Zu Mamou\" is so tightly knitted that one can almost cut through the music with a knife; the mood here takes on a quite different meaning. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"The Sun, Moon \u0026amp; Herbs\" is best heard on a hot sultry night where thunder rolls in the distance like jungle drums. Dr. John certainly had something specific in mind, but it is up to the listener to find out just what it was.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 3.5 \/ 5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,25\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,65\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40405730721943,"sku":"SD 33-362","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/dr-john-the-sun-moon-and-herbs-audiosoundmusic-1.jpg?v=1743197233"},{"product_id":"dr-john-gris-gris","title":"Dr. John - Gris-Gris","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDr. John - vocal, keyboards, percussions \u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" title=\"vinyl featuring Dr. John\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/dr-john\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/dr-john\"\u003e[click here to see more vinyl featuring Dr. John]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHarold Battiste (b, cl, perc, arr); Plas Johnson (sax); Lonnie Boulden (fl); Steve Mann (g, bjo); Richard Washington (perc); Bob West (b); John Boudreaux (dr); Mo \"Dido\" Pedido (cga)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Dr. John Creaux (A1, A2, A3, A4, B2, B3), Harold Battiste (A2, B1), Jessie Hill (A3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atco\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: 1967 at Gold Star Studios, Los Angeles\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Harold Battiste\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1968\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A : \u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGris-Gris Gumbo Ya Ya\u003c\/li\u003e\n\u003cli\u003eDanse Kalinda Ba Doom\u003c\/li\u003e\n\u003cli\u003eMama Roux\u003c\/li\u003e\n\u003cli\u003eDanse Fambeaux\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eCroker Courtbullion\u003c\/li\u003e\n\u003cli\u003eJump Sturdy\u003c\/li\u003e\n\u003cli\u003eI Walk On Guilded Splinters\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\u003eRolling Stone 500 Greatest Albums of all Time - Ranked No. 143\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 122\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« Dr. John's Gris-Gris is among the most enduring recordings of the psychedelic era; it sounds as mysterious and spooky in the 21st century as it did in 1968. It is the album where Mac Rebennack established a stage identity that has served him well. A respected studio ace in his native New Orleans, Rebennack was scuffling in L.A. Gris-Gris was his concept, an album that wove various threads of New Orleans music together behind the character of \"Dr. John,\" a real voodoo root doctor from the 19th century. Harold Batiste, another ex-pat New Orleanian and respected arranger in Hollywood, scored him some free studio time left over from a Sonny \u0026amp; Cher session. They assembled a crack band of NOLA exiles and session players including saxophonist Plas Johnson, singers Jessie Hill and Shirley Goodman, and guitarist\/mandolinist Richard \"Didimus\" Washington. Almost everyone played percussion. Gris-Gris sounds like a post-midnight ceremony recorded in the bayou swamp instead of L.A.'s Gold Star Studio where Phil Spector cut hits. The atmosphere is thick, smoky, serpentine, foreboding. Rebennack inhabits his character fully, delivering Creole French and slang English effortlessly in the grain of his half-spoken, half-sung voice. He is high priest and trickster, capable of blessing, cursing, and conning. On the opening incantation \"Gris-Gris Gumbo Ya Ya,\" Dr. John introduces himself as the \"night tripper\" and boasts of his medicinal abilities accompanied by wafting reverbed mandolins, hand drums, a bubbling bassline, blues harmonica, skeletal electric guitar, and a swaying backing chorus that blurs the line between gospel and soul. On \"Danse Kalinda Boom,\" a calliope-sounding organ, Middle Eastern flute, Spanish-tinged guitars, bells, claves, congas, and drums fuel a wordless chorus in four-part chant harmony as a drum orgy evokes ceremonial rites. The sound of NOLA R\u0026amp;B comes to the fore in the killer soul groove of the breezy \"Mama Roux.\" \"Croker Courtboullion\" is an exercise in vanguard jazz. Spectral voices, electric guitars, animal cries, flute, and moody saxophone solos and percussion drift in and out of the spacy mix. The set's masterpiece is saved for last, the nearly nearly eight-minute trance vamp in \"I Walk on Gilded Splinters\" (covered by everyone from Humble Pie, Cher, and Johnny Jenkins to Paul Weller and Papa Mali). Dr. John is brazen about the power of his spells in a slippery, evil-sounding boast. Congas, tom-toms, snaky guitar, and harmonica underscore his juju, while a backing chorus affirms his power like mambo priestesses in unison. A ghostly baritone saxophone wafts through the turnarounds. Droning blues, steamy funk, and loopy R\u0026amp;B are inseparably entwined in its groove. Remarkably, though rightfully considered a psychedelic masterpiece, there is little rock music on Gris-Gris. Its real achievement -- besides being a classic collection of startlingly deep tunes -- is that it brought New Orleans' cultural iconographies and musical traits to the attention of an emergent rock audience. » AllMusic Review by Thom Jurek\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis grandmother is purported to have transported objects using her spiritual powers and it is said that she sometimes floated through the room. Her grandson Malcolm Rebenneck was fully aware of his unique features when he appeared under the name of Dr. John, a voodoo healer in the 19th century, and was the first person to transcend from pitch-black spheres to psychedelic music as its high priest, so to speak.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn the seven magical musical numbers of \"Gris-gris\", the root doctor conjures up a potent mixture of creole melodies, primeval heathen sounds, a pinch of mardi-gras and New Orleans jazz and even undreamt-of sounds. \"Gumbo Ya Ya\", a dragging procession with archaic sing-song, shows that suggestive Afro sounds are what rule in this album. And to play with them, to soften them here and there, or to enhance them with dance-like expression and voices from afar (\"Danse Fambeaux\") is all part of the programme in this collection of artistic treasures. In between raspy sounds there are flattering, intimate tones such as the springy, gentle and forward-looking \"Croker Courtbullion\".\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe equation Witchcraft = Masterwork certainly applies to this unrivalled album, which is listed at No. 143 in the 500 Greatest Albums of all Time by the magazine Rolling Stone.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRatings :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 5 \/ 5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,47\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,81\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40406724903063,"sku":"SD 33-234","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/dr-john-gris-gris-audiosoundmusic-1.jpg?v=1743197616"},{"product_id":"delaney-bonnie-friends-to-bonnie-from-delaney","title":"\u003ctranscy\u003eDelaney \u0026 Bonnie \u0026 Friends - To Bonnie From Delaney\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003eDelaney Bramlett (g, voc); Bonnie Bramlett (voc); Duane Allman (g); Little Richard (p); Jim Gordon (keyb); Tommy McClure (b); Sammy Creason (dr); Sam Clayton (cga); Alan Estes (cga, perc); Jerry Jumonville (as); King Curtis (ts) \u0026amp; The Memphis Horns\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Delaney Bramlett (A1, A2, A4c, A6, B3, B4), Mac Davis (A2), Steve Bogard (A3), Michael Utley (A3), erbert Lance (A4b), oody Payne (A4a), Charles Singleton (A4b), John Wallace (A4b), Ed Townsend (A5), Margaret Lewis (B1), Myrna Smith (B1), Enotris Johnson (B2), Richard Penniman (B2), Bobby Whitlock (B3), George Soulé (B5), Terry Woodford (B5), Barbara Keith (B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atco\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"production_info\"\u003e\u003cstrong\u003eRecording: 1970 at Decca Studios, New York, by Don Casale, and Atlantic South-Criteria Studios, Miami Fl., by Ron Albert \u0026amp; Chuck Kirkpatrick\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eProduction: Delaney Bramlett, Jerry Wexler and Tom Dowd\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1970\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Reissued in 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003eSide A :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Hard Luck And Troubles\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. God Knows I Love You\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Lay Down My Burden\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Medley : \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003ea. Come On In My Kitchen\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003eb. Mama, He Treats Your Daughter Mean\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003ec.  Going Down The Road Feeling Bad\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. The Love Of My Man\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. They Call It Rock \u0026amp; Roll Music\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e7. Soul Shake\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e8. Miss Ann\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e9. Alone Together\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e10. Living On The Open Road\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e11. Let Me Be Your Man\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e12. Free The People\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cp\u003eReviews :\u003c\/p\u003e\n\u003cp\u003e« Delaney and Bonnie hit their pop-soul prime on this, their first Atlantic Records album. Buoyed by their acclaim from their first Elektra album, as well as their association with Eric Clapton, the group switched record labels and recorded this, probably their most definitive album. Backed by an awesome cast of musicians which included Jim Gordon (drums), Kenny Gradney (bass -- later of Little Feat), and many others, this record shows why anyone connected with the band became a tambourine-shaking convert to soul-based rhythm \u0026amp; blues rock. Some great vocal performances by Bonnie Bramlett, especially the low-down \"The Love of My Man,\" show why she was put in the same league as Janis Joplin. One of the more definitive albums of the period. » AllMusic Review by Matthew Greenwald\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« In the annals of rock history, there has never been a duo as influential and under-appreciated as Delaney and Bonnie Bramlett. Their powerhouse amalgam of gospel, pop, rock and roll, country and blues helped to launch the roots-based Southern sound. Bramlett who was an influential guitarist (apparently inspired George Harrison on slide guitar) came to prominence with the Shindogs (the “house” band for the popular 60’s TV show Shindig that included Leon Russell.) Bonnie Bramlett was a blues singing prodigy who sang with Albert King at 14, and was a backup singer (an Ikette) for Ike And Tina Turner. With Russell’s help, Delaney and Bonnie signed a contract with Stax Records, releasing their debut, Home. After moving to Electra, the band (known as Delaney \u0026amp; Bonnie \u0026amp; Friends due to the revolving door of studio musicians anxious to be part of this phenomenon) broke through with Accept No Substitute.\u003c\/p\u003e\n\u003cp\u003eIn 1969, Delaney \u0026amp; Bonnie opened for Blind Faith and cultivated a stalwart fan in Eric Clapton. Clapton acknowledged that the duo “stole the show” every performance. They hit a commercial and critical apex with On Tour With Eric Clapton. While the public were minimally aware of the Bramletts, the rock music held them in reverence. Players like Clapton, Dave Mason (Traffic), Bobby Whitlock (Derek and The Dominoes), George Harrison, Greg Allman and Rita Coolidge (among many) were part of the “Friends”. In 1970, Delaney and Bonnie Bramlett signed with Atco (Atlantic) Records and produced an album with Jerry Wexler and Tom Dowd.\u003c\/p\u003e\n\u003cp\u003eTo Bonnie From Delaney is a representative collection of material for this unique band. With a jaw-dropping lineup of backing musicians, the album was critically received, yet somehow didn’t produce the expected stardom. Side A opens with a Delaney Bramlett’s original “Hard Luck And Troubles”. The rock\/soul\/blues structures are punctuated with modulated horn accents, vibrant bass and Delaney’s soulful vocals. The session players are top-notch as they initiate a tempo shift that rocks like a Sunday morning church celebration. In a surprising country-pop tune (co-written by Bramlett and Mac Davis), a pedal steel guitar and impeccably blended harmony vocals create a unique aesthetic. It is understandable why Bonnie Bramlett is so highly regarded as a soul singer. On “Lay My Burden Down” she draws on classic gospel reverence and offers an inspired “testimony”. It is nothing short of a tour-de-force, energetic and glowing. In a Delta-inspired acoustic medley, Delaney combines guitar and voice on the Robert Johnson standard, “Come On In My Kitchen”. Bonnie is equally bluesy with a wailing intonation on “Mama He Treats Your Daughter Mean”. The third piece, “Going Down The Road Feeling Bad”  features an agile slide guitar solo. In what feels like a traditional Stax arrangement, “Love Of My Man” is another incandescent vocal performance by Bonnie Bramlett. She maintains the fierceness of singers like Aretha Franklin and Otis Redding. Her growling, screaming interpretation is on a par with Janis Joplin. In a feel-good jam, “They Call It Rock And Roll Music” is 50’s bliss with sax runs and doo-wop vocals.\u003c\/p\u003e\n\u003cp\u003eSide B is a compelling procession of gospel rock. “Soul Shake” represented one of two Delaney and Bonnie songs (the other being “Never Ending Song Of Love) that made it to the charts. It is quintessential D \u0026amp; B with dynamic vocals (dual and trading off), propulsive drumming, horns and organ. The inimitable Little Richard (on one of his own compositions, “Miss Ann”) engages in old school r \u0026amp; b with rollicking notation that Delaney matches with raw enthusiasm on his vocals. There may never have been a male and female singing duo that packs a wallop like the Bramletts. Their high-octane performance on “Alone Together” is awe-inspiring and the various instrumental flourishes by the all-star “friends” is buoyantly graceful. The intensity gets ramped up another notch on “Living On The Open Road”. Delaney Bramlett’s signature slide licks and reedy, soulful vocals (which influenced Eric Clapton) energize this sprightly rocker. In a rare change of pace, “Let Me Be Your Man” has a slow-burning intensity. The gospel-tinged piano and organ, Delaney’s falsetto and spine-tingling backup vocals sell this one. With artistic elegance, the finale “Free The People” has an elegiac horn arrangement of the opening notes to “Rock Of Ages”. The New Orleans vibe permeates as Bonnie is dynamically gut-wrenching on the first verse and Delaney is equally prominent on the second. A second-line chorus helps bring To Bonnie From Delaney to a rousing conclusion. \u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has done an excellent job in re-mastering this landmark recording to audiophile vinyl. The intended density of the original mix is intact, and showcases the layered sounds. The horns are amped up, and the bottom end drumming is tough and hard-driving. The organ and piano are understated in the mix. The two most prominent instruments (Delaney and Bonnie’s voices) are front and center, and never overshadowed by the expanded instrumental flourishes. » Robbie Gerson, Audiophile Audition, Apr 5, 2018\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe married couple and musical duo Delaney \u0026amp; Bonnie ignited critics, fans and famous musical colleagues to veritable bursts of exultation. Mick Jagger of the Rolling Stones talked matter-of-factly of »convincing white gospel song«, while Eric Clapton regarded the duo as the »best pop band in the world«. Clapton’s enthusiasm went so far that he invited the pair to accompany him on a peaceful tour of Europe and was booed by German fans because he stood in the background as a mere accompanist and did not play any solos. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe master of the guitar may have had good reasons for staying out of the limelight, if one is to believe the Chicago Daily News, who declared that Delaney \u0026amp; Bonnie were better than Aretha Franklin and Ray Charles together.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIndeed the combined voices in the arrangements are so closely knit that there is not a millimetre of space between the singer and backing. In \"Hard Luck And Troubles\", a dry cantankerous groove, the vocals cling to a sinewy bass line, criss-crossed by short chords on the organ. Gospel is celebrated spiritually, yet not too much so, in a rocking, rhythmic and dense interplay between the soloist and chorus. And what is more: the great ballad, hovering above a vibrating carpet of sound on the organ (\"The Love Of My Man\") and crisp, firm winds (\"Alone Together\") are included in this exquisite collection of great and even great songs.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRatings :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 4 \/ 5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,70\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,49\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40406842900631,"sku":"SD 33-341","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/delaney-and-bonnie-and-friends-to-bonnie-from-delaney-audiosoundmusic-1.jpg?v=1719851606"},{"product_id":"blue-oyster-cult-tyranny-and-mutation","title":"\u003ctranscy\u003eBlue Oyster Cult - Tyranny And Mutation\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eJ. Bouchard (Bass, Vocals, Keyboards), A. Bouchard (Drums, Vocals), D. (Buck Dharma) Roeser (Guitar, Vocals), A. Lanier (Keyboards, Rhythm Guitar), E. Bloom (Vocals, Guitar, Synthesizer)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eAlbert Bouchard (A2, A4, B1, B2, B4), Eric Bloom (A1, A2, B1, B3), Richard Meltzer (A1, B3), Sandy Pearlman (A1, A2, A4, B4), Donald Roeser (A1, A4, B3), Albert Bouchard (A2, A4, B1, B2, B4), Joe Bouchard (A2, A3, A4, B2), Jeff Bouchard (A3), Patti Smith (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve, insert\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: 1972 at Columbia Studios, New York City, by Tim Geelan\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan\u003eProduction: Murray Krugman \u0026amp; Sandy Pearlman\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued August 2016\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Red \u0026amp; The Black\u003c\/li\u003e\n\u003cli\u003eO.D.'d On Life Itself\u003c\/li\u003e\n\u003cli\u003eHot Rails To Hell\u003c\/li\u003e\n\u003cli\u003e7 Screaming Diz-Busters\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBaby Ice Dog\u003c\/li\u003e\n\u003cli\u003eWings Wetted Down\u003c\/li\u003e\n\u003cli\u003eTeen Archer\u003c\/li\u003e\n\u003cli\u003eMistress Of The Salmon Salt (Quicklime Girl)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« On Tyranny and Mutation, Blue Öyster Cult achieved the seemingly impossible: they brightened their sound and deepened their mystique. The band picked up their tempos considerably on this sophomore effort, and producers Sandy Pearlman and Murray Krugman added a lightning bolt of high-end sonics to their frequency range. Add to this the starling lyrical contributions of Pearlman, rock critic Richard Meltzer, and poet-cum-rocker Patti Smith (who was keyboardist Allen Lanier's girlfriend at the time), the split imagery of Side One's thematic, \"The Red\" and Side Two's \"The Black,\" and the flip-to-wig-city, dark conspiracy of Gawlik's cover art, and an entire concept was not only born and executed, it was received. The Black side of Tyranny and Mutation is its reliance on speed, punched-up big guitars, and throbbing riffs such as in \"The Red and the Black,\" \"O.D'd on Life Itself,\" \"Hot Rails to Hell,\" and \"7 Screaming Diz-Busters,\" all of which showcased the biker boogie taken to a dizzyingly extreme boundary; one where everything flies by in a dark blur, and the articulations of that worldview are informed as much by atmosphere as idea. This is screaming, methamphetamine-fueled rock \u0026amp; roll that was all about attitude, mystery, and a sense of nihilistic humor that was deep in the cuff. Here was the crossroads: the middle of rock's Bermuda triangle where BÖC marked the black cross of the intersection between New York's other reigning kings of mystery theater and absurd excess: the Velvet Underground and Kiss -- two years before their first album -- and the \" 'it's all F#$\u0026amp;%* so who gives a rat's ass\" attitude that embodied the City's punk chic half-a-decade later. On the Red Side, beginning with the syncopated striations of \"Baby Ice Dog,\" in which Allen Lanier's piano was as important as Buck Dharma's guitar throb, elements of ambiguity and bluesy swagger enter into the mix. Eric Bloom was the perfect frontman: he twirled the words around in his mouth before spitting them out with requisite piss-and-vinegar, and a sense of decadent dandy that underscored the music's elegance, as well as its power. He was at ease whether the topic was necromancy, S\u0026amp;M, apocalyptic warfare, or cultural dissolution. By the LP's end, on \"Mistress of the Salmon Salt,\" Bloom was being covered over by a kind of aggressively architected psychedelia that kept the '60s at bay while embracing the more aggressive, tenser nature of the times. While BÖC's Secret Treaties is widely recognized as the Cult's classic album, one would do well to consider Tyranny and Mutation in the same light. » AllMusic Review by Thom Jurek\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLet's look back nostalgically to the days when influential DJs presented their precious wares on the radio, which were lapped up by listeners and music pirates alike. That progressive, perhaps psycho, rockers such as the Blue Öyster Cult led a somewhat niche existence makes one all the more eager to listen to the truly awesome discs recorded by this group in their early days. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAn important start was made with the re-release of BÖC's \"Secret Treaties\" (Columbia KC 32858), which is now followed by \"Tyranny And Mutation\" - another great disc. Although the band offers a mix of slightly subdued, milder pieces, the opening number \"The Red \u0026amp; The Black\" makes it fully clear that we are in for a dizzy roller-coaster ride here. Subsequently the Black side with its straightforward guitar riffs is mixed together with a complex melody and results in an amazingly colourful sound (\"O.D.'d On Life Itself\"), it is refreshingly naive, full of feisty complicated rock (\"Baby Ice Dog\"), and soars to celestial heights in \"Wings Wetted Down\" with its polyphonic male voices.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAfter the death of 'Lemmy' Kilmister in 2015, we can now enjoy only one group with a heavy-metal Umlaut in its name. But who wants to wait around until some radio DJ puts this great chunk of meaty rock’n’roll on the turntable?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 4.5 \/ 5  , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,15\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,77\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40410311524503,"sku":"KC 32017","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/blue-oyster-cult-tyranny-and-mutation-audiosoundmusic-1.jpg?v=1719851627"},{"product_id":"elvis-presley-elvis-christmas-album","title":"\u003ctranscy\u003eElvis Presley - Elvis' Christmas Album (Mono)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eElvis Presley - guitar, vocals \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Elvis Presley\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvis-presley\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvis-presley\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Elvis Presley]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe Jordanaires - vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Jerry Leiber (A1), Mike Stoller (A1), Irving Berlin (A2), Gene Autry (A3), Oakley Haldeman (A3), Kim Gannon (A4), Walter Kent (A4), Buck Ram (A4), Bill Hayes (A5), Jay Johnson (A6), Claude Demetrius (A6), Aaron Schroeder (A6), Phillip Brooks (B1), Lewis Redner (B1), Franz Gruber (B2), Joseph Mohr (B2), Rev. Thomas A. Dorsey (B3, B5), Ervin Drake (B4), Irvin Graham (B4), Jimmy Shirl (B4), Al Stillman (B4), Stuart Hamblen (B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1957\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2007\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A : \u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSanta Claus Is Back In Town\u003c\/li\u003e\n\u003cli\u003eWhite Christmas\u003c\/li\u003e\n\u003cli\u003eHere Comes Santa Claus (Right Down Santa Claus Lane)\u003c\/li\u003e\n\u003cli\u003eI'll Be Home For Christmas\u003c\/li\u003e\n\u003cli\u003eBlue Christmas\u003c\/li\u003e\n\u003cli\u003eSanta Bring My Baby Back (To Me)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eO Little Town Of Bethlehem\u003c\/li\u003e\n\u003cli\u003eSilent Night\u003c\/li\u003e\n\u003cli\u003e(There'll Be) Peace in the Valley (For Me)\u003c\/li\u003e\n\u003cli\u003eI Believe\u003c\/li\u003e\n\u003cli\u003eTake My Hand, Precious Lord\u003c\/li\u003e\n\u003cli\u003eIt Is No Secret (What God Can Do)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e« Elvis' 1957 original Christmas album is one of his most inspired early outings and the first time he tackled anything resembling a thematic concept. Split evenly between rockers and bluesy numbers like \"Santa Claus Is Back in Town,\" \"Blue Christmas,\" and \"Santa Bring My Baby Back to Me,\" perennials like \"White Christmas,\" \"I'll Be Home for Christmas,\" and \"Silent Night,\" and straight-ahead gospel favorites like \"I Believe,\" \"Peace in the Valley\" and \"Take My Hand, Precious Lord,\" the disc revealed a different side of the rocker for the first time on a public instead conditioned to expect something outrageous. One of the King's shining moments, this is quite simply still one of the best holiday albums available. » AllMusic Review by Cub Koda\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eWild rock’n’roll and Christian spirituality at Christmastide are impossible to bring together musically, one might think. But Elvis, who in the Fifties was climbing as steadily up the ladder of success as Father Christmas coursed the sky in his sleigh, certainly pulled off this feat in his \"Christmas Album\" with its mixture of popular Christmas songs and seasonal evergreens. The 'King' delivers a rocking version of \"Santa Claus Is Back In Town\" just as successfully as \"Peace In The Valley\", an inspirational gospel song praising nature. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOf course it goes without saying that \"White Christmas\" – the most-recorded Christmas hit, which in the Bing Crosby version alone achieved sales of 35 million – is included on the album. And Elvis’s sentimental interpretation of \"Silent Night\" may well have made its contribution to the immortality of the former truck driver from Tennessee. Back on this earth the original LP exchanges hands for around US$ 500 when the gift tag is still attached. And because it’s Christmas, the coveted sticker can be found on the re-release.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 4.5 \/ 5  ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,90\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,45\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40412734193815,"sku":"LOC-1035","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/elvis-presley-elvis-christmas-album-mono-audiosoundmusic-1.jpg?v=1719851688"},{"product_id":"the-modern-jazz-quartet-the-sheriff","title":"\u003ctranscy\u003eThe Modern Jazz Quartet - The Sheriff \u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003eJohn Lewis (piano)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMilt Jackson (vibraharp) \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Milt Jackson\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/milt-jackson\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/milt-jackson\"\u003e[click here to see more vinyl featuring Milt Jackson]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePercy Heath (bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eConnie Kay (drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by John Lewis (A1, A2, B2), Heitor Villa-Lobos (A3), Fred E. Ahlert (A4), Roy Turk (A4), Leonard Feather (B1), John Lewis (B1), Luiz Bonfá (B3), Ross Jungnickel (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : 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 16 \u0026amp; 17 and December 20, 1963 in New York Cityby \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e Tom Dowd \u0026amp; Phil Iehle, \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 1964\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 2018\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp\u003e                1. The Sheriff\u003c\/p\u003e\n\u003cp\u003e                2. In A Crowd\u003c\/p\u003e\n\u003cp\u003e                3. Bachianas Brasileiras\u003c\/p\u003e\n\u003cp\u003e                4. Mean To Me\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp\u003e                1. Natural Affection\u003c\/p\u003e\n\u003cp\u003e                2. Donnie’s Theme\u003c\/p\u003e\n\u003cp\u003e                3. Carnival\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Recorded in 1963, The Sheriff features the Modern Jazz Quartet in fine swinging form. The program is not as sharply focused as on some of the earlier Atlantic releases, but it is compelling nonetheless. There are four originals by pianist John Lewis, including the fleeting, bluesy title cut, and the moody, spacious \"In a Crowd\" -- originally composed for the 1961 film A Milanese Story. Its stepped-up time signature and series of phrases played by Milt Jackson grounds the tune in blues, but Lewis' solo feels more like a solo trumpet breezing through the center.\u003c\/p\u003e\n\u003cp\u003eThe set includes Heitor Villa-Lobos' \"Bachianas Brasileiras,\" a classical piece the quartet first performed with guitarist Laurindo Almeida. Bassist Percy Heath is stellar here, playing both arco and pizzicato and alternately moving the work forward with deftness and precision. Lewis and Jackson engage in gorgeous counterpoint throughout. It's knotty, but exotic and beautiful. Another Latin-based work here is Luiz Bonfa's brilliant \"Carnival,\" which closes the set. Jackson's melodic interplay with Connie Kay's brushwork is subtle and rich, moving through a series of verses before Jackson takes it to the blues in his solo. Lewis keeps the pulse as Heath underscores the backbeat.\" Thom Jurek\/AMG\u003c\/p\u003e\n\u003cp\u003e\"The Modern Jazz Quartet was an integral part of the\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ecool jazz\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003emovement. With relaxed tempos and formal arrangement (like classical music), this departure from frenetic atonal\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ebebop\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ewas pioneered by Miles Davis. Earlier influences on\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ecool jazz\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eincluded trumpeter Bix Beiderbecke and tenor saxophonist Lester Young. A preference for melodic flows rather than wilder chord manipulations were important characteristics.. Bebop had some of the core elements of cool jazz. This new sound was referred to as softer bebop, but that was oversimplified. Players like Davis, Gill Evans, Lee Konitz, Stan Kenton, Dave Brubeck, Jimmy Giuffre, Paul Desmond, Gerry Mulligan and Zoot Sims were advocates of\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ecool jazz\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003eFans of this group can always expect the unexpected. That’s what they get on “Bachian As Brasileiras”. Written by the legendary Brazilian classical composer Heitor Villa-Lobos, MJQ performed this number with guitarist Laurindo Almeida at the\u003cspan\u003e \u003c\/span\u003e\u003ci\u003e1963 Monterey Jazz Festival\u003c\/i\u003e. The “souped up” jazz version is exhilarating. Lewis and Jackson play in a dynamic counterpoint of classical and blues imagery. Double bassist Percy Heath is extraordinary and diverse (\u003ci\u003epizzicato\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003ci\u003earco\u003c\/i\u003e) and creates an ominous ambience with his bowed play. There is a subtle 3\/4 tempo shift and a Latin-infused ending. Jackson brings the jam to a breathless hush with a reverberating single note. “Mean To Me” has always seemed an unlikely jazz vehicle, but became a standard. Lewis’ chords intermingle seamlessly with Jackson’s sizzling lines that almost reinvent the melody). The slowed-down beginning gets a polyrhythmic “hot” break with Heath’s hard-driving bass and Connie Kay’s superb cymbals and snare.\u003c\/p\u003e\n\u003cp\u003eAnother Lewis opus, “Natural Affection” (composed for the William Inge play of the same name) is pure bossa nova grooves (reflective of 1964). Lewis’ breezy, at times ethereal solo is melodic. He joins the rhythm section in chord progressions against Jackson’s stylized riffs. A second composition from\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eNatural Affection\u003c\/i\u003e, “Donnie’s Theme” opens with Heath in a brief counter with Bags. The quartet morphs into a downbeat jam with vibraphone sustain. Lewis and Jackson blend their simultaneous “dueling solos”. Lewis’ runs are very jazzy and Heath briefly solos to the close. Must of the album’s cuts are concise with the exception of “Bachian As Basileiras’ (5:43) and the ultimate finale, Luiz Bonfa’s “Carnival” (6:06). Also known as “Manha De Carnaval”, this widely renowned theme from\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eBlack Orpheus\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003ehas enjoyed several celebrated\u003ci\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003eversions, but this is one is memorable. There is unadulterated MJQ mojo, with all four members playing cohesively. Jackson’s initial solo approximates the core melody before the improvisational transition. Lewis is not as flashy, but injects a winsome lyricism that permeates the song. Bags returns for a second definitive run with a glowing echo at the end.\u003c\/p\u003e\n\u003cp\u003ePure Pleasure Records has re-mastered \u003ci\u003eThe Sheriff \u003c\/i\u003eto vibrant 180-gram vinyl. The integrity of Tom Dowd’s (record producer and engineer whose decades-long career is beyond legendary) source engineering is captured with integrity. The stereo separation is flawless (with vibes on left and piano on right). The idiosyncratic tonalities of the vibraphone are all there, including the precise crispness and looser vibrato. The studio effects have echo and reverberation, but in measured amounts. The original packaging with the “high fidelity” references to R.I.A.A. high-frequency roll-off and 500 cycle crossover are a glimpse into vintage recording. As indicated previously, Leonard Feather’s incisive liner notes are brilliant, as is the “Modern Art” cover.\" Audiophile Audition \u003cspan data-mce-fragment=\"1\"\u003eAugust 2018 by Robbie Gerson\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":40442290602135,"sku":"SD-11414","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-the-sheriff-audiosoundmusic-1.jpg?v=1719851785"},{"product_id":"solomon-burke-king-solomon","title":"\u003ctranscy\u003eSolomon Burke - King Solomon\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003eComposed by : Roebuck Staples (A1), Dan Penn (A2), Spooner Oldham (A2), Mickey Newbury (A3), J. W. Alexander (A4), Bert Berns (A5), Dan Dill (A6), Mel Tillis (A6),  Alvertis Isbell (B1), Eddie Floyd (B1), Solomon Burke (B1, B6), Don Covay (B2), Carolyn Varga (B3), Charles Derrick (B4), Belford Hendrix (B5), Brook Benton (B5), Clyde Otis (B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : 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\u003eProducers\u003c\/strong\u003e\u003cspan\u003e \u003cstrong\u003e:\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e Bert Berns (A5), Bob Gallo (A4, B6), Dan Penn (A2), Jerry Wexler (A1, A3, A6, B1 to B5), Lincoln Moman (A2)\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-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. It's Been A Change\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Take Me (Just As I Am)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Time Is A Thief\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Keep A Light In The Window\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. Baby, Come On Home 6. Detroit City\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B : \u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Someone Is Watching\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Party People\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. When She Touches Me (Nothing Else Matters)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Woman, How Do You Make Me Love You Like You Do\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. It's Just A Matter Of Time 6. Presents For Christmas\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Pure Pleasure Records has released a 180-gram re-mastered vinyl of a seminal Atlantic album, \u003ci\u003eKing Solomon\u003c\/i\u003e. Originally recorded in 1968, it represented a comeback for the “King”. This album is a primer for gospel-based r \u0026amp; b. Side 1 gets off to a rousing start with a cover of Pops Staples’ “It’s Been A Change”. Solomon brings a hard-driving “testimony” approach to this interpretation with his emotional vocals. The backup singers contribute to the gospel permeation. With a slow-burning intensity, “Take Me (Just As I Am)” is exemplary “sweet soul music” with organ shading. Solomon bares his soul and manages to give a nod to Wilson Pickett, Joe Tex and Otis Redding before the big wailing finish. “Time Is A Thief” was a hit for country artist Mickey Newbury. The King intermingles soul and country as effectively as Ray Charles. There has always been a link between these genres.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSwitching gears, Don Covey’s “Party People” is a finger-snapping, good-time stroll line. The jaunty tempo is refreshing. Slowing it way down, “When She Touches Me (Nothing Else Matters)” exudes rawness as Burke bares his heart and soul (“…She’s mean to me, but when she touches me, nothing else matters…”) in a superb recreation of the healing power of love. The soul-balladry angst fits Burke’s vocal range. “How Do You Make You Love You Like You Do” is dynamic in its embrace of painful dedication. Burke infuses Brooke Benton’s mellow “It’s Just A Matter Of Time” with palpable gospel roots. The arrangement has great string accents and wonderful back up singing. The overall intensity build up makes this a “King Solomon” translation.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eIt is hard to fathom how a singer this talented never became a major star (and legendary producer Jerry Wexler agrees). He did not receive a \u003ci\u003eGrammy\u003c\/i\u003e until 2003. Pure Pleasure Records has done a superior job in re-mastering King Solomon to 180-gram vinyl. The overall mix is balanced with Burke’s soulful voice in the front. Both the grittiness and fluid tonality of Burke are captured with a radiating warmth. All of the instrumentation is folded in to surround the vocals.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLong live the King Of Rock ’N’ Soul!\" \u003c\/em\u003e\u003cem\u003e\u003cspan\u003eAudiophile Audition\u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003eAugust 2018 by Robbie Gerson\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\"With his big, powerful voice and fervent but controlled emotionality, Solomon Burke was one of the early pioneers of soul music, though his contributions were not fully recognized until the new millennium, when he belatedly won his first Grammy.\u003cbr\u003eBy the age of nine, Solomon Burke (b. March 21, 1940, Philadelphia, PA) was a preacher and choir soloist at his family's Philadelphia church, the House of God for All People. At twelve he began hosting his own gospel radio show, \"Solomon's Temple\", and touring the gospel circuits billed as the \"Wonder Boy Preacher\". In 1955 he began recording both religious and secular music for Apollo and Singular before signing with Atlantic Records in 1960.\u003cbr\u003e\u003cbr\u003eAt Atlantic Burke made some of the first soul records by setting his gospel 'preaching' style in song forms borrowed from R\u0026amp;B, rock \u0026amp; roll and other secular music styles. He was a major influence on Mick Jagger, who covered Burke-related songs \"You Can Make It If You Try\", \"Everybody Needs Somebody To Love\", \"If You Need Me\" and \"Cry To Me\" on early Rolling Stones albums. Otis Redding also covered Burke's R\u0026amp;B variation on the traditional folk ballad \"Down In the Valley\".\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eDiscogs : 4.2 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40442415841431,"sku":"PPAN SD18158","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/solomon-burke-king-solomon-audiosoundmusic-1.jpg?v=1719851785"},{"product_id":"the-modern-jazz-quartet-pyramid","title":"The Modern Jazz Quartet - Pyramid","description":"\u003cp\u003e\u003cstrong\u003eJohn Lewis (piano),  Milt Jackson (vibraharp), Percy Heath (bass), Connie Kay (drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by John Lewis (A1, B1), Ray Brown (A2), Duke Ellington (A3), Irving Mills (A3), Nancy Hamilton (B2), Morgan Lewis (B2), Jim Hall (B3)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 Music Inn, Lennox \u0026amp; Capitol Studios, New York, \u003c\/strong\u003e\u003cstrong\u003ein \u003cspan data-mce-fragment=\"1\"\u003eAugust 22, 1959 \u0026amp; January 15, 1960\u003c\/span\u003e by \u003c\/strong\u003e\u003cstrong\u003eTom Dowd, Earle Brown \u0026amp; Johnny Cue\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 1960\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued August 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRe-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e1. Vendome\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e2. Pyramid\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e3. It Don’t Mean A Thing (If It Ain’t Got That Swing)\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e1. Django\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e2. How High The Moon\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e3. Romaine\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« This is a strong recording from the Modern Jazz Quartet, with inventive versions of John Lewis' \"Vendome,\" Ray Brown's \"Pyramid,\" Jim Hall's \"Romaine,\" and Lewis' famous \"Django,\" along with cooking jams on \"How High the Moon\" and \"It Don't Mean a Thing.\" The MJQ had become a jazz institution by this time, but they never lost their creative edge, and their performances (even on the remakes) are quite stimulating, enthusiastic, and fresh. » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e\"Musically, “Pyramid” is among the best titles the MJQ ever recorded. Six tunes, including their masterpiece, John Lewis’s “Django,” Ray Brown’s title tune (which clocks in at just under 11 swinging minutes), Jim Hall’s “Romaine,” Lewis’s “Vendrome,” and two standards, “It Don’t Mean A Thing (If It Ain’t Got That Swing)” and “How High The Moon.” And while each track is of top quality, the real standout’s here are “Django” (and this may be the ultimate recording of this most popular MJQ tune) and “Pyramid.” And this title, remastered by Ray Staff at Air Mastering in London (Ray does much of his best work for Pure Pleasure), is THE copy any lover of jazz and fan of the Modern Jazz Quartet will want to own. It takes what was a classic jazz title and breathes new life into it, thereby ensuring that the listener will get as close to the music as possible. \u003cem data-mce-fragment=\"1\"\u003eIt’s albums like this one that teach us why we owe a huge debt of gratitude to those reissue companies like Pure Pleasure for bringing us quality pressings of musical titles that might otherwise be lost to time. Don’t miss this one, you’ll kick yourself forever if you do.\"  John Crossett June 2017\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eWith such a tight group as the MJQ is is impossible to single out individual musicians which probably accounts for their long lived success.\u003c\/p\u003e\n\u003cp\u003e\"This is a strong recording from the Modern Jazz Quartet, with inventive versions of John Lewis' \"Vendome,\" Ray Brown's \"Pyramid,\" Jim Hall's \"Romaine,\" and Lewis' famous \"Django,\" along with cooking jams on \"How High the Moon\" and \"It Don't Mean a Thing.\" The MJQ had become a jazz institution by this time, but they never lost their creative edge, and their performances (even on the remakes) are quite stimulating, enthusiastic, and fresh.\" - Scott Yanow - AMG\u003cbr\u003e\u003cbr\u003e\"Every track is a gem, the stand out track being \"Django\" (recorded many times; is this the definitive version? I think so). The title track (written by Ray Brown) is \"Pyramid\" (11 min) which is also a pearl.\"\u003cspan\u003e - R Bawden\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis is a strong recording from the Modern Jazz Quartet, with inventive versions of John Lewis' \"Vendome,\" Ray Brown's \"Pyramid,\" Jim Hall's \"Romaine,\" and Lewis' famous \"Django,\" along with cooking jams on \"How High the Moon\" and \"It Don't Mean a Thing.\" The MJQ had become a jazz institution by this time, but they never lost their creative edge, and their performances (even on the remakes) are quite stimulating, enthusiastic, and fresh. Scott Yanow\/AMG\u003c\/p\u003e\n\u003cp\u003eEvery track is a gem, the stand out track being \"Django\" (recorded many times; is this the definitive version? I think so). The title track (written by Ray Brown) is \"Pyramid\" (11 min) which is also a pearl. R Bawden\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\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":40527657435287,"sku":"SD1325","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-pyramid-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":"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":"jimmy-giuffre-with-bob-brookmeyer-jim-hall-western-suite","title":"Jimmy Giuffre with Bob Brookmeyer \u0026 Jim Hall - Western Suite","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eJimmy Giuffre (clarinet, tenor saxophone, baritone saxophone) \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Jimmy Giuffre\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/jimmy-giuffre\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/jimmy-giuffre\"\u003e[click here to see more vinyl featuring Jimmy Giuffre]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJim Hal (guitar)\u003cspan data-mce-fragment=\"1\"\u003e \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Jim Hall\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/jim-hall\" style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/jim-hall\" data-mce-fragment=\"1\"\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\u003e\u003cstrong\u003eBob Brookmeyer (trombone)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eComposed and arranged by Jimmy Giuffre\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : December 3, 1958, Atlantic Studios, NYC and Lenox, MA, by Heinz Kubicka, Herb Kaplan, and Tom Dowd\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduction: Nesuhi Ertegun\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1960\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\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePony Express\u003c\/li\u003e\n\u003cli\u003eApaches\u003c\/li\u003e\n\u003cli\u003eSaturday Night Dance\u003c\/li\u003e\n\u003cli\u003eBig Pow Wow\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTopsy\u003c\/li\u003e\n\u003cli\u003eBlue Monk\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« Pure Pleasure has decided to tackle a difficult target with this excellent release. Giuffre started out as a swing band saxophone player who developed into a. avant-garde artist best known for his clarinet playing-not exactly a formula for big record sales. Giuffre came out of the cool jazz left coast tradition to play with a shifting group of like-minded improvisation artists, including Paul Bley, Steve Swallow, and Jim Hall. They were at their apex in the early 1960s with a string of releases on Verve and Columbia. He had recently began touring with a rhythm-less group, replacing Pena with a trombonist Bob Brookmeyer.\u003c\/p\u003e\n\u003cp\u003eThe trio plays quiet, haunting music that, is not as challenging as Giuffre’s masterpiece Free Fail , three years in the future, is also more approachable. Sounding redolent of ECM sound, the ambiguous instrumental timbres signal a freedom from jazz’s strictures of the 1950s and a direction that still sounds modern and familiar more than a half century later. Pure Pleasure’s 180-gram reissue, mastered by Ray Staff at Air Mastering, presents a nice stereo image, better than average for 1958.\" \u003cspan data-mce-fragment=\"1\"\u003eThe Ear by Jason Kennedy November 2015\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« In late 1957, jazz saxophonist, clarinetist, composer, and iconoclast Jimmy Giuffre broke up the original Jimmy Giuffre 3 with Ralph Pena and Jim Hall. In early 1958, for a recording session, he formed a new trio without a rhythm section. For the album Trav'lin' Light, his new trio included Hall on guitar and the underrated trombone giant Bob Brookmeyer. For a year, they gigged together up and down the West Coast and played summer festivals, recorded, and even played clubs in New York. They became a trio of adventurous musicians for whom form was not an obstacle to creativity. As the year wound down, Giuffre wanted to document the trio once more, sensing its life was coming to an end. He composed the four-movement \"Western Suite\" with the trio's strengths in mind, as a way of documenting how they had come together as a band during that year. The piece itself stands as a crowning achievement in a career that included discovering the talents of Steve Swallow and Paul Bley and making the truly revolutionary recording Free Fall for Columbia three years later. The roots of that thinking lie in this set. Jim Hall's playing was dark, funky, ambiguous, sounding like drums and voices all at the same time -- particularly in the fourth movement. Brookmeyer became the pace setter. His lines were played as stage settings for the other two players to dialogue and narrate against. Giuffre, ever the storyteller, advanced the improvisation angle and wrote his score so that each player had to stand on his own as part of the group; there were no comfort zones. Without a rhythm section, notions of interval, extensions, interludes, and so on were out the window. He himself played some of his most retrained yet adventurous solos in the confines of this trio and within the form of this suite. It swung like West Coast jazz, but felt as ambitious as Copland's Billy the Kid. The record is filled out with two other tunes, one of Eddie Durham's, \"Topsy,\" and the final moment of mastery this band ever recorded, the already classic \"Blue Monk.\" The easy stroll of the front line with Brookmeyer's trombone strutting New Orleans' style is in sharp contrast to Giuffre's clarinet playing. Which carries the bluesy melody through three harmonic changes before he solos and then plays three more. Hall keeps it all on track, and somehow the piece sounds very natural this way, though unlike \"Monk,\" there are no edges here -- everything is rounded off. This is as solid as any of the earlier or later Jimmy Giuffre 3 records, and two notches above Trav'lin' Light in that it reveals a fully developed sense of the responsibilities, possibilities, and freedoms of reinventing jazz for the trio. »  AllMusic Review by Thom Jurek\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllmusic : 4 \/ 5 , \u003cspan data-mce-fragment=\"1\"\u003eThe Ear by Jason Kennedy : \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecording 8\/10 Music 9\/10\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40533038825623,"sku":"PPAN SD 1330","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/jimmy-giuffre-with-bob-brookmeyer-and-jim-hall-western-suite-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":"stacey-kent-the-changing-lights","title":"Stacey Kent - The Changing Lights (2LP)","description":"\u003cp\u003e\u003cstrong\u003eStacey Kent - vocals, guitar C2) \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\u003e\u003cstrong\u003eJim Tomlinson (tenor saxophone, soprano saxophone, flute), Graham Harvey (piano), Fender Rhodes, Roberto Menescal (guitar : B3, D3), John Parricelli (guitar : A2, A3, B1, B2, C1, D1, D4), Jeremy Brown (double bass), Matt Home (drums : A1, C1, C2, D2), Joshua Morrison (drums : A2, A3, B1, B2, D1, D4), Raymundo Bittencourt (ganza : B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eTom Jobim (A1), Gene Lees (A1), Vinícius de Moraes (A1, C2), Kazuo Ishiguro (A2, B2, C1), Jim Tomlinson (A2, B1, C1, D3, D4), Tom Jobim (A3), Newton Mendonça (A3), Antonio Ladeira (B1, B2), Ronaldo Bôscoli (B3), Roberto Menescal (B3), Norman Gimbel (C2), Tom Jobim (C2), Aldir Blanc (C3), João Bosco (C3), Charlie Chaplin (C3), Geoffrey Parsons (C3), Alan Bergman (D1), Marilyn Bergman (D1), Dori Caymmi (D1), Nelson Motta (D1), Norman Gimbel (D2), Carlos Pingarilho (D2), Marcos Valle (D2), Paulo Sérgio Valle (D2), Antonio Ladeira (D3), Bernie Beaupere (D4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\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 between November 2012 and April 2013 at the Curtis Schwartz Studios, Ardingley, Sussex, UK , the O Barquinho Studios, Rio De Janeiro and the Stirling Studios, Colorado\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 2013\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRe-Mastering by Ray Staff at Air Mastering Studios\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in July 2014\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThis Happy Madness (Antônio Carlos Jobim, Vinicius de Moraes, Gene Lees)\u003c\/li\u003e\n\u003cli\u003eThe Summer We Crossed Europe In The Rain (Kazuo Ishiguro, Jim Tomlinson)\u003c\/li\u003e\n\u003cli\u003eOne Note Samba \/ Samba De Uma Nota Só (Antônio Carlos Jobim, Newton Mendonça)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMais Uma Vez (António Ladeira, Jim Tomlinson)\u003c\/li\u003e\n\u003cli\u003eWaiter, Oh Waiter (Kazuo Ishiguro, Jim Tomlinson)\u003c\/li\u003e\n\u003cli\u003eO Barquinho (Ronaldo Bôscoli, Roberto Menescal)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Changing Lights (Kazuo Ishiguro, Jim Tomlinson)\u003c\/li\u003e\n\u003cli\u003eHow Insensitive (Antônio Carlos Jobim, Vinicius de Moraes, Norman Gimbel)\u003c\/li\u003e\n\u003cli\u003eO Bêbado E A Equilibrista \/ Smile (Aldir Blanc, João Bosco \/ Charles Chaplin, Geoffrey Parsons, John Turner)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLike A Lover (Nelson Motta, Dori Caymmi, Alan and Marilyn Bergman)\u003c\/li\u003e\n\u003cli\u003eThe Face I Love (Marcos Valle, Paulo Sérgio Valle, Carlos Pingarilho, Ray Gilbert)\u003c\/li\u003e\n\u003cli\u003eA Tarde (António Ladeira, Jim Tomlinson)\u003c\/li\u003e\n\u003cli\u003eChanson Légère (António Ladeira, Jim Tomlinson)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"FR\"\u003e\u003cspan\u003eS\u003c\/span\u003etacey Kent's latest recording again demonstrates her vocal mastery. The immaculate intonation, timing and diction are flawless to the point of sheer purity. Her voice becomes an instrument with impeccable clarity and minimal vibrato.\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"FR\"\u003eThe album’s musical focus is Brazilian, mixing classics with originals, while switching smoothly between English, Portuguese and French.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"FR\"\u003eThere are covers of Bossa Nova numbers from Tom Jobim, Roberto Menescal, Marcos Valle and others. Highlights include Jobim's How Insensitive, which is quietly and intensely melancholic, whilst the Jobim classic, One Note Samba, is given a cheeky up-tempo treatment. It is a difficult number to handle at such pace with the short-spaced, almost staccato notes. Stacey effortlessly takes the scale runs in her stride. Roberto Menescal’s O Barquinho is given a fresh arrangement and is performed by the composer himself on guitar.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"FR\"\u003eSix originals by Jim Tomlinson make up the rest of the album, three written with novelist and lyricist, Kazuo Ishiguro; the sublime title song, The Changing Lights, The Summer We Crossed Europe in the Rain, a story gracefully sung by Ms Kent and Waiter, Oh Waiter, a neat and jaunty request for help in choosing from a French menu. Two songs in Portuguese, Mais Uma Vez and A Tarde, written with poet, Antonio Ladeira, and Chanson Légère, written with Bernie Beaupère, who penned the title track to Stacey’s Raconte-Moi, add yet more flavours to the album.\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"FR\"\u003eThe arrangements and accompaniment of producer and husband, Jim Tomlinson are outstanding. The rhythm section is wonderfully subtle with praise for the percussionists, Josh Morrison and Matt Home, pianist Graham Harvey, bassist, Jeremy Brown and the guitarists, Roberto Menescal and John Parricelli. However, The Changing Lights is Stacey Kent's record first and foremost; impressive and top class.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"FR\"\u003eExplaining his and Stacey's musical process, Tomlinson elaborates on Kazuo Ishiguro's thoughts in his liner note of Stacey's 2001 Candid album, In Love Again. \"Stacey's style reminds me of the best film actors who, on camera, develop a very different style to that of stage actors who are required to project their voices and gestures in order to express themselves across the space of the theatre. In film, an actor can do a lot with very little, whether in terms of expression, gesture, inflection or tone of voice. With Stacey, I believe that we create music in the same way, where even the smallest gestures have great emotional significance.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"FR\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"FR\"\u003eDiscogs : 4.06 \/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40536902860951,"sku":"PPAN 17529","price":52.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/stacey-kent-the-changing-lights-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":"booker-little-out-front","title":"Booker Little - Out Front (Pure Pleasure)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eBooker Little - trumpet \u003ca title=\"vinyl featuring Booker Little\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/booker-little\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Booker Little]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEric Dolphy - alto, bass clarinet, flute \u003ca title=\"vinyl featuring Eric Dolphy\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/eric-dolphy\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/eric-dolphy\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Eric Dolphy]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMax Roach - drums, tympani, vibes \u003ca title=\"Vinyl featuring Max Roach\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/max-roach\" data-mce-fragment=\"1\" target=\"_blank\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/max-roach\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Max Roach]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRon Carter - bass (A1, B1, B2, B3) \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e\u003ca style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ron-carter\" title=\"Vinyl featuring Ron Carter\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ron-carter\" data-mce-style=\"color: #ff8000;\"\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\u003eArt Davis - bass (A2, A3, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJulian Priester - trombone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDon Friedman - piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eComposed by Booker Little\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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, 17 \u0026amp; April 4, 1961\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cstrong\u003eRecording engineer : 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\u003eOriginally released in 1961\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cstrong\u003eRe-mastering by Graeme Durham\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cstrong\u003eReissued in 2007\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrack :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003eSide A :\u003cbr\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;\"\u003e1. We Speak\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Strength And Sanity*\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Quiet, Please\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Moods In Free Time*\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Man Of Words*\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Hazy Hues*\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. A New Day\u003c\/div\u003e\n\u003cp\u003e \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Booker Little was the first trumpet soloist to emerge in jazz after the death of Clifford Brown to have his own sound. His tragically brief life (he died at age 23 later in 1961) cut short what would have certainly been a major career. Little, on this sextet date with multi-reedist Eric Dolphy, trombonist Julian Priester, and drummer Max Roach, shows that his playing was really beyond bebop. His seven now-obscure originals (several of which deserve to be revived) are challenging for the soloists and there are many strong moments during these consistently challenging and satisfying performances. » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe brilliant young post-bop trumpeter Booker Little is heard here accompanied by an all-star band, including the saxophonist Eric Dolphy, the bassist Ron Carter and the drummer Max Roach, on a set that combines elements of bop and cool jazz, as well as Little's own imaginative flourishes, which display an authority and potential far beyond his mere 23 years.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eRating\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40541729685655,"sku":"CJS9027","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/booker-little-out-front-pure-pleasure-audiosoundmusic-1.jpg?v=1719851868"},{"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":"jazz-artists-guild-newport-rebels","title":"Jazz Artists Guild (featuring Charles Mingus, Max Roach, Eric Dolphy, Roy Eldridge \u0026 Jo  Jones) - Newport Rebels (Pure Pleasure)","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eCharles Mingus - bass (A1, B1, B3) \u003ca title=\"All vinyl featuring Charles Mingus\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/charles-mingus\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/charles-mingus\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Charles Mingus]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eEric Dolphy - alto saxophone (A1, 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\u003eTommy Flanagan (A1, B1, B3) \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\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMax Roach - Drums (A2) \u003ca title=\"Vinyl featuring Max Roach\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/max-roach\" data-mce-fragment=\"1\" target=\"_blank\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/max-roach\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Max Roach]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eJo Jones - drums (all tracks)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRoy Eldridge - trumpet (A1, B1, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eJimmy Knepper - trombone (A1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eKenny Dorham - piano (B2) \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca title=\"Vinyl featuring Kenny Dorahm\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/kenny-dorham\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/kenny-dorham\"\u003e[click here to see more vinyl featuring Kenny Dorham]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBooker Little - trumpet (A2) \u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/booker-little\" title=\"vinyl featuring Booker Little\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/booker-little\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Booker Little]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJulian Priester - trombone (A2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWalter Benton - tenor saxophone (A2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn \"Peck\" Morrison - bass (A2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbbey Lincoln - vocal (B2)\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBenny Bailey - trumpet (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn \"Peck\" Morrison - bass (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eComposed by Charles Mingus (A1, B3), Booker Little (A2), Billy Moll (B1), Harry Barris (B1), Ted Koehler (B1), Everett Robbins (B2), Porter Grainger (B2), Jo Jones (B3), Roy Eldridge (B3), Tommy Flanagan (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive (A2, B2) \u0026amp; Studio (A1, B1, B3)\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\u003eA2, B2 : Recorded at the Newport Jazz Festival, Newport, Rhode Island on November 1\u003csup\u003est\u003c\/sup\u003e 1960\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA1, B1, B3 : Recorded at Nola Penthouse Studios, New York City, November 11\u003csup\u003eth\u003c\/sup\u003e 1960\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Bob d’Orléans\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Nat Hentoff\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLiner Notes by Nat Hentoff\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDesign by Frank Gauna\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1961\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2006\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Mysterious Blues\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Cliff Walk \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Wrap Your Troubles In Dreams (And Dream Your Troubles Away)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. ‘Tain’t Nobody’s Bizness If I Do\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Me and You\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\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eIncluded in Fred Kaplan's \"Best-Sounding Jazz LPs\"\u003c\/strong\u003e\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\"...The sound has that live excitement. When Lincoln sings, she's not hyped upfront; she seems a part of the band, and her voice breathes through the ensemble. Pure Pleasure is a new label (distributed in the U.S. by Analogue Productions), and this is a splendid reissue.\" - Fred Kaplan, \u003c\/span\u003e\u003cem\u003eThe Absolute Sound\u003c\/em\u003e\u003cspan\u003e, December 2005\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"In 1960 bassist Charles Mingus helped to organize an alternative Newport Jazz Festival in protest of Newport's conservative and increasingly commercial booking policy. The music on this LP (which has been reissued on CD) features some of the musicians who participated in Mingus's worthy if short-lived venture. Trumpeter Roy Eldridge performs three numbers with pianist Tommy Flanagan, Mingus and drummer Jo Jones; of greatest interest is \"Mysterious Blues\" for it adds trombonist Jimmy Knepper and the unique altoist Eric Dolphy successfully to the group. The other selections match up drummers Max Roach and Jo Jones with Roach's quintet (featuring trumpeter Booker Little) on \"Cliff Walk\" and feature singer Abbey Lincoln on \"Tain't Nobody's Bizness If I Do.\" AllMusic Review by Scott Yanow.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFrom the original liner notes by  producer Nat Hentoff : \"\u003c\/span\u003eThe one positive accomplishment of the 1960 Newport Festival was the creation in rebellion of a musicians’ festival at Cliff Walk Manor. As the “official” rites were ending because of ugly rioting in the streets several hundred people were listening in calm and pleasure to the rebels at Cliff Walk. The dissidents had been organized by Charles Mingus and Max Roach in protest against the accelerating commercialization of the annual Ben-Hur-with-a-horn production of Freebody Park. It was exhilarating for the musicians involved to realize that for once in their careers, they were capable of formulating and sustaining their own ground rules without booking agents, impressarios, and other middlemen.\u003c\/p\u003e\n\u003cp\u003eThe rebels set up their own tents for sleeping quarters, even stitching the canvas themselves; handled advertising and promotion; alternated as announcers of the rebels; and took tickets. (Mr. Mingus roamed the grounds besides, asking for payment from freeloaders outside the fence).\u003c\/p\u003e\n\u003cp\u003eParticularly heartening was the fact that the protestants included musician of several age groups and many styles, oneof the few times in recent jazz history in which a spontaneous co-operative undertaking had united a broad range of jazzmen. “The big festival forgot about the music,” Jo Jones was explaining between sets at Cliff Walk one night. “But these little kiddies,” he pointed to several modernist on stand, “have to get a chance to be heard. That’s one reason we did this.” But the older men had also deserved longer and freer playing time than the “big festival” had provided, and one of the joys of the Cliff Walk concerts was the presence of Jones, Roy Eldridge, and Coleman Hawkins. Hawkins was one of the more determined rebels. Roy had at first decided not to join in. “My fighting days are over,” he sighed at one point. But the defiant spirits of the others finally bore him along too. I particularly remember Roy and Jo Jones playing an especially relaxed set with the sea and the beach as a backdrop. “Now this,” said Charlie Mingus with satisfaction, “is what Newport jazz was supposed to be”.\u003c\/p\u003e\n\u003cp\u003eThe quartet version of Wrap Your Troubles In Dreams has an incisive but relaxed Roy; and a nimble, soft-shoe-like solo by the former dancer Jo Jones. (“I’ll dance a chorus,” said arranger Jones.) The closing exchange between Roy and Mingus recalls the time many years before when Mingus was at Jefferson High School in Los Angeles and he and Roy had a non-musical conversation that was to influence Mingus strongly. Roy appeared as guest artist with backing by the high school band. “One of the kids in the band, a Negro, was putting down the older guys like Roy,” Mingus remembers. “He said they couldn’t play in tune, couldn’t play in a section, and that they weren’t trained at all. He was impressed by the white technicians. He’d written a little thing for Roy to play, and Roy preferred not to. . I told Roy something of what this guy had said about him, and Roy answered: “You see this horn. I play what I feel on it. That’s jazz. You’d better find out about the music of your people. Someday you’re going to thank me for talking to you like this.” Mingus has.\u003c\/p\u003e\n\u003cp\u003e Also at Cliff Walk was Abbey Lincoln, who in the past year has broken completely free of her former image as a sultry supper club puppet and is now bitingly, boldly herself. Her pungent, proudly self-assertive Tain’t Nobody’s Bizness here is one of her freest performances on record (for more, listen to her album. STRAIGHT AHEAD, CANDID 9015). Note too, the stinging commentary of Eric Dolphy and Benny Bailey. (For a full set of the strikingly expressive Benny Bailey there is BIG BRASS, CANDID 9011.) Me And You was the last number of the Mingus-Eldridge session. Roy, seated at ease, was in a mood to play all night, but Jo Jones had a gig. “O.K.,” said Roy, “let’s just play the blues”.\u003c\/p\u003e\n\u003cp\u003eThe result is an extraordinarily full-bodied and fiery Eldridge performance. (“Yeah, baby!” exclaims Mingus at the end.) The Newport rebellion is over, but its crackling spirit was caught alive here.\"\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eDiscogs : 4.62 \/ 5 ; AllMusic : 3 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40541855744151,"sku":"CJS9022","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/jazz-artists-guild-featuring-charles-mingus-max-roach-eric-dolphy-roy-eldridge-and-jo-jones-newport-rebels-pure-pleasure-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":"lightnin-hopkins-lightnin-in-new-york","title":"Lightnin' Hopkins - Lightnin' In New York","description":"\u003cp\u003e\u003cstrong\u003eLightnin' Hopkins (Vocal, Guitar and Piano) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/lightnin-hopkins\" title=\"vinyl featuring Lightnin' Hopkins\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/lightnin-hopkins\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Lightnin' Hopkins]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eComposed by Lightnin' Hopkins\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : 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, 15th November 1960 by \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\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\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan\u003eRe-mastered by Ray Staff at Alchemy\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 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\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2006\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan face=\"Times New Roman\"\u003e1. Take It Easy\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan face=\"Times New Roman\"\u003e2. Mighty Crazy\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan face=\"Times New Roman\"\u003e3. Your Own Fault, Baby, To Treat Me The Way You Do\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan face=\"Times New Roman\"\u003e4. I’ve Had \u003c\/span\u003eMy Fun If I Don’t Get Well No More\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\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan face=\"Times New Roman\"\u003e1. The Trouble Blues\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan face=\"Times New Roman\"\u003e2. Lightnin’s Piano Boogie\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan face=\"Times New Roman\"\u003e3. Wonder Why\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan face=\"Times New Roman\"\u003e4. Mister Charlie\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan face=\"Times New Roman\"\u003e5. Black Cat\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 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 :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\"\u003cspan data-mce-fragment=\"1\"\u003eWowsa. This is one GREAT album!…I think when you hear this record you’ll get a good idea why I am so smitten with the blues…For what it’s worth, this Pure Pleasure release destroys the UK Barnaby issues…Highest recommendation.” Richard Foster, \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eHi-Fi+\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e, Issue 41\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\"Lightnin’\u003cspan\u003e \u003c\/span\u003eHopkins\u003cspan\u003e \u003c\/span\u003ewas one of the most over-recorded artists in the blues genre. The recordings here were made at a pivotal moment in his career. In 1960, at 48 years old, he was no longer a star in the black community, but was becoming a folk legend. His deeply personal music not only reflected the experiences of his community but touched a universal nerve.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003eChris Strachwitz, who often recorded\u003cspan\u003e \u003c\/span\u003eHopkins, has called his records “brief audio snapshots of one of the great folk poets to emerge from the African-American experience in\u003cspan\u003e \u003c\/span\u003eTexas.” When he died in 1982 he had recorded well over 600 “audio snapshots”. From his prolific output this Candid session ranks amongst his finest and most intimate work.\" Mark A Humphrey\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\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\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eHi-Fi+ : Recording = 9.5 \/ 10 Music = 10 \/ 10\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":40542254530711,"sku":"CJS9010","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/lightnin-hopkins-lightnin-in-new-york-audiosoundmusic-1.jpg?v=1719851878"},{"product_id":"copy-of-the-beach-boys-pet-sounds","title":"\u003ctranscy\u003eThe Beach Boys - Pet Sounds (1LP, Stereo, 33 tours, 180g)\u003c\/transcy\u003e","description":"\u003cp data-mce-fragment=\"1\" style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003e\u003ca title=\"vinyl featuring The Beach Boys\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring the Beach Boys]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003ePerformed by The Beach Boys : Brian Wilson (vocals, bass guitar, keyboards), Mike Love (vocals, percussion, saxophone, Electro-Theremin), Al Jardine (vocals, rhythm guitar, bass guitar), Bruce Johnston (vocals, keyboards, bass guitar), Dennis Wilson (vocals, drums, keyboards).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Brian Wilson (all tracks), Tony Asher (A1, A2, A3, A4, B1, B3, B4, B6), Mike Love (A5), Michael Ruff (A3), Terry Sachen (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, Stoughton tip-on jackets\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003cbr\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\u003eStudi\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded July 12, 1965 - April 13, 1966 at Columbia Studios (Hollywood, CA), Gold Star Recording Studios (Hollywood, CA), Sunset Sound Studios (Los Angeles, CA), Western Studios (Los Angeles, CA)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMastered by Kevin Gray \u003cb data-mce-fragment=\"1\"\u003eat Cohearent Audio\u003c\/b\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginally issued on May 16th, 1966 in mono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eReissued in 2016\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWouldn’t It Be Nice\u003c\/li\u003e\n\u003cli\u003eYou Still Believe In Me\u003c\/li\u003e\n\u003cli\u003eThat’s Not Me\u003c\/li\u003e\n\u003cli\u003eDon’t Talk (Put Your Head On My Shoulder)\u003c\/li\u003e\n\u003cli\u003eI’m Waiting For The Day\u003c\/li\u003e\n\u003cli\u003eLet’s Go Away For Awhile\u003c\/li\u003e\n\u003cli\u003eSloop John B\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGod Only Knows\u003c\/li\u003e\n\u003cli\u003eI Know There’s An Answer\u003c\/li\u003e\n\u003cli\u003eHere Today\u003c\/li\u003e\n\u003cli\u003eI Just Wasn’t Made For These Times\u003c\/li\u003e\n\u003cli\u003ePet Sounds\u003c\/li\u003e\n\u003cli\u003eCaroline No\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003eRolling Stone 500 Greatest Albums of All Time - Rated 2\/500\u003cbr\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003e\u003cbr\u003eRolling Stone 500 Greatest Songs of All Time - \"Sloop John B\" - Rated 278\/500\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 61\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"one of the most innovative recordings in rock\", 101 Albums that Changed Popular Music (2009)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"It was \u003cem\u003ePet Sounds\u003c\/em\u003e that blew me out of the water…I love the album so much. I've just bought my kids each a copy of it for their education in life. I figure no one is educated musically 'til they've heard that album.\" – Paul McCartney\u003c\/p\u003e\n\u003cp\u003e\"All of us, Ginger (Baker), Jack (Bruce), and I consider \u003cem\u003ePet Sounds\u003c\/em\u003e to be one of the greatest pop LPs to ever be released. It encompasses everything that's ever knocked me out and rolled it all into one.\" – Eric Clapton\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\"Produced, composed and arranged by Brian Wilson, \u003cem\u003ePet Sounds\u003c\/em\u003e stands as the Beach Boys' pinnacle. The album is brimming with beautiful ballads, exotic instrumentation, lush five-part harmonies, and aching sentimentality. Recorded largely with session players from L.A.'s fabled Wrecking Crew, \u003cem\u003ePet Sounds\u003c\/em\u003e was Wilson's chance to step away from songs about surfing and cars, instead crafting tender songs about adolescent love, both newfound and lost, as well as innocence and bewilderment. Analogue Productions' two-disc 45 RPM, 180-gram stereo album boasts exceptionally detailed separation and aptly showcases \u003cem\u003ePet Sounds\u003c\/em\u003e' shimmering sonics. Mark Linett produced this stereo mix with an assembled digital multi-track master that synched the original four-track instrumental master with the four- and eight-track vocal overdub master. It was then mixed to 15 ips 1\/4-inch analog tape with SR noise reduction. How good is it? Carol Kaye's picked Fender P-Bass is tight and punchy on the intro to \"God Only Knows,\" and the clarity reveals the swelling emotion of Carl Wilson's angelic lead vocal to announce that you've entered the Church of Rock 'n' Roll. Say amen.\" Greg Cahill, \u003cem\u003eThe Absolute Sound\u003c\/em\u003e, December 2017\u003c\/p\u003e\n\u003cp\u003e« The best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound. Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. \"Wouldn't It Be Nice,\" \"God Only Knows,\" \"Caroline No,\" and \"Sloop John B\" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as \"You Still Believe in Me,\" \"Don't Talk,\" \"I Know There's an Answer,\" and \"I Just Wasn't Made for These Times.\" It's often said that this is more of a Brian Wilson album than a Beach Boys recording (session musicians played most of the parts), but it should be noted that the harmonies are pure Beach Boys (and some of their best). Massively influential upon its release (although it was a relatively low seller compared to their previous LPs), it immediately vaulted the band into the top level of rock innovators among the intelligentsia, especially in Britain, where it was a much bigger hit. » AllMusic Review by Richie Unterberger\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 5 \/ 5 ,  Rate your Music : 4.18 \/ 5\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGreg Cahill, The Absolute Sound : Music 5\/5, Sonics 4.5\/5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40606981882007,"sku":"AAPP 067","price":98.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-beach-boys-pet-sounds-1lp-stereo-33rpm-180g-audiosoundmusic-1.jpg?v=1719851878"},{"product_id":"copy-of-the-beach-boys-pet-sounds-stereo-33rpm","title":"\u003ctranscy\u003eThe Beach Boys - Pet Sounds (2LP, Mono, 45 tours, 180g)\u003c\/transcy\u003e","description":"\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\" title=\"vinyl featuring The Beach Boys\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring the Beach Boys]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003ePerformed by The Beach Boys : Brian Wilson (vocals, bass guitar, keyboards), Mike Love (vocals, percussion, saxophone, Electro-Theremin), Al Jardine (vocals, rhythm guitar, bass guitar), Bruce Johnston (vocals, keyboards, bass guitar), Dennis Wilson (vocals, drums, keyboards).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Brian Wilson (all tracks), Tony Asher (A1, A2, A3, A4, B1, B3, C1, C2), Mike Love (B1), Michael Ruff (A3), Terry Sachen (C2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs,  gatefold Stoughton tip-on jackets \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded July 12, 1965 - April 13, 1966 at Columbia Studios (Hollywood, CA), Gold Star Recording Studios (Hollywood, CA), Sunset Sound Studios (Los Angeles, CA), Western Studios (Los Angeles, CA)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMastered by Kevin Gray \u003cb data-mce-fragment=\"1\"\u003eat Cohearent Audio\u003c\/b\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginally issued on May 16th, 1966 in mono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eReissued in 2017\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWouldn’t It Be Nice\u003c\/li\u003e\n\u003cli\u003eYou Still Believe In Me\u003c\/li\u003e\n\u003cli\u003eThat’s Not Me\u003c\/li\u003e\n\u003cli\u003eDon’t Talk (Put Your Head On My Shoulder)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI’m Waiting For The Day\u003c\/li\u003e\n\u003cli\u003eLet’s Go Away For Awhile\u003c\/li\u003e\n\u003cli\u003eSloop John B\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGod Only Knows\u003c\/li\u003e\n\u003cli\u003eI Know There’s An Answer\u003c\/li\u003e\n\u003cli\u003eHere Today\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Just Wasn’t Made For These Times\u003c\/li\u003e\n\u003cli\u003ePet Sounds\u003c\/li\u003e\n\u003cli\u003eCaroline No\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003e\u003cspan style=\"color: #ff2a00;\"\u003eRolling Stone 500 Greatest Albums of All Time - Rated 2\/500\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003e\u003cbr\u003eRolling Stone 500 Greatest Songs of All Time - \"Sloop John B\" - Rated 278\/500\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 61\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"one of the most innovative recordings in rock\", 101 Albums that Changed Popular Music (2009)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"It was \u003cem\u003ePet Sounds\u003c\/em\u003e that blew me out of the water…I love the album so much. I've just bought my kids each a copy of it for their education in life. I figure no one is educated musically 'til they've heard that album.\" – Paul McCartney\u003c\/p\u003e\n\u003cp\u003e\"All of us, Ginger (Baker), Jack (Bruce), and I consider \u003cem\u003ePet Sounds\u003c\/em\u003e to be one of the greatest pop LPs to ever be released. It encompasses everything that's ever knocked me out and rolled it all into one.\" – Eric Clapton\u003c\/p\u003e\n\u003cp\u003e\"Produced, composed and arranged by Brian Wilson, \u003cem\u003ePet Sounds\u003c\/em\u003e stands as the Beach Boys' pinnacle. The album is brimming with beautiful ballads, exotic instrumentation, lush five-part harmonies, and aching sentimentality. Recorded largely with session players from L.A.'s fabled Wrecking Crew, \u003cem\u003ePet Sounds\u003c\/em\u003e was Wilson's chance to step away from songs about surfing and cars, instead crafting tender songs about adolescent love, both newfound and lost, as well as innocence and bewilderment. Analogue Productions' two-disc 45 RPM, 180-gram stereo album boasts exceptionally detailed separation and aptly showcases \u003cem\u003ePet Sounds\u003c\/em\u003e' shimmering sonics. Mark Linett produced this stereo mix with an assembled digital multi-track master that synched the original four-track instrumental master with the four- and eight-track vocal overdub master. It was then mixed to 15 ips 1\/4-inch analog tape with SR noise reduction. How good is it? Carol Kaye's picked Fender P-Bass is tight and punchy on the intro to \"God Only Knows,\" and the clarity reveals the swelling emotion of Carl Wilson's angelic lead vocal to announce that you've entered the Church of Rock 'n' Roll. Say amen.\" Greg Cahill, \u003cem\u003eThe Absolute Sound\u003c\/em\u003e, December 2017\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« The best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound. Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. \"Wouldn't It Be Nice,\" \"God Only Knows,\" \"Caroline No,\" and \"Sloop John B\" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as \"You Still Believe in Me,\" \"Don't Talk,\" \"I Know There's an Answer,\" and \"I Just Wasn't Made for These Times.\" It's often said that this is more of a Brian Wilson album than a Beach Boys recording (session musicians played most of the parts), but it should be noted that the harmonies are pure Beach Boys (and some of their best). Massively influential upon its release (although it was a relatively low seller compared to their previous LPs), it immediately vaulted the band into the top level of rock innovators among the intelligentsia, especially in Britain, where it was a much bigger hit. » AllMusic Review by Richie Unterberger\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 5 \/ 5 ,  Rate your Music : 4.18 \/ 5\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGreg Cahill, The Absolute Sound : Music 5\/5, Sonics 4.5\/5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40607085592727,"sku":"AAPP 067M-45","price":130.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-beach-boys-pet-sounds-2lp-mono-45rpm-180g-audiosoundmusic-1.jpg?v=1719851878"},{"product_id":"copy-of-model","title":"Chris Connor - This Is Chris (Mono)","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\" data-mce-style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eChris Connor (vocals) \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Carmen McRae\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/carmen-mcrae\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/carmen-mcrae\"\u003e[\u003c\/a\u003e\u003ca title=\"vinyl featuring Chris Connor\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/chris-connor\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/chris-connor\"\u003eclick here to see more vinyl featuring Chris Connor]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eJJ Johnson (trombone), Kai Winding (trombone), Herbie Mann, (flute), Joe Puma (guitar), Ralph Sharon (piano), Milt Hinton (bass), Osie Johnson, (drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\" data-mce-style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal analog Master tape: YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord Press: Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLabel: Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal Label : Bethlelem\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecorded in April 1955, in New York City by Tom Dowd\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eProduced by Creed Taylor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRe-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginally released in 1955\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReissued in May 2014\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003eSide A :\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\" data-mce-fragment=\"1\" data-mce-style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\" data-mce-fragment=\"1\" data-mce-style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. Blame It On My Youth\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. It's All Right With Me\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. Someone To Watch Over Me\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. Trouble Is A Man\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e5. All This And Heaven Too\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\" data-mce-fragment=\"1\" data-mce-style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. The Thrill Is Gone\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. I Concentrate On You\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. All Dressed Up With A Broken Heart\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. From This Moment On\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e5. Ridin' High\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\" data-mce-fragment=\"1\" data-mce-style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"During 1953-1955, singer Chris Connor recorded regularly for Bethlehem. This LP has her final recordings for the label (before moving to Atlantic) with such fine sidemen as Herbie Mann (doubling on flute and tenor), pianist Ralph Sharon, guitarist Joe Puma, bassist Milt Hinton, and drummer Osie Johnson. The two-trombone team of J.J. Johnson and Kai Winding (which had recently become very popular) is prominent on four of the ten selections. Connor's cool tone, subtle, emotional delivery and haunting voice were perfect for the music of the 1950s. Highlights of this superior set include \"The Thrill Is Gone,\" \"Blame It on My Youth,\" and \"I Concentrate on You,\" but all ten numbers are rewarding.\" AllMusic Review by Scott Yanow\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBy June 1953, Connor was finding the constant traveling and vocal demands of nightly performances with a big band exhausting. She abruptly left the Kenton band; and, by fall of 1953, she was back in New York. She soon hired Monte Kay to manage her impending solo career, and he found work for her at Birdland. One night after a show, the owner of Bethlehem Records, Gus Wildi, offered her a recording contract on the spot.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eShe signed with the label in 1953 and, in 1954, released dual LPs, Chris Connor Sings Lullabys Of Birdland and Chris Connor Sings Lullabys For Lovers. At age 26, she became a best-selling solo artist for Bethlehem Records; and the label rushed her into the studios to record additional songs. Bethlehem Records released the successful follow-up albums Chris and This Is Chris in 1955. When time came for Connor's contract to expire, she signed for an album deal with Atlantic Records. Connor was the first white female jazz singer to be signed by the label. Ahmet Ertegun and his brother Nesuhi Ertegun's Atlantic label was, at the time, primarily a rhythm and blues label, with artists such as Ruth Brown and Ray Charles.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAllMusic:  4 \/ 5   , Discogs :  5 \/ 5  \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40680604041367,"sku":"PPAN BCP20","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/chris-connor-this-is-chris-mono-audiosoundmusic-1.jpg?v=1719851912"},{"product_id":"copy-of-model-1","title":"Stan Levey - Grand Stan (Mono)","description":"\u003ch2 data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eStan Levey (drums), Conte Candoli (trumpet), Richie Kamuca (tenor sax), Frank Rosolino (trombone), Sonny Clark (piano), Leroy Vinnegar (bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal analog Master tape: YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord Press: Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLabel: Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal Label : Bethlelem\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecorded in Hollywood, Los Angeles, California in november 1956.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRe-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginally released in 1957\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReissued in March 2014\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003eSide A :\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. Yesterdays\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. Angel Cake\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. Why Do I Love You\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. Grand Stan\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide B :\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv data-mce-fragment=\"1\" style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. Hit That Thing\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Blues At Sunrise\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Gal In Calico\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Tiny's Tune\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"Stan Levey cut precious few sessions as a leader, none of them more engaging than Grand Stan. Cut in the middle of the drummer's five-year tenure with Howard Rumsey's Lighthouse All-Stars, the album crackles with energy and invention, capturing the West Coast bop aesthetic at its most potent. Aided by then-unknown pianist Sonny Clark, trumpeter Conte Condoli, bassist Leroy Vinnegar, and tenorist Richie Kamuca, Levey creates an expansive rhythmic canvas for his collaborators, stretching out most songs past the five-minute mark to accommodate a series of crisp, finely honed solos.\" \u003cspan data-mce-fragment=\"1\"\u003eJason Ankeny, AllMusic\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"Stan Levey was a significant bebop drummer who brought stimulation and innovation to such bands as the Gillespie\/Parker Quintet (1945-46), the Stan Kenton Band (1952-54) and the Lighthouse All-Stars ( 1954-60) where he was anchoring the rhythm section at the time of this recording.\u003c\/p\u003e\n\u003cp\u003eIn this 1957 outing called\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eGrand Stan\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003ewere three Stan Kenton Band alumni, trumpeter Conte Candoli, tenor sax stalwart Richie Kamuca, and trombone virtuoso Frank Rosolino. Joining this cohort was the still unheralded pianist Sonny Clark who later participated in a seminal release with Buddy De Franco  and another with guitarist Grant Green. Finally bassist Leroy Vinnegar who was highly sought after on the West Coast for his big toned walking bass style.\u003c\/p\u003e\n\u003cp\u003eBenefiting from arrangements by Marty Paich, Bob Cooper, Bill Holman and Sonny Clark, the band blows up a storm through a collection of popular standards and original compositions from Cooper, Holman and Clark.\u003c\/p\u003e\n\u003cp\u003eSide A opens with “Yesterdays” which was written by Jerome Kern \u0026amp; Otto Harbach in 1933 for the musical\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eRoberta.\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003eIn an arrangement by Marty Paich that stretches the construct of the original melody, the number becomes a feature for trombonist Frank Rosolino. He powers through his long solo in his well-known staccato style, with Vinnegar’s pulsing bass in noticeable support. \u003ci\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003eAnother Kern number is “Why Do I Love You” written in conjunction with Oscar Hammerstein II, and it is again arranged by Paich to feature the pianist Sonny Clark. Done at a super fast tempo, Clark demonstrates he can swing with ease and yet stay within the framework of the number. Levey’s drumming is a propulsive boost to the arrangement.\u003c\/p\u003e\n\u003cp\u003eThis side closes with the title track “Grand Stan” which was written by Bob Cooper another Kenton alumnus. Designed in a medium tempo, it has a boppish line and chord progressions that give the soloists a chance to offer several easy-going choruses. All the front line jump at the chance to be heard, which they do to perfection.\u003c\/p\u003e\n\u003cp\u003eSide B starts with a Bill Holman original “Hit That Thing”. In this up tempo gem, there are sensational opening choruses from Richie Kamuca on tenor sax, Conte Candoli on trumpet, and Rosolino on trombone. However the majority of the time on this track is taken up with a lengthy but well executed drum solo from Stan Levey. Given the fantastic stick work exhibited in his drum solo, it is hard to imagine that Levey was entirely self-taught. Not only that, he played left-handed even though he was naturally right-handed. His first drum influence was Chick Webb, but later Max Roach had the greatest impact on his development.\u003c\/p\u003e\n\u003cp\u003eA 1946 B-movie entitled\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eThe Time, The Place and The Girl\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ebecame recognized  for only one thing. That was the Leo Robin\/Arthur Schwartz song “A Gal In Calico”. The number has found a place in jazz repertoires and the Bill Holman arrangement here will help cement that reputation. Opening with tight voicing of the melody among the front line, the players use that as the jumping off point to deliver a series of choruses that demonstrate some compelling and prolific soloing. All of which is a worthy model of how a simple number can become a jazz showcase.\u003c\/p\u003e\n\u003cp\u003eBob Cooper’s original number “Tiny’s Tune” closes Side B. In this head arrangement there are a number of lengthy exciting choruses strung together starting with a single note winner from Sonny Clark. This is followed by turns from Kamuca, Candoli and Rosolino each of which shows a fierce drive and a sense of vitality they brought to the recording.\" Pierre Giroux, Audiophile Audition\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAllMusic:  4 \/ 5   , Discogs : 4.1 \/ 5  \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40680744747159,"sku":"BCP 71","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/stan-levey-grand-stan-mono-audiosoundmusic-1.jpg?v=1719851912"},{"product_id":"copy-of-model-2","title":"\u003ctc\u003eHoward McGhee - The Return Of Howard McGhee (Mono)\u003c\/tc\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\u003eHoward McGhee (trumpet) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/howard-mcghee\" title=\"vinyl featuring Howard McGhee\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Howard McGhee]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePercy Heath (bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePhilly Joe Jones (drums) \u003cspan\u003e\u003ca title=\"Vinly featuring Philly Joe Jones\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/philly-joe-jones\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Philly Joe Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSahib Shihab (sax)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDuke Jordan (piano) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/fr\/collections\/duke-jordan\" title=\"vinyl featuring duke Jordan\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Duke Jordan]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape: YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press: Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel: Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Bethlelem\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in NYC, October 22, 1955 by Frank Abbey\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Frank Abbey\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRe-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1956\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in January 2014\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. Get Happy\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Tahitian Lullaby\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Lover Man\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Lullaby Of The Leaves\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. You're Teasing Me\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e6. Transpicious\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. Rifftide\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Oo-wee But I Do\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Don't Blame Me\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Tweedles\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. I'll Remember April\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN\" id=\"yui_3_13_0_ym1_1_1387800393998_8552\"\u003eRecorded after one of McGhee’s not infrequent releases from the Penitentary on narcotics charges, hence the title “The Return Of ….”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp id=\"yui_3_13_0_ym1_1_1387800393998_8562\"\u003e\u003cspan lang=\"EN\" id=\"yui_3_13_0_ym1_1_1387800393998_8561\"\u003eHoward McGhee is a wonderful agile soloist, a model for the younger Kenny Dorham. Sharing the spotlight with McGhee is Sahib Shihab on baritone sax, what more can you ask? Lots of baritone solos, and few on alto for variety, Sahib’s presence is not to be overlooked. That angry baritone rasp is so compelling - both Sahib and Pepper Adams showed what could be achieved with this weighty length of brass plumbing if you played it as though it was a tenor or indeed alto, and just ran with the changes, Charlie Parker on steroids.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp id=\"yui_3_13_0_ym1_1_1387800393998_8565\" class=\"yiv5058939013MsoNormal\"\u003e\u003cspan lang=\"EN\" id=\"yui_3_13_0_ym1_1_1387800393998_8564\"\u003eDuke Jordan ’s solid chordal foundations, embellished with glittering runs, is always pushing the tempo along, with “Philly Joe” and Percy Heath picking up any slack. Bop of a very high order from the post-swing cauldron that was 1955\u003c\/span\u003e\u003cspan lang=\"EN\" id=\"yui_3_13_0_ym1_1_1387800393998_8564\"\u003e\u003cspan face=\"Times New Roman\" id=\"yui_3_13_0_ym1_1_1387800393998_8563\"\u003e.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"yiv5058939013MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic:  4 \/ 5   , Discogs :  4.43 \/ 5  \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40680874606743,"sku":"BCP42","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/howard-mcghee-the-return-of-howard-mcghee-mono-audiosoundmusic-1.jpg?v=1719851911"},{"product_id":"copy-of-model-6","title":"Roland Kirk - Third Dimension (Mono)","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRoland Kirk (tenor saxophone, manzello, stritch) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/roland-kirk\" title=\"vinyl featuring Roland Kirk\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/roland-kirk\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Roland Kirk]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eJames Madison (piano)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eCarl Pruitt (bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHenry Duncan (drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal analog Master tape: YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord Press: Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLabel: Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal Label : Bethlelem\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecorded November 9th 1956\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRe-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginally released in 1957\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReissued in December 2013\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide A :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e\u003cspan\u003e1. Roland's Theme\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Slow Groove\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Stormy Weather\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide B :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. The Nearness of You\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. A La Carte\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. Easy Living\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. Triple Threat\u003c\/span\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e« When the pre-Rahsaan Roland Kirk stormed the jazz scene in the mid-'50s, certainly nobody was ready for his virtuosity, as he demonstrated ability, not gimmickry, to play the tenor sax, manzello, and stritch simultaneously. Third Dimension is his introductory foray into this arena, as he presents a program of half standards and half his basic bluesy originals taken into this upper realm of multiphonic capacity. Of the covers, the ballad \"Stormy Weather\" has Kirk playing counter-melodies rather than harmonics on his horns, and it is remarkable. \"The Nearness of You\" is a bit distant in its production values with Kirk using tentative or staggered phrasings, and \"Easy Living\" has the lead played on the manzello, with the multiple horns only on the final phrase of the melody. The originals are pretty simple, with a repeat swing groove setting off the jam \"Ronald's Tune\" and Kirk working the controlled, non-exploited harmonics of the three woodwinds on \"Slow Groove\"; using a happy shuffle R\u0026amp;B feeling on mostly tenor for \"A La Carte\"; and finishing up with the now famous 12-bar blues bopper \"Triple Threat,\" which was his signature dish. The liner notes of this recording have always been irritating bordering on condescending, implying that the tenor sax was always a more popular instrument and misidentifying the manzello and stritch as a \"straight alto\" and \"straight soprano\" when they were actually distinct instruments, exclusively played by Kirk. No matter -- this is a marvelous introduction to the greatest soloist in the history of jazz and, despite its very short running time (under 30 minutes), is a true pivot point in modern music. » AllMusic Review by Michael G. Nastos\u003c\/p\u003e\n\u003cp\u003e\"This Pure Pleasure reissue of a Bethlehem title has yet another distinction, because it’s a Bethlehem reissue of his first and extremely rare session on King Records. Kirk is the best-known multi-instrumentalist in jazz, meaning someone who plays several instruments at the same time. When Kirk removed the handful of instruments from his mouth he would toss in a rap-like commentary. He performed extensively and almost exclusively as a bandleader and did it all as a blind man.\" Hi-Fi news Jan 2015, Dennis Davis\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAllMusic:  4 \/ 5   , Discogs : 4.43 \/ 5  \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40682736746647,"sku":"BCP6064","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/roland-kirk-third-dimension-mono-audiosoundmusic-1.jpg?v=1719851924"},{"product_id":"oscar-pettiford-another-one-vol-2","title":"Oscar Pettiford - Another One Vol 2 (Mono)","description":"\u003cp\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003eOscar Pettiford (bass, cello) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/oscar-pettiford\" title=\"vinyl featuring Oscar Pettiford\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/oscar-pettiford\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Oscar Pettiford]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003eDonald Byrd (trumpet) \u003cspan style=\"color: #ff8000;\"\u003e\u003ca style=\"color: #ff8000;\" title=\"vinyl featuring Donald Byrd\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/donald-byrd\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/donald-byrd\"\u003e[click here to see more vinyl featuring Donald Byrd]\u003c\/a\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003eErnie Royal\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e (trumpet), Bob Brookmeyer (valve trombone), Gigi Gryce (alto saxophone, clarinet), Jerome Richardson (tenor saxophone, clarinet, flute), Don Abney (piano), Osie Johnson (drums)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal analog Master tape: YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord Press: Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLabel: Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal Label : Bethlelem\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecorded in \u003cspan data-mce-fragment=\"1\"\u003eNYC on August 12, 1955\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRe-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginally released in 1955\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReissued in October \u003cspan data-mce-fragment=\"1\"\u003e2013\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide A :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e\u003cspan\u003e1. Kamman's A'Comin'\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Minor Seventh Heaven\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Stardust\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Bohemia After Dark\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide B :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Oscalypso\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. Scorpio\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. Titoro\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. Don't Squawk\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e5. Another One\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eOscar Pettiford became a major influence on a number of jazz artists along with fellow bassists Jimmy Blanton and Charles Mingus. This album titles as Volume 2 or Another One, Pettiford's third album as a leader for the Bethlehem label, was recorded in 1955. This exceptional date features the horns of Donald Byrd, Ernie Royal, Bob Brookmeyer, Gigi Gryce, and Jerome Richardson.\u003c\/p\u003e\n\u003cp\u003eHighlights include the Pettiford-penned \"Bohemia After Dark,\" named after the club in Greenwich Village and acknowledged as a jazz standard, \"Stardust,\" featuring Pettiford's poetic bass faintly accompanied by pianist Don Abney, and \"Minor Seventh Heaven,\" with Pettiford switching to cello. This is not just a bebop date; Pettiford had the range to incorporate influences like Duke Ellington and calypso, creating a full, lyrical band sound that matched his bass playing. Pettiford's legacy was cut short after he passed away suddenly in 1958 in Copenhagen at the age of 37.\u003c\/p\u003e\n\u003cp\u003e\"Of the Bethlehem reissues released to date by Pure Pleasure, this may be the most rewarding yet from a musical and sound quality. It contains one of the greatest versions of the standard ‘Stardust’. It has a retro sound to the jazz setting, but hit with Willie Nelson. Yet Pettiford, like John Coltrane after him, turns in a timeless sounding rendition. The recording is among the Bethlehem’s best sounding, and Ray Staff of Air Mastering has given us what I expect is the best sounding version we can expect of this music\". Dennis Davis\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDiscogs :  4.0 \/ 5  \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40693729034391,"sku":"BCP33","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/oscar-pettiford-another-one-vol-2-mono-audiosoundmusic-1.jpg?v=1719851965"},{"product_id":"steve-lacey-the-straight-horn-of-steve-lacey","title":"Steve Lacy - The Straight Horn of Steve Lacy (Mono)","description":"\u003cp\u003e\u003cstrong\u003eSteve Lacy (soprano), Charles Davis (baritone saxophone), John Ore (bass), Roy Haynes (drums) \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Candid\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eRecorded at Nola Penthouse Studios, New York City, \u003cspan data-mce-fragment=\"1\"\u003eNovember 19, 1960\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eby \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eBob d’Orleans\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003eProduced by \u003cspan face=\"Times New Roman\"\u003eNat Hentoff\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1962\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. Louise\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Introspection\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Donna Lee\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. Played Twice\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Air\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Criss Cross\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\" face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« Some of soprano saxophonist Steve Lacy's most interesting recordings are his earliest ones. After spending periods of time playing with Dixieland groups and then with Cecil Taylor (which was quite a jump), Lacy made several recordings that displayed his love of Thelonious Monk's music plus his varied experiences. On this particular set, Lacy's soprano contrasts well with Charles Davis' baritone (they are backed by bassist John Ore and drummer Roy Haynes) on three of the most difficult Monk tunes (\"Introspection,\" \"Played Twice,\" and \"Criss Cross\") plus two Cecil Taylor compositions and Charlie Parker's \"Donna Lee.\" » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 5 \/ 5 , Discogs : 4.67 \/ 5 , \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40694023913623,"sku":"CJS9007","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/steve-lacy-the-straight-horn-of-steve-lacy-mono-audiosoundmusic-1.jpg?v=1719851974"},{"product_id":"abbey-lincoln-straight-ahead","title":"\u003ctc\u003eAbbey Lincoln - Straight Ahead (Pure Pleasure)\u003c\/tc\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbbey Lincoln - Vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eMal Waldron - Piano \u003ca title=\"vinyl featuring Mal Waldron\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/mal-waldron\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Mal Waldron]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eColman Hawkins - Tenor Saxophone \u003ca title=\"Vinyl featuring Coleman Hawkins\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/coleman-hawkins\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Coleman Hawkins]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEric Dolphy - Alto Sax, Flute, Reeds \u003ca title=\"vinyl featuring Eric Dolphy\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/eric-dolphy\" data-mce-fragment=\"1\"\u003e\u003cspan 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\u003eBooker Little - Trumpet \u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/booker-little\" title=\"vinyl featuring Booker Little\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Booker Little]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMax Roach - Drums \u003ca title=\"Vinyl featuring Max Roach\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/max-roach\" data-mce-fragment=\"1\" target=\"_blank\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Max Roach]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArt Davis - Bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWalter Benton - Saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRoger Saunders - Congas (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRobert Whitley - Congas (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJulian Priester - Trombone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by Booker Little (A2-3, B1), Julian Priester (B2, B4), Mal Waldron (A1), Max Roach (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Abbey Lincoln (A1, A3, B1, B4) , Earl Baker (A1), Mal Waldron (A1, B2),  Oscar Brown (A2), Paul Lawrence Dunbar (A2), Chips Bayen (A3), Max Roach (A3), Thelonious Monk (B1), Billie Holiday (B2), Langston Hughes (B3), Randy Weston (B3), Julian Priester (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : 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, on \u003cspan data-mce-fragment=\"1\"\u003eFebuary 2nd 1961\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\"\u003eEngineered 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 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\"\u003e\u003cspan\u003eRemastered by\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eRay Staff at Alchemy Studios, Soho, London U.K\u003cbr\u003e\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\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\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in June 2005\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\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\u003cspan\u003e1. Straight Ahead\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. When Malinda Sings\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. In the Red\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\n\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. Blue Monk\u003cbr data-mce-fragment=\"1\"\u003e2. Left Alone\u003cbr data-mce-fragment=\"1\"\u003e3. African Lady\u003cbr data-mce-fragment=\"1\"\u003e4. Retribution\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 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\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\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« Reissued several times since it originally came out on a Candid LP, this is one of Abbey Lincoln's greatest recordings. It is a testament to the credibility of her very honest music (and her talents) that Lincoln's sidemen on this date include the immortal tenor saxophonist Coleman Hawkins (who takes a memorable solo on \"Blue Monk\"), Eric Dolphy on flute and alto, trumpeter Booker Little (whose melancholy tone is very important in the ensembles), pianist Mal Waldron, and drummer Max Roach. Highpoints include \"When Malindy Sings,\" \"Blue Monk,\" Billie Holiday's \"Left Alone,\" and \"African Lady.\" » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eThis is one Abbey Licoln's greatest recordings. It is a testament to the credibility of her very honest music (and her talents)that Lincoln's sideman on this date is the immortal tenor saxophonist Colman Hawkins who takes a memorable solo on \"Blue Monk\", Eric Dolphy on flute and alto, trumpeter Booker Little (whose melancholy tone is very important in the emsembles), pianist Mal Waldron and drummer Max Roach. Highpoints include \"When Malindy Sings\", \"Blue Monk\", Billie Holiday's \"Left Alone\" and \"African Lady\".\u003c\/p\u003e\n\u003cp\u003eAbbey Lincoln and Max Roach were married in 1962, an association that lasted until 1970. They worked together for a while but Lincoln (who found it harder ti work in Jazz due to the political nature of the some of her music) became involved in acting and did not record as a leader during 1962-72. She finally recorded for Inner City in 1973 and gradually became more active in Jazz. Her two Billie Holiday tribute albums for Enja (1987) showed listeners that the singer was still in her prime and she has recorded several excellent sets for Verve in the 1990's.As she puts so much thought into each of her recordings, it is not an understatment to say that every Abbey Licoln set is well worth owning.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 5 \/ 5 , Discogs : 4.17 \/ 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":40694141157527,"sku":"CJS9015","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/abbey-lincoln-straight-ahead-pure-pleasure-audiosoundmusic-1.jpg?v=1719851974"},{"product_id":"stacey-kent-dreamsville","title":"Stacey Kent - Dreamsville","description":"\u003cdiv\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\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\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003e Jim Tomlinson (tenor saxophone, clarinet, flute), Colin Oxley (guitar), \u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003eDavid Newton (\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003epiano), Simon Thorpe (bass), Jasper Kviberg (drums)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan lang=\"EN-US\"\u003e\u003c\/span\u003e\u003c\/span\u003e\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\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 \u003cspan data-mce-fragment=\"1\"\u003eCurtis Schwartz \u003c\/span\u003e\u003cspan lang=\"EN-US\" data-mce-fragment=\"1\"\u003eStudios, Ardingly, England 19\u003csup data-mce-fragment=\"1\"\u003eth\u003c\/sup\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eto 21st June 2000 by Curtis\u003cspan data-mce-fragment=\"1\"\u003e Schwartz\u003c\/span\u003e\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\"\u003eJim Tomlinson\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\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan\u003eRemasterd by\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eRay Staff at Alchemy Studios, Soho, London U.K\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\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 2000\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 May 2007\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. I've Got A Crush On You\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. When Your Lover Has Gone\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Isn't It A Pity?\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. You Are There\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. Under A Blanket Of Blue\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e6. Dreamsville\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. Polka Dots And Moonbeams\u003cbr data-mce-fragment=\"1\"\u003e2. Hushabye Mountain\u003cbr data-mce-fragment=\"1\"\u003e3. Little Girl Blue\u003cbr data-mce-fragment=\"1\"\u003e4. You're Looking At Me\u003cbr data-mce-fragment=\"1\"\u003e5. Violets For Your Furs\u003cbr data-mce-fragment=\"1\"\u003e6. Thanks For The Memory\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 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\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\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« Vocalist Stacey Kent may or may not be \"the greatest ballad singer in half a century,\" as her PR claims, but her straightforward renditions of these by-request ballads are not at all generic. What makes them consistently delightful is her unique sound and delivery. There's a certain brassiness, a trumpet-like pointedness, in her voice, as well as a host of endearing idiosyncrasies. Listen to her pronounce the word \"idea\" in George and Ira Gershwin's \"Isn't It a Pity?\" Or deliver these remarkable lyrics from the same song: \"What joys untasted!\/You, reading Heine\/Me, somewhere in China.\" And later, \"My nights were sour, spent with Schopenhauer.\" Kent knows how to make every tune fit her own musical persona. Dreamsville includes a number of seldom-heard gems, particularly \"You Are There\" by Johnny Mandel and Dave Frishberg, \"You're Looking at Me\" by Bobby Troup, and the ever-stunning title track by Henry Mancini. She also presents perennial favorites like \"Polka Dots and Moonbeams\" and \"Thanks for the Memory\" (the latter not exactly a ballad). And although this is Kent's hour all the way, her band provides expert backing and more than a few surprises. The singer's husband, Jim Tomlinson, takes a break from tenor sax to play a sumptuous clarinet solo on \"Polka Dots.\" And in the midst of Rodgers \u0026amp; Hart's \"Little Girl Blue,\" pianist David Newton, bassist Simon Thorpe, and drummer Jasper Kviberg fall away, entering again only after Tomlinson and Colin Oxley perform a hushed tenor\/guitar duet chorus. » AllMusic Review by David R. Adler \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 3 \/ 5 , Discogs : 4.35 \/ 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":40694236053655,"sku":"CJS9775","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/stacey-kent-dreamsville-audiosoundmusic-1.jpg?v=1719851974"},{"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"}],"url":"https:\/\/www.audiosoundmusic.com\/fr\/collections\/pre-order.oembed?page=51","provider":"AudioSoundMusic","version":"1.0","type":"link"}