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  • Gil Evans and Ten Gil Evans and Ten Quick View

    $34.99
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    Gil Evans and Ten

    Part of the ultimate audiophile Prestige stereo reissues from Analogue Productions - 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 33 1/3.


    All mastered from the original analog master tapes by mastering maestro Kevin Gray. 200-gram LPs pressed at Acoustic Sounds' state-of-the-art pressing plant, Quality Record Pressings, plated by Gary Salstrom.


    Deep groove label LP pressings, tip-on jackets on thick cardboard stock


    This reissue marks the first time ever that the stereo master tapes of this landmark title have been used.


    In 1957, Miles Davis, high on the success of his recent collaborations with his old friend Gil Evans, persuaded Prestige Records to give Evans his own record date. Evans packed the resulting album with the brilliance that music insiders had recognized since his days as an arranger for Claude Thornhill in the 1940s and his work on Davis' Birth of the Cool recordings. Writing for only 11 instruments, Evans used his wizardry with dynamics, motion and harmonic voicings to create orchestral effects suggesting a substantially larger orchestra. His settings stimulated his musicians to inspired improvisation. Among the soloists are trombonist Jimmy Cleveland, saxophonists Steve Lacy and Lee Konitz, and Evans himself, making his first recorded appearance as a pianist.

    1. Remember
    2. Ella Speed
    3. Big Stuff
    4. Nobody's Heart
    5. Just One Of Those Things
    6. If You Could See Me Know
    7. Jambangle
    Gil Evans
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • New Bottle Old Wine (Pure Pleasure) New Bottle Old Wine (Pure Pleasure) Quick View

    $34.99
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    New Bottle Old Wine (Pure Pleasure)

    If you have admired Gil Evans' arrangements on the Miles Davis recordings, you owe it to yourself to check this out. These recordings help make the case that Gil Evans was one of the great jazz arrangers of all time. Gil Evans always manages to communicate with sophistication and nuance, and on these sessions he manages to have fun as well.



    This is a LP of Gil Evans re-arranging classic jazz standards like St. Louis Blues, King Porter Stomp, and Lester Leaps. It's so interesting to be listening to these records nearly 50 years after they were made. This was a 'modern' take on jazz tunes that even then were considered classics. Hearing them now, it's like listening to one set of Old Masters interpreting an even more distant set of Old Old Masters. It's a LP that you can enjoy as a peek into modern jazz of the late 50's, or as a set of very interesting big band orchestrations. An absolute jazz classic.



    Musicians:



    • Gil Evans (arranger, conductor, piano)

    • Cannonball Adderley (alto saxophone)

    • Ernie Royal (trumpet)

    • Phil Bodner (reeds)

    • Harvey Philips (tuba),

    • Bill Barber (tuba)

    • Chuck Wayne (guitar)

    • Paul Chambers (bass)

    • Art Blakey (drums)

    • Philly Joe Jones (drums)



    Recording: April and May 1958 in New York City

    Production: Gil Evans and George Avakian



    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.



    1. St Louis Blues
    2. King Porter Stomp

    3. Willow Tree
    4. Struttin With Some Barbecue
    5. Lester Leaps In
    6. Round Midnight

    7. Manteca
    8. Bird Feathers
    Gil Evans
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Miles Ahead Miles Ahead Quick View

    $32.99
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    Miles Ahead

    Miles Davis' 1957 Columbia Records release Miles Ahead finds the jazz legend renewing his creative partnership with arranger Gil Evans which began in 1949 with the Birth of the Cool. Featuring a 19-piece band assembled by Evans and supple arrangements highlighting Davis as the central voice, the evocative 10-song set is anchored by a passionate take on John Carisi's Springsville, the Iberian shadings of Delibes' The Maids of Cadiz and the excellent Blues for Pablo, which foreshadowed the directions Evans and Davis would go on the subsequent masterpiece Sketches of Spain.
    1. Springsville
    2. The Maids of Cadiz
    3. The Duke
    4. My Ship
    5. Miles Ahead
    6. Blues for Pablo
    7. New Rhumba
    8. The Meaning of the Blues
    9. Lament
    10. I Don't Wanna Be Kissed (By Anyone But You)
    Miles Davis
    $32.99
    Vinyl LP - Sealed Buy Now
  • Great Jazz Standards (Pure Pleasure) Great Jazz Standards (Pure Pleasure) Quick View

    $34.99
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    Great Jazz Standards (Pure Pleasure)

    Great Jazz Standards was recorded when Evans was red-hot from two successes with Miles Davis, Miles Ahead and Porgy And Bess.
    Evans' signature brass choir is in place - creatively voiced, spaciously arranged, a supple, multi-coloured, sonically surprising counterpoint to a succession of superb soloists. The added bonus, for Evans' projects, is the foregrounding of saxophone and clarinet soloists Steve Lacy and Budd Johnson.
    Lacy and the original swing-to-bop missing link, Johnson, are the ones who will make the hair on your neck curl. Lacy's solos on Monk's Straight No Chaser and John Lewis' Django must be some of the finest pre-free improvisations he recorded, already heading from quirky to out-there. Johnson's clarinet solo on Don Redman's spooky, swing-meets-whole tone classic, Chant Of The Weed, and slow-burning, stirring tenor solo on Evans' La Nevada are some of the finest the all-but-forgotten genius ever recorded. Trumpeter Johnny Coles, has the inevitable misfortune of being compared to Miles Davis and being found to be ... different. Sunny, open and extroverted, he may not be a stylist of Davis' proportions, but he's an enjoyable alternative foil for Evans' arrangements.
    A magnificent but neglected album, and still coming up fresh as daisies.




    Musicians:



    • Budd Johnson (tenor saxophone, clarinet)

    • Steve Lacy (soprano saxophone)

    • Al Block (woodwinds)

    • Johnny Coles, Allen Smith (trumpet)

    • Jimmy Cleveland (trombone)

    • Bill Barber (tuba)

    • Gil Evans (piano)

    • Chuck Wayne (guitar)

    • Dick Carter (bass)

    • Elvin Jones (drums)



    Recording: February 1959

    Production: Richard Bock




    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.



    Gil Evans
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Seven Songs For Quartet And Chamber Orchestra Seven Songs For Quartet And Chamber Orchestra Quick View

    $25.99
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    Seven Songs For Quartet And Chamber Orchestra

    Sounding as fresh today as it did in 1973, Seven Songs places the Gary Burton Quartet in an orchestral context, with compositions of Michael Gibbs - inspired by Messiaen and Charles Ives as well as Miles and Gil Evans - and exceptional soloing by Mick Goodrick, Steve Swallow and Burton himself. The production is exemplary: Seven Songs set a new standard for recordings of orchestral jazz.


    Musicians:

    Gary Burton (vibraharp)

    Michael Goodrick (guitar)

    Steve Swallow (bass)

    Ted Seibs (drums)

    NDR-Symphony Orchestra

    Michael Gibbs (conductor)


    Recorded December 1973

    1. Nocturne Vulgaire / Arise, Her Eyes
    2. Throb

    3. By Way Of A Preface
    4. Phases

    5. The Rain Before It Falls

    6. Three
    Gary Burton
    $25.99
    Vinyl LP - Sealed Buy Now
  • The Teddy Charles Tentet The Teddy Charles Tentet Quick View

    $24.99
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    The Teddy Charles Tentet

    This release contains vibraphonist Teddy Charles' complete TENTET album, featuring an all star 10-piece band and the compositions and arrangements of Gil Evans, Jimmy Giuffre, Mal Waldron & George Russell! Pressed on 180 gram audiophile vinyl.
    1. Vibrations
    2. The Quiet Time
    3. The Emperor
    4. Nature Boy
    5. You Go To My Head
    6. Lydian M-1
    Teddy Charles
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Porgy And Bess Porgy And Bess Quick View

    $24.99
    Buy Now
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    Porgy And Bess

    Mono Pressing!


    Limited Edition, Individually Numbered!


    On their second conceptual album together, Miles Davis and arranger Gil Evans offered up a profound reinterpretation of George Gershwin's famed opera Porgy and Bess. A landmark release in orchestral jazz and arguably the best of their many collaborations, Evans' adaptation of Gershwin's score here is a veritable tour de force and although the outing features strong performances from Cannonball Adderley (alto sax), Paul Chambers (bass) and Jimmy Cobb (drums), Davis' poignant trumpet playing is the unequivocal star. Transcendent material like Summertime and I Love You Porgy display the true beauty of Miles Davis and Gil Evans' collective genius, their ability to reach the listener on not only a musical level but an emotional one as well.

    1. The Buzzard Song
    2. Bess, You Is My Woman Now
    3. Gone
    4. Gone, Gone, Gone
    5. Summertime
    6. Oh Bess, Oh Where's My Bess
    7. Prayer (Oh Doctor Jesus)
    8. Fisherman, Strawberry and Devil Crab
    9. My Man's Gone Now
    10. It Ain't Necessarily So
    11. Here Come De Honey Man

    12. I Loves You Porgy
    13. There's A Boat That's Leaving Soon For New York
    Miles Davis
    $24.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • The Gil Evans Orchestra Plays The Music Of Jimi Hendrix (Speakers Corner) The Gil Evans Orchestra Plays The Music Of Jimi Hendrix (Speakers Corner) Quick View

    $34.99
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    The Gil Evans Orchestra Plays The Music Of Jimi Hendrix (Speakers Corner)

    Critics find this album rather difficult to evaluate. Their judgement ranges from a colourful mixture to a successful cover album to a masterly fusion and an homage to an artist whose life came to an end far too soon - Jimi Hendrix. Jimi had long been gone when this album was recorded in 1974. But it is almost superfluous to look back to the legendary Hendrix if you focus on the great Gil Evans. After such milestones as Birth Of The Cool and Sketches Of Spain it isn't difficult to regard these late audiophile masterpieces as a logical development of Evans's exceptional skill as an arranger.
    When you listen - or rather experience - how the crystal-clear sound in Angel is heightened to an emphatic ballad on the saxophone, or how rich soulful vocals storm ahead in a funky style (Crosstown Traffic), or fluffy, cloud-like sounds are built up on the flutes in Castles Made From Sand, then it is no longer of importance who thought out the music. It is sufficient that it exists and is pleasing to all who hear it. It is also unimportant whether one reveres Hendrix's immemorable melodies or whether one pays homage to Evans's visionary soundworld: a recording such as this could only be born of the two.




    Musicians:



    • Gil Evans (arranger, conductor, piano)

    • David Sanborn, Billy Harper (saxophone, flute)

    • Billy Harper (saxophone, flute)

    • Lewis Soloff (trumpet)

    • Tom Malone (synthesizer, trombone, flute, bass)

    • David Horowitz (electric piano, synthesizer)

    • John Abercrombie (guitar)

    • Don Pate (bass)

    • Warren Smith, Jr. (chimes, percussion, vibraphone)

    • Bruce Ditmas (drums)



    Recording: 1974 at RCA's Studio B, New York City, by Bob Simpson
    Production: Mike Lipskin




    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.


    1. Angel
    2. Crosstown Traffic/ Little Miss Lover
    3. Castles Made of Sand/Foxey Lady
    4. Up From the Skies
    5. 1983 - A Merman I Should Turn to Be
    6. Voodoo Child (Slight Return)
    7. Gypsy Eyes
    8. Angel
    9. Castles Made of Sand
    10. Up From the Skies
    11. Gypsy Eyes
    Gil Evans Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Porgy And Bess Porgy And Bess Quick View

    $27.99
    Buy Now
    x

    Porgy And Bess

    On their second conceptual album together, Miles Davis and arranger Gil Evans offered up a profound reinterpretation of George Gershwin's famed opera Porgy and Bess. A landmark release in orchestral jazz and arguably the best of their many collaborations, Evans' adaptation of Gershwin's score here is a veritable tour de force and although the outing features strong performances from Cannonball Adderley (alto sax), Paul Chambers (bass) and Jimmy Cobb (drums), Davis' poignant trumpet playing is the unequivocal star. Transcendent material like Summertime and I Love You Porgy display the true beauty of Miles Davis and Gil Evans' collective genius, their ability to reach the listener on not only a musical level but an emotional one as well.
    1. The Buzzard Song
    2. Bess, You Is My Woman Now
    3. Gone
    4. Gone, Gone, Gone

    5. Summertime
    6. Oh Bess, Oh Where's My Bess
    7. Prayer (Oh Doctor Jesus)
    8. Fisherman, Strawberry and Devil Crab
    9. My Man's Gone Now
    10. It Ain't Necessarily So
    11. Here Come De Honey Man

    12. I Loves You Porgy
    13. There's A Boat That's Leaving Soon For New York
    Miles Davis
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Birth Of The Cool Birth Of The Cool Quick View

    $27.99
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    Birth Of The Cool

    Culled from three separate nonet sessions that took place from early 1949 through March of 1950, The Birth Of Cool was the literal blue print for the sound known as cool jazz thus its title. Featuring the fluidity of bop, innovative big band arrangements and a relaxed overall elegance, the Gil Evans arranged sessions find Davis supported by pivotal performances from such jazz luminaries as Kai Winding, Gerry Mulligan, Lee Konitz and Max Roach among others. Despite such a large band, the proceedings sound remarkably intimate with concise and sophisticated songs built largely on tone and mood. A seminal recording in the history of jazz!
    1. Jeru
    2. Move
    3. Godchild
    4. Budo
    5. Venus De Milo
    6. Rouge
    7. Boplicity
    8. Israel
    9. Deception
    10. Rocker
    11. Moondreams
    12. Darn That Dream
    Miles Davis
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sketches of Spain Sketches of Spain Quick View

    $24.99
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    Sketches of Spain

    Ranked 356/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Limited individually Numbered Edition!


    Mono Pressing!


    The conception of ''Sketches of Spain'' in 1960, can be placed in the ''most melodic era'' of Miles Davis. It is one of his most accessible and less improvisational albums, some even outclassed it from the reigns of Jazz.


    This is one of the four albums where Miles and Gil Evans (arranger & conductor) were together with a small orchestra of horns and percussion, and it was fueled by Spanish melodies that fascinated Davis to the point he needed to get into them and go beyond: El Concierto de Arajuez by JoaquĆ­n Rodrigo and El Amor Brujo by Manuel de Falla.

    1. Concierto de Aranjuez
    2. Will O the Wisp
    3. The Pan Piper
    4. Saeta
    5. Solea
    Miles Davis
    $24.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Levin Brothers Levin Brothers Quick View

    $40.99
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    Levin Brothers

    Gold With Smoke Colored 150 Gram Vinyl


    Signed By Tony Levin & Pete Levin


    Numbered/Limited To 1000


    Tony Levin, (bassist with Peter Gabriel, King Crimson), has for the first time, joined up with his brother, keyboardist Pete Levin (Miles Davis, Gil Evans, Jaco Pastorius, Wayne Shorter) to make an album of the music they loved listening to when they were kids - the 'cool jazz' of the 1950s. Tony's cello and bass share the lead voice with Pete's organ and piano, and they're joined by notable players on drums, guitar and sax. Don't expect abstruse songs or long-winded solos - this album is all about great, melodic songs with high level performances by all the players.

    1. Bassics
    2. Brothers
    3. Mysterioso
    4. Not So Square Dance
    5. Jumpin Jammies
    6. Cello in the Night
    7. Havana
    8. Special Delivery
    9. I Got Your Bach
    10. Matte Kudasai (King Crimson cover)
    11. Ostropolya
    12. Gimme Some Scratch
    13. I Remember
    14. When Sasha Gets the Blues
    Levin Brothers
    $40.99
    150 Gram Audiophile Vinyl LP - Sealed Buy Now
  • Music From Siesta Music From Siesta Quick View

    $39.99
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    Music From Siesta

    Music From Siesta is an album released in 1987 by Miles Davis and Marcus Miller. It is the soundtrack of the 1987 film Siesta, directed by Mary Lambert.


    This collaboration between Miles Davis and producer Marcus Miller (who, except for some cameos, plays all of the other instruments) is quite successful and a bit of a surprise since it is essentially a soundtrack to an obscure film. Dedicated to arranger Gil Evans, the music is greatly influenced by his style with Miller creating an electrified but very warm orchestra to accompany Davis' melodic solos. This was the first of several instances in which Miles Davis, in the twilight of his life, returned to his roots. It's worth searching for.

    1. Lost In Madrid Part I
    2. Siesta/Kitt's Kiss/Lost In Madrid Part II
    3. Theme For Augustine/Wind/Seduction/Kiss
    4. Submission
    5. Lost In Madrid Part III
    1. Conchita/Lament
    2. Lost In Madrid Part IV/Rat Dance/The Call
    3. Claire/Lost In Madrid Part V
    4. Afterglow
    5. Los Feliz
    Miles Davis & Marcus Miller
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sketches of Spain (On Sale) Sketches of Spain (On Sale) On Sale Quick View

    $34.99 $31.49 Save $3.50 (10%)

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    Sketches of Spain (On Sale)

    Ranked 356/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Davis Third and Final Pairing With Arranger Gil Evans Yields Watershed Innovations


    Sublime Sound: Mobile Fidelity Reissue Corrects the Dry Sound That Plagues Previous Editions


    Flamenco-Themed 1960 Set Develops Synergy Between Orchestrations and Melancholic Jazz Phrasings


    Urge by Davis to Develop Techniques Possessed by Forbearers Finds Him Expanding Palette, Spinning Webs of Lyrical Sound and Emotion


    Kind of Blue, Milestones, Round About Midnight, Four & More, and In a Silent Way Also Available from Mobile Fidelity


    Miles Davis and Gil Evans bridged styles and collaborated on high-concept projects a total of three times during their celebrated career. For their final act, they created Sketches of Spain, a peak moment in each luminarys career and a transformative album that weds Spanish themes, lush orchestrations, romantic timbres, and Davis increasingly lyrical methods in a tender ceremony that continues to resonate more than five decades after its original release.


    Part of Mobile Fidelitys Miles Davis catalog restoration series, the genre-defying 1960 classic has been given the ultimate white-gloves treatment. Mastered from the original master tapes and pressed at RTI, this exquisite 180g LP significantly expands the soundstage that frames the orchestra and digs deep to eradicate a dryness that many critics have found as an anathema to its overall enjoyment. Here, at last, is the full-figured perspective long deserved by the woodwinds, strings, and percussion, all of which come alive with previously unheard definition and detail.


    Indeed, in its three-decade-plus history, Mobile Fidelity has never been prouder to have the honor of handling efforts as important as Davis key recordings. Its why the labels engineers have taken every available measure to insert listeners into the space occupied by Davis, bassist Paul Chambers, drummer Jimmy Cobb, percussionist Elvin Jones, and the 18-piece orchestra. With both Evans and Davis attracted to the blues undercurrents permanently entrenched in the Spanish flamenco strains, listeners can finally wholly detect the myriad microdynamic tonalities, brooding ostinato devices, and minor pedal points that stamp the compositions with divine sensibility and goffered effect.


    Multi-note motifs, brief improvisational solos, fanfare sweeps, and contrapuntal exchanges inform the flamenco-spiced pieces, but so do unconventionally voiced instruments that come into full relief on this reissue. Davis Harmon-muted trumpet is abetted by an assortment of bassoons and French horns that create pleasing contrasts and sounds (pp, mf, ppp) that get to the heart of Sketches of Spain: splashes of color. Seldom, if ever, did Davis ever so expressively and liberally paint with color. And in Evans, he has a likewise-minded partner to help draw out variegated shades, adamantine layers, and striated distinctions.


    Whether its the somber mood piece of the standout Concierto de Aranjuez (Adagio), renowned forDavis flugelhorn performance, or the folktale-based Solea, Mobile Fidelitys enhanced Sketches of Spain transfixes with playing, ideas, and innovations that remain exclusive to this incomparable record.


    This title is not eligible for further discount.

    1. Concierto de Aranjuez (Adagio)
    2. Will O the Wisp
    3. The Pan Piper
    4. Saeta
    5. Solea
    Miles Davis
    $34.99 $31.49 Save $3.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Little Johnny C (Pre-Order) Little Johnny C (Pre-Order) Quick View

    $39.99
    Buy Now
    x

    Little Johnny C (Pre-Order)

    Cut At 33 1/3 RPM By Kevin Gray At Cohearent Audio From The Original Rudy Van Gelder Blue Note Master Tapes


    Pressed On 180 Gram Virgin Vinyl LP By RTI


    Top Quality Gatefold Packaging With Laminated Covers & High Quality Session Photos


    Trumpeter Johnny Coles, a distinctive and passionate player best known for his associations with Gil Evans, the remarkable Charles Mingus Quintet of 1964, and Herbie Hancock's late 60's Sextet, led relatively few albums of his own, and only two before 1982. Recorded in 1963, Little Johnny C is universally recognized as Johnny Coles' finest recording. Coles' soulful trumpet is heard in superb form as he pushes the hard bop mainstream forward. Duke Pearson, who was both a very skilled pianist, as well as one of the top arrangers of the 1960s, contributes five very fresh originals to the set. Notably, Little Johnny C is also one of tenor saxophonist Joe Henderson's finest early recordings, and his round sound and innovative phrasing clearly evident at this early point in his career. With the superb title cut, the ballad So Sweet My Little Girl, and Jano being high-points, in addition to beautiful flute and alto solos contributed by Leo Wright, Little Johnny C is a masterful album by an artist at his creative peak. This is a set to be savored again and again.


    Features:

    Limited Edition of Only 3500 Copies

    Remastered from the Original Rudy Van Gelder Blue Note Master Tapes

    Remastered by Kevin Gray at Cohearent Audio

    Pressed on 180 gram Virgin Vinyl LP by RTI

    Ultra-Durable, Extra Thick Album Jackets

    Gatefold Album with Session Photos in stunning High Resolution

    Stereo


    This title is not eligible for discount.

    Johnny Coles
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • Our Gang Our Gang Quick View

    $34.99
    Buy Now
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    Our Gang

    Composer-arranger-bandleader and guitarist Anthony Wilson, the 32-year old son of big band maestro Gerald Wilson, is one of the most brilliant musicians working in the US jazz scene today. A recipient of the IAJE's Gil Evans Fellowship Award, Wilson's rich, fluid and easy going style, with it's seductive references to Wes Montgomery and Kenny Burrell, is much in evidence on his latest work, Our Gang from the Groove Note label out of Los Angeles.


    Playing with a much pared down structure of guitar trio with organ and drums (his previous recordings have been with much larger outfits) gave Wilson the freedom to focus more on his own inventive and incomparable skills as soloist, and his close rapport with drummer Mark Ferber and organist Joe Bagg, with whom he has been playing with regularly for the last 2-3 years, pays off richly in this session.


    Wilson's previous work for the Mama label received a great deal of critical and commercial recognition. The self-titled debut album hit number 1 on the Gavin charts and received a Grammy nomination in the Large Jazz Ensemble category in 1997. His second album Goat Hill Junket also achieved great success both critically and on radio while his third album released in 1999 features talents such as Jeff Clayton, Greg Ellis and Jack Nimitz all performing a suite commissioned by the IAJE. Wilson also received a Downbeat International Critics Poll award for Composer Deserving Wider Recognition in 2000.


    Wilson's newest effort is the culmination of all his most recent ideas, in both originals and standards, and this album includes some stunning performances of standards like Chitlins Con Carne (By Kenny Burrell), I Want You - She's So Heavy (from Abbey Road), and Prelude To A Kiss (Strayhorn). The album also contains further evidence of Anthony Wilson's skill and talent as a composer as demonstrated by original compositions like Our Gang and Britta's Blues. The sterling back-up by Ferber and Bagg also deserves special mention with organist Bagg in particular exchanging great solos on the Hammond B-3 with Wilson.


    Recorded by the A-list team of producer Joe Harley (ECM, Enja) and Mike Ross (engineer) at Cello Studios in Hollywood, this remarkable session will serve not only to cement the much vaunted reputation established with the Mama albums but will in fact greatly extend Wilson's high profile position as one jazz's finest talents.

    1. Our Gang

    2. Chitlins Con Carne

    3. Britta's Blues
    4. Time Flies
    5. Road Trip
    6. Luck be A Lady
    7. I Want You (She's So Heavy)
    8. Prelude To A Kiss
    Anthony Wilson Trio
    $34.99
    180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
  • Porgy and Bess / Sketches of Spain Porgy and Bess / Sketches of Spain Quick View

    $27.99
    Buy Now
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    Porgy and Bess / Sketches of Spain

    Import


    This 2LP-set from Vinyl Passion gathers the two landmark Miles Davis/Gil Evans collaborative albums Porgy And Bess (1958) and Sketches of Spain (1960) together in one unprecedented vinyl collection.

    LP1 - Sketches Of Spain

    1. Concierto De Aranjuez

    2. Will O' The Wisp

    3. The Pan Piper

    4. Saeta

    5. Solea


    LP2 - Porgy And Bess

    1. The Buzzard Song

    2. Bess, You Is My Woman Now

    3. Gone

    4. Gone, Gone, Gone

    5. Summertime

    6. Oh Bess, Oh Where's My Bess

    7. Prayer (Oh Doctor Jesus)

    8. Fisherman, Strawberry and Devil Crab

    9. My Man's Gone Now

    10. It Ain't Necessarily So

    11. Here Come De Honey Man

    12. I Loves You Porgy

    13. There's A Boat That's Leaving Soon For New York

    Miles Davis
    $27.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Miles Ahead (Out Of Stock) Miles Ahead (Out Of Stock) Quick View

    $24.99
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    Miles Ahead (Out Of Stock)

    Mono pressing!


    Limited Individually Numbered!


    Miles Ahead is an album by Miles Davis that was released in 1957 as Columbia CL 1041. This was Davis' first collaboration with arranger Gil Evans following the groundbreaking Birth of the Cool sessions. Davis and Evans would go on to record the Columbia albums Porgy and Bess, Sketches of Spain and Quiet Nights, all considered masterpieces of orchestral jazz.


    Evans combined the ten pieces that make up the album into a suite, each flowing into the next without interruption; the only exception to this rule was on the title track since it was placed last on side A. Davis is the only soloist on Miles Ahead, which features a large ensemble consisting of sixteen woodwind and brass players. Art Taylor played drums on the sessions and the then current Miles Davis Quintet member Paul Chambers was the bassist.


    A fifth recording date involved Davis alone (re-)recording material to cover or patch mistakes or omissions in his solos using overdubbing.

    1. Springsville
    2. The Maids of Cadiz
    3. The Duke
    4. My Ship
    5. Miles Ahead
    6. Blues for Pablo
    7. New Rhumba
    8. The Meaning of the Blues
    9. Lament
    10. I Don't Wanna Be Kissed
    Miles Davis
    $24.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Temporarily out of stock
  • Out Of The Cool (Out Of Stock) Out Of The Cool (Out Of Stock) Quick View

    $49.99
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    Out Of The Cool (Out Of Stock)

    This is the Gil Evans Orchestra that made its initial appearance at the Jazz Gallery in New York City toward the end of 1960. After having experimented with many different instrumentational formats, Gil has settled on this one as affording the most flexible outlet for his musical ideas. His taste for developments in all music is evidenced by his choice of material, his selection of personnel and by his compositional style. While some composer-arrangers in the jazz field tend to over-write in proportion to the time they spend and the techniques they learn, Evans seems to be headed in the opposite direction. Always aware of the importance of the improvised solo, his supporting material is never over-bearing.

    1. La Nevada
    2. Where Flamingos Fly
    3. Bilbo Song
    4. Stratusphunk
    5. Sunken Treasure
    6. Sister Sadie
    Gil Evans
    $49.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Temporarily out of stock
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