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  • Right Down Front (Awaiting Repress) Right Down Front (Awaiting Repress) Quick View

    $12.99
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    Right Down Front (Awaiting Repress)

    Recorded from 1960 to 1962, this set's personnel include Sam Jones (cello, bass); Cannonball Adderley (alto saxophone); Jimmy Heath (tenor saxophone); Blue Mitchell (trumpet); Nat Adderley (cornet); Victor Feldman (vibraphone); Wynton Kelly, Bobby Timmons, Joe Zawinul (piano); Ron Carter (bass); and Ben Riley (drums).

    1. Some Kinda Mean
    2. There Is No Greater Love
    3. Home
    4. The Old Country
    5. Over The Rainbow
    6. Blues On Down
    7. Four
    8. Blue Bird
    9. Unit 7
    10. Come Rain Or Come Shine
    11. 'Round Midnight
    Sam Jones
    $12.99
    Vinyl LP Reissue - Sealed AWAITING REPRESS Buy Now
  • Taylor's Wailers (Mono) Taylor's Wailers (Mono) Quick View

    $34.99
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    Taylor's Wailers (Mono)

    In 1956, drummer Art Taylor formed a group called Taylor's Wailers that included Donald Byrd (trumpet) and Charlie Rouse (tenor sax). This 1957 Prestige release, finds the group joined by Jackie McLean (alto sax) on five of the album's six songs including the two Thelonious Monk compositions Well, You Needn't and Off Minor while Taylor leads a line-up of John Coltrane (tenor sax), Red Garland (piano) and Paul Chambers (bass) from a separate session on Jimmy Heath's C.T.A.
    1. Batland
    2. C.T.A.
    3. Exhibit A
    4. Cubano Chant
    5. Off Minor
    6. Well, You Needn't
    Art Taylor
    $34.99
    200 Gram Audiophile Virgin Vinyl Mono LP - Sealed Buy Now
  • In A New Setting (Speakers Corner) In A New Setting (Speakers Corner) Quick View

    $34.99
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    In A New Setting (Speakers Corner)

    The vibraphonist presents himself in a new setting in this recording from 1964. Clearly Milt Jackson wanted to free himself occasionally from the straightjacket of the Modern Jazz Quartet. Sonny's Blues is proof of this: it is percussive and swinging, and without the eagle eyes of John Lewis in the background. This time the young McCoy Tyner, who had worked with John Coltrane (A Love Supreme was recorded in the same month), was at the piano. Jimmy Heath, responsible for the drive not only as a composer but also as instrumentalist, and Bob Cranshaw on the bass, contribute important impetus to the short blues, ballad-like and bop themes. None of the twelve numbers became a real jazz hit, but each has kept its own individual charm to this day.
    If you set value on an excellent product being excellently packaged then you are well advised to purchase this LP. Unlike the CD version in its jewel case, this album is now being re-released with its original gatefold cover from the truly beautiful Limelight series, for which the designer alone should have received a Grammy.



    Musicians:



    • Jimmy Heath (tenor saxophone)

    • Milt Jackson (vibraphone (vibes))

    • McCoy Tyner (piano)

    • Bob Cranshaw (bass)

    • Connie Kay (drums)



    Recording: December 1964

    Production: Luchi De Jesus



    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. Sonny's Blues
    2. I'm Gonna Laugh You Out Of My Life
    3. Spanish Fly
    4. No Moon At All
    5. Slow Death
    6. Clay's Blues
    7. Lazy Melody
    8. Project-S
    9. Ev-ry Time We Say Goodbye
    10. That's In
    11. Ineffable
    Milt Jackson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Miles Smiles Miles Smiles Quick View

    $19.99
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    Miles Smiles

    Except 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.



    The 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.



    Every 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.



    Musicians:



    • Miles Davis

    • Wayne Shorter (tenor saxophone)

    • Herbie Hancock (piano)

    • Ron Carter (bass)

    • Tony Williams (drums)




    Recording: October 1966 at Columbia Records Studios, New York, by Frank Laico

    Production: Teo Macero


    1. Orbits
    2. Circle
    3. Footprints
    4. Dolores
    5. Freedom Jazz Dance
    6. Ginger Bread Boy
    Miles Davis
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Gap Sealer The Gap Sealer Quick View

    $13.99
    Buy Now
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    The Gap Sealer

    Heritage Hum
    Invitation
    A Sound For Sore Ears
    Gap Sealer
    Angel Man
    Alkebu-lan
    Jimmy Heath
    $13.99
    Vinyl LP Reissue - Sealed Buy Now
  • Hub Cap Hub Cap Quick View

    $49.99
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    Hub Cap

    Freddie Hubbard arrived in New York in 1960 and set the jazz scene on its ear with a gorgeous tone, perfect technique and great ideas. This was his third album in less than a year and it yielded several masterpieces including the title tune and a powerful reading of Randy Weston's Cry Me Not.


    Freddie Hubbard, trumpet
    Julian Priester, trombone
    Jimmy Heath, tenor saxophone
    Cedar Walton, piano
    Larry Ridley, bass
    Philly Joe Jones, drums

    1. Hub Cap
    2. Cry Me Not
    3. Luana
    4. Osie Mae
    5. Plexus
    6. Eearmon Jr.
    Freddie Hubbard
    $49.99
    180 Gram Audiophile Virgin Vinyl 45RPM LP - 2 LPs Sealed Buy Now
  • At The Village Gate At The Village Gate Quick View

    $22.99
    Buy Now
    x

    At The Village Gate

    Original Album Plus Bonus Tracks From The Album At Town Hall


    New York, September 12, 1959 - Original Recordings Remastered


    Nina Simone - Vocals, Piano

    Jimmy Bond - Bass

    Albert Heath - Drums

    1. Just In Time
    2. He Was Too Good To Me
    3. House Of The Rising Sun
    4. Bye Bye Blackbird

    5. Brown Baby
    6. Zungo
    7. If He Changed My Name
    8. Children Go Where I Send You
    9. Black Is The Color Of My True Love's Hair [Bonus Track]
    10. The Other Woman [Bonus Track]
    11. Summertime [Bonus Track]
    Nina Simone
    $22.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Legendary First Recordings In NYC 1957 The Legendary First Recordings In NYC 1957 Quick View

    $32.99
    Buy Now
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    The Legendary First Recordings In NYC 1957

    Includes Bonus CD


    Nina Simones first album is quite simply one of the finest debuts in the history of recorded music. Backed here only by Jimmy Bond on bass and Albert Heath on drums, this stripped down trio format brings Ninas considerable talents (as a classically trained pianist) to the fore. Her soulful versions of songs like Mood Indigo, My Baby Just Cares For Me and I Loves You, Porgy have all become standards in their own right and Nina the declared idol of many.

    Side 1.
    1. Mood Indigo
    2. Dont Smoke In Bed
    3. He Needs Me
    4. Little Girl Blue
    5. Love Me Or Leave Me
    6. My Baby Just Cares For Me
    7. Hes Got The Whole World In His Hands
    8. African Mailman


    Side 2.
    1. Good Bait
    2. Plain Gold Ring
    3. Youll Never Walk Alone
    4. I Loves You Porgy
    5. Central Park Blues
    6. For All We Know

    Nina Simone
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Nina At Town Hall Nina At Town Hall Quick View

    $21.99
    Buy Now
    x

    Nina At Town Hall

    One of Nina Simone's finest recordings, this 1959 Colpix LP features the unique singer/pianist performing classic versions of 'Black Is the Color of My True Love's Hair,' 'The Other Woman,' and 'Wild Is the Wind.' With supportive work from bassist Jimmy Bond and drummer Al 'Tootie' Heath, she also sounds fine on a few instrumentals. 'Summertime' is performed twice, once as a vocal. From the start of her career, Nina Simone carved out her own unique niche, meshing together her classical piano technique with folk singing, civil rights protest lyrics and jazz. All of those elements are in evidence on this highly recommended set. Original artwork.
    1. Black is the Color of My True Love's Hair
    2. Exactly Like You
    3. The Other Woman
    4. Under the Lowest
    5. You Can Have Him
    6. Summertime
    7. Summertime
    8. Cotten Eyed Joe
    9. Return Home
    10. Wild is the Wind
    11. Fine and Mellow
    Nina Simone
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Miles Smiles (Speakers Corner) Miles Smiles (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Miles Smiles (Speakers Corner)

    Except 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.



    The 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.



    Every 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.



    Musicians:



    • Miles Davis

    • Wayne Shorter (tenor saxophone)

    • Herbie Hancock (piano)

    • Ron Carter (bass)

    • Tony Williams (drums)




    Recording: October 1966 at Columbia RecordsStudios, New York, by Frank Laico

    Production: Teo Macero




    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. Orbits
    2. Circle
    3. Footprints
    4. Dolores
    5. Freedom Jazz Dance
    6. Ginger Bread Boy
    Miles Davis
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Little Girl Blue (45 RPM) (Pre-Order) Little Girl Blue (45 RPM) (Pre-Order) Quick View

    $54.99
    Buy Now
    x

    Little Girl Blue (45 RPM) (Pre-Order)


    Mastered By Ryan K. Smith At Sterling Sound From The Original Stereo Analog Master Tapes!


    Heavyweight Tip-On Gatefold Jacket From Stoughton Printing


    Plated And Pressed By Quality Record Pressings


    Now At 45 RPM!


    For more information on Little Girl Blue and the life and times of Nina Simone, see Princess Noire: The Tumultuous Reign of Nina Simone by Nadine Cohodas, The University of North Carolina Press, 2010.


    Little Girl Blue was Nina Simone's debut release. Bethlehem founder Gus Wildi, taken with the uniquely beautiful quality of her voice, gave her complete control over song selection, backing musicians, arrangements and production of the recording. Nina and her rhythm section recorded the entire album plus three additional tracks in just one session. In her biography of Nina, Nadine Cohodas recounts engineer Irv Greeenbaum's recollection of that day: Nothing like Nina's artistry had ever happened before ... Her voice and the keyboard playing were so rich and interesting that they could have stood alone.


    Little Girl Blue documents Nina Simone's unparalleled and idiosyncratic musical persona at a particularly vibrant, formative stage, and helped launch her on a trajectory with more than its share of personal and professional trials and triumphs.


    Engineer - Irv Greenbaum


    Recorded late fall, 1957, at Beltone Studio, New York, NY


    Musicians:

    Nina Simone, piano and vocals

    Jimmy Bond, bass

    Albert Tootsie Heath, drums

    1. Mood Indigo
    2. Don't Smoke In Bed
    3. He Needs Me
    4. Little Girl Blue
    5. Love Me Or Leave Me
    6. My Baby Just Cares For Me
    7. Good Bait
    8. Plain Gold Ring
    9. You'll Never Walk Alone
    10. Porgy
    11. Central Park Blues
    Nina Simone
    $54.99
    200 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed PRE-ORDER Buy Now
  • Little Girl Blue (Pure Pleasure) Little Girl Blue (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Little Girl Blue (Pure Pleasure)

    Little Girl Blue, released in 1957, was Nina Simone's first recording, originally issued on the Bethlehem label. Backed by bassist Jimmy Bond and Albert 'Tootie' Heath, it showcases her ballad voice as one of mystery and sensuality and showcases her up-tempo jazz style with authority and an enigmatic down-home feel that is nonetheless elegant. The album also introduced a fine jazz pianist. Simone was a solid improviser who never strayed far from the blues. Check the opener, her reading of Duke Ellington's Mood Indigo, which finger-pops and swings while keeping the phrasing deep-blue. It is contrasted immediately with one of the -- if not the -- definitive reads of Willard Robison's steamy leave-your-lover ballad Don't Smoke in Bed. The title track, written by Rodgers & Hart, features Good King Wenceslas as a classical prelude to one of the most beautiful pop ballads ever written. It is followed immediately by the funky swing in Love Me or Leave Me with a smoking little piano solo in the bridge where Bach meets Horace Silver and Bobby Timmons.


    It's also interesting to note that while this was her first recording, the record's grooves evidence an artist who arrives fully formed; many of the traits Simone displayed throughout her career as not only a vocalist and pianist but as an arranger are put on first notice here. My Baby Just Cares for Me has a stride shuffle that is extrapolated on in the piano break. Her instrumental and improvising skills are put to good use on Tadd Dameron's Good Bait, which is transformed into something classical from its original bebop intent. You'll Never Walk Alone feels more like some regal gospel song than the Rodgers & Hammerstein show tune it was. Of course, one of Simone's signature tunes was her version of I Loves You, Porgy, which appears here for the first time and was released as a single. Her own Central Park Blues is one of the finest jazz tunes here.



    Musicians:



    • Nina Simone (piano, vocal)

    • Jimmy Bond (bass)

    • Albert "Tootie" Heath (drums)



    Recording: 1957



    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. Mood Indigo
    2. Don't Smoke In Bed
    3. He Needs Me
    4. Little Girl Blue
    5. Love Me Or Leave Me
    6. My baby Just Cares For Me
    7. Good Bait
    8. Plain Gold Ring
    9. You'll Never Walk Alone
    10. I Loves You Porgy
    11. Central Park Blues
    Nina Simone
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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