- Lowest Price
- Highest Price
Chicago FireThere's an old saying that a great jazz musician never plays a song the same way once. That could certainly be said of Eric Alexander. One of the busiest players in jazz yet his playing is as imaginative as ever, with the ideas pouring out of his horn. His harmonic inventiveness is exceptional and he'll run the changes at such length at times that you wonder if he'll resolve everything in time and end up back on the beat - but he always does. He has a big, full, sound, and a ferocious technique, with access to the full range of his instrument, all under super-human control. Both the Bird and the Sonny Rollins legacies have been thoroughly internalized but here Eric explores the repertoire of another school of tenor playing - the Chicagoans. With long-time collaborators Harold Mabern, John Webber and Joe Farnsworth Eric gives the nod to some Windy City players who helped shape the sound of jazz for decades Eddie Harris, Von Freeman and others.1. Save Your Love For Me
2. The Bee Hive
3. Eddie Harris
4. Just One of Those Things
5. Blueski for Vonski
6. Mr. Stitt
7. You Talk That Talk
8. Don't Take Your Love From Me$18.99Vinyl LP - Sealed Buy Now
DAVE BURNS, TRUMPET
AL GREY, TROMBONE
BILLY MITCHELL, TENOR SAX
BOBBY HUTCHERSON, VIBRAHARP
HERMAN WRIGHT, BASS
OTIS CANDY FINCH, DRUMS
HAROLD MABERN, PIANO1. C.B. Blues
3. Something Easy
4. Secret Love
5. Straight Ahead
7. Rhodesian Rhapsody$13.99Vinyl LP Reissue - Sealed Buy Now
Dippin'Lee Morgan, Harold Mabern, Larry Ridley and Billy Higgins join the great tenor saxophonist on this 1965 session featuring four Mobley originals, a beautiful ballad reading of I See Your Face Before Me and a terrific version of Recado Bossa Nova.
Hank Mobley, tenor sax
Lee Morgan, trumpet
Harold Mabern, piano
Larry Ridley, bass
Billy Higgins, drums1. The Dip
2. Recado Bossa Nova
3. The Break Through
4. The Vamp
5. I See Your Face Before Me
6. Ballin'$49.99180 Gram Audiophile Virgin Vinyl 45RPM LP - 2 LPs Sealed Buy Now
Body Talk (Speakers Corner)
Just listen to the first thirty seconds of this LP and you know that it's all about the 'Godfather of Soul' - the unique James Brown.
But it's just as obvious that such a great artist as George Benson doesn't just present "Greatest Hits" in a new guise. Six of his own compositions plus one by Donny Hathaway/Gene McDaniels provide the guitarist and singer with a great platform to launch from. He shoots off into orbit, accompanied by first-class guest soloists such as Jon Faddis, Frank Foster, Earl Klugh and Jack DeJohnnette. Ron Carter's bass doesn't boom in the low register but offers a light and airy, yet solid, base.
Body Talk is by no means the declaration of a world-shaking, new and avant-garde jazz. It is, however, a successful blend of jazz, soul and fusion. And when such a superb arranger as Pee Wee Ellis has his finger in the pie - or rather: his pen on the manuscript paper - then one can be sure that the almost 50-minute-long LP is a great success from beginning to end. Finally, one shouldn't forget the helping hand of the producer Creed Taylor, who made a significant contribution to this milestone on the CTI label.
- George Benson (guitar, vocal)
- Frank Foster (tenor saxophone)
- Gerald Chamberlain, Dick Griffin (trombone)
- Jon Faddis, John Gatchell, Waymon Reed (fluegel horn, trumpet)
- Harold Mabern (electric piano)
- Earl Klugh (guitar)
- Ron Carter, Gary King (bass)
- Jack DeJohnette (drums)
- Mobutu (percussion)
Recording: July 1973 at Van Gelder Studios, Englewood Cliffs, NJ (USA), by Rudy Van Gelder
Production: Creed Taylor
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. Dance
2. When Love Has Grown
4. Body Talk
5. Top Of The World$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Remastered by Kevin Gray and Steve Hoffman from the Original Rudy Van Gelder Blue Note Master Tapes!
The Definitive issue of this classic Blue Note title!
Mono or Stereo? Rudy Van Gelder first began recording Blue Note sessions in stereo in March of 1957. From then until an October 30, 1958 Art Blakey session, Rudy simultaneously ran both mono and stereo session tapes. The stereo presentation revealed more air, more detail and more sheer life than the mono. The mono playback was a wonderful remembrance of the old LP we all knew and loved. The stereo playback from the original masters was eerie. It was like going back in time to that day in Rudy's studio. Quite simply, the stereo masters revealed more of what it was like to be there that day.
Why 45rpm? Simply...Because it sounds better! 180 gram pressings versus 200 gram? Music Matters, Lt. uses 180 gram pressings for the simple reason that they believe 180 gram weight is more than sufficient to provide a near perfect pressing. When Music Matters asked their friends at Record Technology Inc. for their recommendation to achieve the highest possible quality pressings their answer was unequivocal... go with 180 gram!
Upgrading Connections at Acoustech! It goes without saying that there are many controversies and debates in the perfectionist audio/LP collector market. But one area of near universal agreement is the quality of mastering that emerges from Kevin Gray's custom-built AcousTech Mastering studio in Camarillo, CA. Kevin, along with Steve Hoffman, has provided many of the best sounding new and reissued albums on LP during the last 5 or 6 years working outs of AcousTech.
Music Matters Exclusive! Music Matters strongly feels that these Blue Note recordings deserve nothing less than the finest graphic presentation. The Music Matters Definitive 45RPM Blue Note jackets are designed to last a lifetime, using ultra-durable extra thick cardboard stock and thick, luxurious lamination... quality you'll be able to feel in your hand the moment you pick up one of these albums. In addition, Music Matters has obtained exclusive access to a treasure trove of over 30,000 original Blue Note session photos from Mosaic Images for use in this series. The gatefold opens to display these session photos in stunning high resolution - four times sharper than original Blue Note jacket photos.
Hear what Michael Fremer, Wayne Garcia and others are saying about the Blue Note Definitive 45rpm Reissue Series from Music Matters, Ltd:
They're BIG and open and definitely work in stereo because they're not hard left/right stereo. The cymbals are so chimey and the skins so open! Even Rudy's typical boxy piano isn't too bad. These are going to be really good....!!!! (Real time reaction after hearing his first test pressing of Horace Parlan's Speakin' My Piece LP.) - Michael Fremer, Stereophile Magazine
I've heard a lot of Blue Note originals and myriad reissues over the years, but based on the sample test pressings heard so far, none-and I mean none-convey the intensity of living, breathing music-making the way the Music Matter's Blue Note series does. The sense of air, texture, and dynamic pop in these grooves is astonishing. - Wayne Garcia, The Absolute Sound
Art Blakey & the Jazz Messengers "The Big Beat" and Horace Parlan, "Speakin' My Piece." And if this is any indication of what's to come, I advise you to get on the list now, before this collection is sold out. - Albert Porter, www.positive-feedback.com
The Music Matters 45s have all immediacy and add a free-flowing naturalness that is surprising at first but very easy to get used to. - Marc Mickelson, www.soundstage.com
There is no real explanation for Lee Morgan's greatness. He emerged in 1956 as a precocious 18-year old already recording for Blue Note and performing as one of the stars of the Dizzy Gillespie Orchestra. He continued to grow during his years with Art Blakey's Jazz Messengers and in the 1960s was jazz's leading trumpeter. In 1965 when he recorded The Gigolo, Morgan was still only 27 yet had already created a lifetime of exciting music. On The Gigolo, he builds upon his earlier successes and plays with a brilliance only reached by the most immortal of jazz musicians. His four originals include the original version of his memorable blues Speed Ball, and he really digs into You Go To My Head. Hearing The Gigolo with its phenomenal sound and brilliant playing is a thrill that all jazz fans need to experience.
• Remastered from the Original Rudy Van Gelder Blue Note Master Tapes!
• Remastered by Kevin Gray and Steve Hoffman at Acoustech
• Cut at 45rpm for Better Sound!
• Pressed on two 180 gram Virgin Vinyl LPs by RTI
• Limited Edition
• Ultra-Durable, Extra Thick Album Jackets
• Gatefold Album with Session Photos in stunning High Resolution
Lee Morgan, trumpet
Wayne Shorter, tenor saxophone
Harold Mabern, Jr., piano
Bob Cranshaw, bass
Billy Higgins, drums
The albums are being cut at 45 RPM for maximum quality by Kevin Gray and me using our full ANALOG disk cutting system; most studios cannot even cut vinyl in 100% true analog anymore (they convert to digital first) but we can. The original Rudy Van Gelder engineered stereophonic session tapes are used when we master these gems. The sound quality is amazing on our test cuts. Like from heaven. First totally uncompressed versions of these jazz classics that I've ever heard and trust me, you will be impressed; they sound like no other releases of this music.
The sound is lifelike, the horns are in the room with you. Our non-invasive mastering insures the true breath of life on these original Van Gelder session tapes is transferred to the virgin vinyl with absolute authenticity. It is like hearing these BLUE NOTE masterpieces for the first time and that is NO exaggeration. When we heard the first lacquer acetate playback from our first mastering session I thought Joe Harley was going to pee in his pants he was so excited. Actually we all were; after 50 years of many lackluster and some downright bad sounding versions of these albums, hearing the real deal is a humbling experience, even for us hardened music veterans. You will be able to listen to the music exactly like we did... - Steve Hoffman
This title is not eligible for discount.1. Yes I Can, No You Can't
3. Speed Ball
4. The Gigolo
5. You Go To My Head$49.99180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now