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The Look Of Love (Awaiting Repress)Available for the first time on 180 Gram 45rpm Double Vinyl!
Experience Diana Krall's The Look Of Love as you've never heard it before... on 45rpm Heavyweight 180 Gram Audiophile Double Vinyl! Diana Krall's voice sounds fuller, richer and sweeter!
Mastered by Bernie Grundman from the Original Analogue Master Tapes & Pressed at RTI! Numbered Deluxe Laminated Gatefold Jackets!
In order to achieve the BEST possible sound ORG has cut The Look Of Love on 4 sides and at 45rpm to allow the maximum cutting level. This gives the record the best signal to noise ratio, better dynamics, less inner groove distortion and better overall sound!
From the luxurious opening chords of the first track, even before Diana Krall has sung a single beautiful note, The Look of Love, will have you hooked. After winning a Best Jazz Vocal Performance Grammy for 1999's platinum-selling When I Look in Your Eyes, Diana Krall delivers her best album yet - a lush, cinematic collection of ballads and bossa nova tunes. Featuring the London Symphony Orchestra arranged and conducted by the legendary Claus Ogerman, The Look of Love brings to mind such classic Frank Sinatra albums as In the Wee Small Hours and Only The Lonely. These elegant piano solos, the sensual vocals, and the wickedly modern sense of humor are, inimitably, all Diana Krall.
The Look of Love is the fifth album by Diana Krall in a row that Tommy LiPuma, Verve Music Group Chairman, produced. LiPuma is also known for his work with Barbra Streisand, Miles Davis, Joao Gilberto, Natalie Cole and Shirley Horn. Regarding Claus Ogerman, Diana Krall said that, together with Johnny Mandel, he has been her favorite arranger/composer since she was seventeen. Ogerman had an important role on albums recorded by Frank Sinatra, Barbra Streisand and Antonio Carlos Jobim. Ogerman also had been working for years together with LiPuma, for the first time on George Benson's outstanding album Breezin'. Since Claus Ogerman featuring Michael Brecker in 1990, the two had gone separate ways. But when Diana Krall was on tour in Munich, LiPuma arranged for her to have lunch with Ogerman. That is how the pianist/singer, the arranger/composer and the producer began to work on a common project: The Look of Love.
Diana's songs were arranged by Claus Ogerman who also conducts the London Symphony Orchestra. The Look of Love gives an impression of unity despite the fact that it contains material from a lot of different sources: e.g. Cry Me A River by Julie London, Love Letters by Nat King Cole and jazz-standards such as Dancing in the Dark by Arthur Schwartz (music)/Howard Dietz (text), I Remember You by Victor Scherzinger/John Mercer and 'S Wonderful by George and Ira Gershwin.
• Numbered Deluxe Laminated Double Gatefold Jackets
• 180g Vinyl
• Pressed at RTI
• Mastered by Bernie Grundman from the Original Analogue Master Tapes!
Diana Krall, piano & vocals
Russell Malone, guitar
Christian McBride, acoustic bass
Peter Erskine, drums
Jeff Hamilton, Paulinho Da Costa, percussion
Luis Conte, percussion
Romero Lubambo, guitar
John Pisano, Dori Caymmi, acoustic guitar
London Symphony Orchestra
Los Angeles Session Orchestra
Claus Ogerman, arranger & conductor
This title is not eligible for discount.1. S'Wonderful
2. Love Letters
3. I Remember You
4. Cry Me A River
5. Besame Mucho
6. The Night We Called It A Day
7. Dancing In The Dark
8. I Get Along Without You Very Well
9. The Look Of Love
10. Maybe You'll Be There$54.99180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Fully Authorized Reissue With Artist's Full Involvement
Originally Released Via Guinn Records In 1977 (500 Copies)
Meticulous Restoration Of Original Audio And Artwork
Housed In Tip-on Style Jacket With Updated Liner Notes Written By Michael Angelo
The 1977 psychedelic rarity Michael Angelo (aka The Guinn
Album), by Kansas City, MO-based singer/songwriter/multiinstrumentalist
Michael Angelo Nigro, is a staggering, hookfilled,
hi-fi snapshot of one man's inner space via dreamy
folk-rock, Anglophile-pop and light psychedelia.
Filled with poetic, contemplative, imaginative and arresting
lyrical imagery and a Beatle-esque vocal presence that
etches lovely figures, there's little to ally the album to its
time. Michael Angelo taps into the forever, ruminating on
timeless life concerns in an oblique and direct manner.
Ethereal and mellifluous, the album isn't just a collection of
songs, but a cohesive album-length statement with strummy,
jangly folk-rock guitar, incendiary lead lines, big, resonant
piano chords and plaintive tinkling, aided by keyboard
coloring, and stands as a heavy-hitter in the pantheon of
"out-of-time" treasures. Coming to form in local professional
studios where he worked as a mid-to-late '70s session man,
Michael plays all instruments on the album (spare drums,
handled by Frank Gautieri).
Original copies of this obscurity have long traded for close to
four figures. The more affordable versions previously
available have been shoddy bootlegs with poor sound. While
the original master tapes vanished decades ago, this edition
has been treated to a new re-master from a sealed original
mint copy - and with Michael's full involvement and
blessing - rendering it as near the sound of the original LP
as possible. We can now all drift within a sea of dreams with
Michael Angelo.1. Flight of Pegasus
2. Oceans of Fantasy
3. The World to Be
4. Lost in the Pain
6. Bon Jour Mr. VIP
7. Journey (To Find Out Who We Are)
8. Inner Reflections
9. Field of Lonely Eyes
10. Future$18.99Vinyl LP - Sealed Buy Now
When I Look In Your EyesYears after the '90s, the decade will be remembered for the rise of pianist-vocalist Diana Krall. Simply put, this British Columbian-born artist is one of the most engaging musicians to emerge from the heap of scat-happy singers high on pyrotechnics, but short on poetry. Stamped with the imprimatur of the Nat King Cole trio and blessed by her apprenticeship with the late West Coast piano giant Jimmy Rowles, Krall simply sings songs the way they're supposed to be sung: with devotion to the lyric and with attention to the groove.
This album finds Krall in familiar company with compatriots Russell Malone (on guitar), bassist John Clayton, drummers Lewis Nash and Jeff Hamilton, and vibraphonist (and former Bill Evans associate) Larry Bunker--all supported by Johnny Mandel's svelte string arrangements. Krall and crew take Irving Berlin's chestnut Let's Face the Music and Dance and the Sinatra-signatured I've Got You Under My Skin south to Brazil via a sexy bossa nova. Malone's lush guitar accompaniment complements Krall's heartfelt delivery on When I Look in Your Eyes, and Michael Franks's Popsicle Toes dances courtesy of Hamilton's drum work. Devil May Care, East of the Sun (and West of the Moon), The Best Thing for You, and the stridish I Can't Give You Anything but Love groove with a minimum of waste, while Mandel's simpatico strings steal the show on I'll String Along with You, Pick Yourself Up, and Do It Again. All of which further illuminate the cool fire from this fine gift from North of the Border. --Eugene Holley Jr.LP 1
1. Let's Face The Music And Dance
2. Devil May Care
3. Let's Fall In Love
4. When I Look In Your Eyes
5. Popsicle Toes
6. I've Got You Under My Skin
1. I Can't Give You Anything But Love
2. I'll String Along With You
3. East Of The Sun (West Of The Moon)
4. Pick Yourself Up
5. The Best Thing For You
6. Do It Again$34.99Vinyl LP - 2 LPs Sealed Buy Now
Stop Drop and RollNew Green Day Side Project!
Fans awaiting a new Green Day record are about to get one. The Bay Area punks have revealed that the 50s-style garage band called the Foxboro Hot Tubs is in fact the rock superstars working under a pseudonym. The band takes on a different aesthetic here though as the sound and the songs are more reminiscient of classic garage bands like the Animals and the Kinks. Their first full length album is entitled Stop Drop And Roll.
We think that the only similarity (between the Hot Tubs and Green Day) is that we are the same band. That is basically the only similarity, explained a Hot Tubs spokesman. We are Jason White, Jason Freese, Michael Pritchard, Frank Edwin Wright the Third and the Reverend Strychnine Twitch. We are four guys who love to play music and be spontaneous, (and) after a few late night jams and a few too many bottles of wine, we were inspired to record some rockin' eight-track recordings.
Green Day bassist Mike Dirnt's real name is Michael Pritchard, and drummer Tre Cool was born Frank Edwin Wright III. Strychnine Twitch is the alter ego Armstrong has adopted for the project. Freese and White have both played on Green Day's recent albums, and White is also a member of Armstrong's other side project, Pinhead Gunpowder.
This vinyl package contains one regular-weight black-vinyl disc pressed at Rainbo in a Stoughton single pocket jacket with a bonus CD in a paper sleeve.1. Stop Drop And Roll
2. Mother Mary
3. Ruby Room
4. Red Tide
6. Shes A Saint Not A Celebrity
9. The Pedestrian
10. 27th Av. Shuffle
11. Dark Side Of Night
12. Pieces Of Truth$18.99Vinyl LP + CD - Sealed Buy Now
False PriestOf Montreals critical breakthrough Hissing Fauna, Are You the Destroyer? catapulted the band to the upper echelon of indie stardom. Their newest full-length False Priest finds mastermind Kevin Barnes teaming up with Grammy-nominated producer Jon Brion (Kanye West, Fiona Apple) at famed Ocean Way Recording (Michael Jackson, Ray Charles, Frank Sinatra).
False Priest is speaker rattling heavy on the low end and features appearances by Janelle Monáe and Solange Knowles (BeyoncÉs sister). The album also marks the return of organic instruments as live drums, strings and pianos eschew the midi sounds and sequencers of previous albums. False Priest features intricate packaging, including a 20-page booklet of new paintings from David Barnes and Gemini Tactics.1. I Feel Ya Strutter
2. Our Riotous Defects
3. Coquet Coquette
4. Godly Intersex
5. Enemy Gene
6. Hydra Fancies
7. Like a Tourist
8. Sex Karma
9. Girl Named Hello
10. Famine Affair
11. Casualty of You
12. Around the Way
13. You Do Mutilate?$22.99180 Gram Audiophile Virgin Vinyl - 2 LPs Sealed Buy Now
The Journey Man"In my music," says Goldie, "is everything I've learned, everyone I've met, everything I've experienced." And it's been an incredible trip. The maverick innovator - who rewrote the future of the jungle scene with landmark releases that still sound like they were kidnapped from tomorrow - has a unique story to tell. From children's homes in the West Midlands through stints in New York and Miami as one of the UK's most celebrated exponents of graffiti art to rubbing shoulders with an exceptional list of musical collaborators including David Bowie, Noel Gallagher and KRS-One, Goldie has defiantly, definitively, done it his own way. "I'm an alchemist," he likes to insist. "I practice the dark arts of messing with the form of something solid."
Though marriage and his passion for bikram yoga have, he says, proved a calming influence, these days he's just as full of inspired, out-there ideas as he was back in 1993 when he did his first cover interview for the rave magazine Generator. "My music is about fallout," he said then, "about the damage that has been done to the system." Today, in the office of one of his London-based contacts, the ideas are still sparking. "Drum'n'bass has done to electronic music what graffiti has done to the art world," he muses, before launching into a rapid-fire synthesis of art history, dancefloor evolution and his own hyperactive brand of self-actualization, which loosely translates as: "Why do something ordinary when you can do something extraordinary?"
It sums up the reason why, in 1994, music critic Simon Reynolds famously observed: "Goldie revolutionized jungle not once but three times. First, there was Terminator (pioneering the use of time stretching), then Angel (fusing Diane Charlemagne's live vocal with David Byrne/Brian Eno samples to prove that hardcore could be more conventionally musical), now there's Timeless, a 22-minute hardcore symphony." Each of these were moments that shaped the musical fabric of the decade and beyond, presaging Goldie's transition from the underground rave scene into the world of bona fide A- list superstars.
But it didn't start out like that. The boy who would become Goldie was born Clifford Price on 19 September 1965, just as The Rolling Stones hit the top of the charts with Satisfaction. His dad Clement, originally from Jamaica, had been plying his trade as a foundryman in Leeds. His mum Margaret, who had been born in Glasgow, was a popular singer in the pubs and clubs of the West Midlands. Barely more than a toddler, Goldie was just three when she placed him into foster care (though she kept his younger brother Melvin). He still remembers, he says, the day the social workers came to take him away.
Over the next 15 years, he bounced between a series of foster homes and local government institutions around the Walsall area. His eclectic musical taste was forged, he reckons, in those same local authority homes listening to the sonic tangle of other teenagers' record collections. "In one room," he says, "a kid would be playing Steel Pulse while through the wall someone else had a Japan record on and another guy would be spinning Human League." On rare visits to see his dad, he'd lie sprawled over the living room couch, listening to Jazz FM, marveling at the lavishly-tooled '80s productions of Miles Davis, Pat Metheny, David Sanborn and Michael Franks, adding further layers to his complex musicography.
Already developing the irresistible urge to excel that has marked his inimitable musical career, Goldie's first love was roller-hockey. He earned a place as goalkeeper in England's national squad before the lure of music overtook the lure of sport. After discovering electro and hip hop, he grew his hair - the "goldilocks" that won him his nickname - and joined a breakdance crew called the B-Boys in nearby Wolverhampton. He also discovered graffiti. "They called me 'the spray can king of the Midlands'," he says proudly. His talent was undeniable, bringing him to the attention not only of Britain's Arts Council but to Dick Fontaine, producer of a Channel 4 TV documentary on graffiti. Fontaine's 1987 film Bombin' captured a visit to the UK by New York artist Brim Fuentes. Brim met Goldie and his B-Boys crew in Wolverhampton's Heathtown before heading a dozen miles away to Birmingham's Handsworth, where the producer filmed the aftermath of rioting that had left four dead, 35 injured and dozens of stores burned out. Several months later, Fontaine reversed the process and took Goldie to New York, introducing him to hip-hop pioneer Afrika Bambaataa. For Goldie, on his first trip abroad, never mind his first trip over the Atlantic, the Big Apple was love at first sight. Back in Britain, he begged, borrowed and saved until he had enough to fund a return trip to the Bronx.
"I started painting the trains and getting involved on the streets," he says, remembering his total immersion in what was still, at that point, an emerging culture. Art and music as symbiotic technologies. Rubbing shoulders with the Big Apple's best graffiti artists, his own distinctive style was accelerated and enriched. A move to Miami followed. He worked in the flea markets, he says, "painting trucks for drug dealers" and developing a sideline in gold jewelry that included the distinctive grills that became a trademark on his return to the UK. The magical properties of shaping, working and bending precious metals to his will - as close to alchemy as the modern world gets - became an analogue for the way he prefers to operate in the studio, chasing quicksilver dreams, mercury-fast rivulets of imagination into impossibly lush, breakbeat concertos. Back in Britain, Goldie found himself seduced by the sweetheart of the rave. Though it took him eight attempts to get entry into the club, at London's Rage in 1991 he marveled at the alternate sonic worlds being forged by Fabio and Grooverider behind the decks. "It really flipped me out," he remembers. Soon he found himself in the orbit of Dego McFarlane and Mark Clair. Their label Reinforced was in the vanguard of breakbeat, issuing astonishing records that stripped out boundaries and limits while setting the tone for the scene's sense of adventure. At first, he helped out doing artwork and a bit of A&R. But soon he was in Reinforced's Internal Affairs studio watching intently as Mark and Dego recorded tracks like Cookin' Up Ya Brain and Journey From The Light. "I was watching what they could do," says Goldie, "trying to gauge the possibilities of the technology." Soon he was getting involved. "I remember one session we did that lasted over three days," he says, "just experimenting, pushing the technology to its limits. We'd come up with mad ideas and then try to create them. We were sampling from ourselves and then resampling, twisting sounds around and pushing them into all sorts of places."
What followed was a series of inspired break-driven releases such as Killa Muffin, Dark Rider and Menace. Then Terminator, with its writhing drum loop, dropped and suddenly Goldie's name was on everyone's lips. He followed up with the equally revolutionary Angel, tilting the axis towards the lush, trippy textures that made 1995's debut album Timeless the drum'n'bass scene's first platinum album. Incredibly, given what was happening elsewhere in the scene at the time, the recording of the album's epic title track began as far back as 1993, when most other producers were still focused on the original sonic tropes of hardcore rave.
Timeless was a masterpiece - of production, of songwriting, of sonic perfection and breakbeat futurism. Even today, it still sounds as astonishingly new and inspired as it did back on those early pre-release cassettes circulated by London Records in the early months of 1995 when Goldie was still living on the 18th floor of a North London tower block.
By then, Goldie had already set up his own record label - Metalheadz - with his friends the DJ duo Kemistry and Storm. Along with studio collaborator, Rob Playford's Moving Shadow and LTJ Bukem's Looking Good imprint, Metalheadz helped to define drum'n'bass as a distinct musical format with singles by J Majik, Asylum and Goldie himself. Still bursting with energy, he then launched a legendary club night, Metalheadz Sunday Sessions, at London's Blue Note. The scene's best producers - among them revolutionary artists like Photek, Source Direct, Peshay and Dillinja - would compete to have their latest recordings debuted at the club and the scene's faithful came from far and wide to hear the best tunes before anyone else. "Those nights at the Blue Note were magical," he recalls. "It was an underground phenomenon that became an institution." David Bowie, who was making the drum'n'bass-influenced album Earthling at the time, fell in love with the place. "I remember popping out to take a break from all the madness inside the club," says Goldie. "He was outside having a cigarette, a bit of a breather. We chatted for a bit, looked at each other, grinned and then plunged back into it all. It was just that kind of place."
Goldie is one of only a handful of artists ever to co-write with Bowie - on the track Truth from the drum'n'bass pioneer's second album Saturnz Return. Released in 1998, the album also saw his vision become more expansive (the opening track, Mother, clocked in at just over an hour). The album's collaborative approach included guest spots from rap legend KRS-One, Sex Pistols manager and all-around provocateur Malcolm McLaren, super-producer Trevor Horn and Oasis main man Noel Gallagher (on the single Temper Temper).
Fuelled by the limitless creativity that has been the hallmark of his career to date, Goldie next turned to acting. He reunited with Bowie in Andrew Goth's 1999 thriller Everybody Loves Sunshine then took the part of Bullion in the 1999 James Bond movie The World Is Not Enough. Other box office smashes - including Guy Ritchie's crime heist caper Snatch - followed before he joined the cast of BBC1 soap opera EastEnders, playing the gangster Angel Hudson.
A series of blockbuster TV appearances - on shows such as Maestro (where he learned to conduct an orchestra), Classic Goldie (which saw him perform his own orchestral composition at the Royal Albert Hall in the summer of 2009) and Goldie's Band: By Royal Appointment.
The orchestral training proved useful. In 2014, he translated his original vision for Timeless into the stunning Timeless (Sine Tempore). Performed live with the Heritage Orchestra at the Wilderness Festival to suitably rapturous acclaim, the performance was repeated the following year as part of the Meltdown Festival at London's Royal Festival Hall. In between, he found time to unveil Fragments Of Gold, a piece inspired by medieval chants that he performed live in Glasgow Cathedral.
Drum'n'bass, of course, has remained a consistent passion, both through his Metalheadz label and his releases under the Rufige Kru moniker (2007's Malice In Wonderland and 2009's Memoirs Of An Afterlife). "Technologically," he says, "breakbeat has managed to surpass all other forms of music to date. There isn't a recording engineer alive who can tell me there's any other form of music that is more complex than the music we make." Goldie has also recently announced he will be releasing a brand new double album 'The Journey Man' this year. The album comprises two parts, 16 brand new tracks in total, all written and produced by Goldie. It also features a host of collaborators handpicked by Goldie to help realize his vision for the album.
"I often look at music not so much as a producer but like a director. You're drawing together engineers, performers and arrangers to create something special, something magical. It's like alchemy. The notes, the music, the lyrics, they're all in my head and each element has to be communicated and brought to life to create the finished track. I'm always inspired by great movie directors - people like Stanley Kubrick and PT Anderson - and, if you think about it, it's quite a similar approach. They start off with a vision and then they use that vision to deploy the actors and the cameramen and the editors in order to create the finished film."
Collaborators on 'The Journey Man' album include vocalist and songwriter Natalie Duncan, who was discovered when chosen in the three-part BBC series 'Goldie's Band By Royal Appointment' and later provided the vocals for Goldie's 2012 single 'Freedom'. Other featured vocalists on the album include Terri Walker, Tyler Lee Daly, Natalie Williams, JosÉ James, Naomi Pryor as well as Goldie's wife, Mika Wassenaar Price.
'The Journey Man' will be released through Cooking Vinyl and Goldie's own record label, Metalheadz.
Goldie's love affair with painting has remained consistent too and he continues to exhibit visual work that's just as dazzling as his sonic output. Beginning with Night Writers, the 1986 exhibition at Wolverhampton's art gallery that introduced Goldie and his Supreme Graffiti Team to the British Arts Council, his shows have defined a unique aesthetic that's all his own. And through them all, from 1987's Rockin' The City in Birmingham (where he exhibited alongside Massive Attack's Robert Del Naja) and the 1988 Crucial Creators exhibition in Walsall to more recent gallery events like 2007's Love Over Gold and 2012's Athleticizm collection (including portraits of London Olympics stars such as Victoria Pendleton, Tom Daley and Jessica Ennis), runs a consistent thread of energy, experimentalism and boundary-pushing. His 2013 collection, Lost Tribes, an innovative series of pieces fusing Goldie's style with the artistic expression of the ancient peoples of Africa, Asia and America was, he says, "my most important breakthrough".
And for the kid who lay awake, gazing at the stars, through the window of a children's home, growing up has brought some surprises. In 2012, he was selected as one of the BBC's New Elizabethans, 60 people - ranging from David Hockney to Roald Dahl, David Bowie and Tim Berners-Lee - who have helped shape British culture during the reign of Elizabeth II. Four years later, he was awarded the MBE in the Queen's New Year Honours. It's acceptance, of course, on a grand scale. But at heart, he's still the gatecrasher, amped-up on ideas, buzzing on nothing but love, hope and the certainty that, while his way might not be the easy way, it's very definitely the path of a true artist.
- Tim Barr, 2017LP 1
1. Horizons (feat. Terri Walker & Swindle)
5. The Mirrored River
1. I Adore You (w/ Ulterior Motive)
2. I Think of You
3. Truth (feat. Jose James)
1. Tu Viens Avec Moi?
2. The Ballad Celeste
3. This Is Not A Love Song
4. The River Mirrored (feat. Terri Walker)
6. Tomorrow's Not Today
7. Run Run Run$35.99Vinyl LP - 3 LPs Sealed Buy Now
Turn Me Loose: Outsiders Of Old Time MusicFrank Fairfield curates another reissue of 78 RPM records - this time with the help of a few of his collector friends. The collection focuses on some of the most seldom acknowledged varieties of Anglo-American vernacular. You'll hear unusual, uncommon instrumentation and great fiddlers from California to Ohio, New Mexico to West Virginia. Forget Americana, this collection shows Anglo-American down-home music as it actually was and in many cases (although largely unrecognized) still is. With painstaking audio restoration by the great Michael Kieffer1 Wagoner - Bill Skiles
2 Don't Get One Woman On Your Mind - Willard Hodgin
3 Bacon and Cabbage - Fred Shriver
4 The Whale Did, I Know He Did - Mustard & Gravy
5 Chicken Reel - The Tweedy Brothers
6 Ladies' Quadrille - Happy Hayseeds
7 Way Down Yonder Blues - Lemuel Turner
8 Money Musk Medley - John Batzell
9 Down in Tennessee Blues - Homer Davenport
10 Caliope - Lewis Brothers
11 Mythological Blues - Ernest Rogers
12 Dill Pickles Rag - McLaughlin's Old Time Melody Makers
13 Arkansas Traveler/Turkey in the Straw - Alphus McFayden
14 Mister Johnson Turn Me Aloose - South Georgia Highballers$17.99Vinyl LP - Sealed Buy Now
A Chorus Line (40th Anniversary Edition)180 Gram Edition Includes Remixed and Remastered Audio for the Full Score on Vinyl for the First Time
Includes Rare Photos from the Original Recording Sessions
A Chorus Line is the Tony Award and Pulitzer Prize-winning musical conceived, choreographed and directed by Michael Bennett, with book by James Kirkwood and Nicholas Dante, music by Marvin Hamlisch, and lyrics by Edward Kleban. This 40th Anniversary 180-gram vinyl edition includes remixed and remastered audio for the full score on vinyl for the first time, as well as rare photos from the original recording sessions.
Michael Bennett's 1975 valentine to gypsies, the dancers who are often treated as so much mobile scenery in Broadway musicals, is sometimes considered to have broken new ground with its frank portraits of talented but frustrated performers. The score by Marvin Hamlisch and Edward Kleban is a favorite of theater people everywhere."1. Company - I Hope I Get It
2. Wayne Cilento - I Can Do That
3. Carole Bishop, Nancy Lane, Kay Cole - At The Ballet
4. Renee Baughman, Don Percassi - Sing!
5. Company - Hello Twelve, Hello Thirteen, Hello Love (Montage)
6. Priscilla Lopez - Nothing
7. Donna McKechnie - The Music And The Mirror
8. Pamela Blair - Dance: Ten; Looks: Three
9. Company - One
10. Priscilla Lopez And Company - What I Did For Love
11. Company - One (Reprise) - Finale$25.99180 Audiophile Virgin Vinyl LP - Sealed Buy Now
The Good Feeling
Available on Audiophile 180 gram Vinyl for the First Time!
2012 Grammy Winner - Best Large Jazz Ensemble!
The good feeling you are about to feel is the kind that can only be derived by the collective efforts of players at the peak of their powers assembled and led by the one and only Christian McBride! The bassist with the mostest hosts an aggregation of players here including his own bandmate Steve Wilson, multi-reedman Ron Blake, trumpeter Nicholas Payton and his close personal friend, vocalist Melissa Walker. McB arranges and conducts the project, which has been a life-long dream of his. They don't call it brass for nothing! 180 gram double vinyl pressing from Mack Avenue Records.
- Christian McBride (bass, arranger, conductor)
- Steve Wilson (alto sax, flute)
- Todd Bashore (alto sax, flute)
- Ron Blake (tenor, soprano sax, flute)
- Todd Williams (tenor sax, flute)
- Loren Schoenberg (tenor sax)
- Carl Maraghi (baritone sax, bass clarinet)
- Frank Green (trumpet)
- Freddie Hendrix (trumpet)
- Nicholas Payton (trumpet)
- Nabate Isles (trumpet)
- Steve Davis (trombone)
- Michael Dease (trombone)
- James Burton (trombone)
- Douglas Purviance (bass trombone)
- Xavier Davis (piano)
- Ulysses Owens, Jr. (drums)
- Melissa Walker (vocals)LP1
1. Shake 'n Bake
3. Brother Mister
4. When I Fall In Love
5. Science Fiction
1. The Shade of the Cedar Tree
2. The More I See You
3. I Should Care
4. A Taste of Honey
5. Bluesin' In Alphabet City
6. In A Hurry$27.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Live In ParisRecorded at the historic Olympia Theatre in Paris in November 2001, this is Diana Krall's first live album. Backed by her quicksilver combo of bassist John Clayton, drummer Jeff Hamilton, and guitarist John Pisano (on some tracks), Krall's jazz heritage comes through loud and clear on this program of standards, ballads, and bossa novas. On Peggy Lee's I Love Being Here with You, Bob Dorough's Devil May Care, and Frank Sinatra's Fly Me to the Moon, Krall's snappy, postbop piano playing shows off her debt to Nat King Cole and Jimmy Rowles.
Her cool contralto vocals are illuminated by the Orchestre Symphonique Europeen, under the direction of Alan Broadbent, as well as the London Symphony Orchestra, led by conductor Claus Ogerman. Krall's deep take on Joni Mitchell's A Case of You is a great choice for an encore, and the album concludes with Billy Joel's Just the Way You Are (a studio track from a film called The Guru), with tenor saxophonist Michael Brecker and bassist Christian McBride. This collection only hints at what Diana Krall has to offer in the future. -Eugene Holley Jr.1. I Love Being Here With You
2. Let's Fall In Love
3. 'Deed I Do
4. The Look Of Love
5. East of the Sun (and West of the Moon)
6. I've Got You Under My Skin
7. Devil May Care
8. Maybe You'll Be There
9. 'S Wonderful
10. Fly Me to the Moon
11. A Case of You
12. Just the Way You Are$34.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
On My Way and Shoutin' AgainImport
When Count Basie returned to Verve Records in 1962, Neal Hefti was contracted to write the tunes and arrangements, a revival of their partnership from the 1958 Roulette LP Basie Plays Hefti. While none of these selections is as famous as his songs like Cute, Little Pony, Splanky, Li'l Darlin', and Repetition, the substantial originality of this music is hard to deny, not to mention that the expert musicians playing his music bring these tracks fully to life in a livelier fashion than most laid-back Basie studio sessions. In fact, it has the feeling of a concert date that trumps the more clean, controlled environment of a session that was recorded on a three-track reel-to-reel. There's also plenty of room for exceptional solos from most of the participants, as Hefti is mindful of who is in the band and how each musician might sound when given his head.
This is tried and true swing-oriented modern big-band music that actually sounds advanced for its time frame, and is solid as anything Basie has done post-April in Paris. The band is atypically bold and brazen on the opener, I'm Shoutin' Again, with Frank Wess on alto (not tenor) sax for his spirited solo. The great chart of Jump for Johnny is a hard bopper for Johnny Carson, basic Basie with tenor saxophonist Frank Foster and trumpeter Sonny Cohn trading licks. Hefti's best work is showcased during Together Again, as the hopping brass and singing horns take tuneful twists and turns. This set also includes the classic track The Long Night, a famous blues featuring the sly flute of Wess in front of the horn section and a masterful muted solo by trumpeter Thad Jones. There are other tunes that are derivative, as you can clearly hear the borrowed phrases of C Jam Blues/Duke's Place in the low-key then blasted-out Eee Dee, Shiny Stockings sprinkled about during the more typical laid-back Rose Bud, and Groove Merchant or Hallelujah, I Just Love Him So in the easy-swinging soul groove of Ain't That Right. Hefti's movie soundtrack experience comes to the fore on Shanghaied, definite spy music with Cohn's muted trumpet masking phobias and paranoia. There are two cute tunes: Skippin' with Skitch, led by three flutes (Wess, Eric Dixon, and Charlie Fowlkes); and the lightly strutting Ducky Bumps, featuring Henry Coker's trombone, with brief solos from Basie's piano and bassist Buddy Catlett.
A solid and worthwhile album that has been out of print for far too long, this will be a welcome addition to any Basie lover's collection, and comes highly recommended to anyone even mildly interested in excellent large-ensemble mainstream jazz.
- Michael G. Nastos (All Music Guide)1. I'm Shoutin' Again
2. Ducky Bumps
3. The Long Night
4. Jump For Johnny
5. Ain't That Right
6. Together Again
8. Skippin' With Skitch
9. Eee Dee
10. Rose Bud
11. Lester Leaps In$27.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Scott Pilgrim Vs. The World SoundtrackOn Red Vinyl!
The soundtracks to movies adapted from comic books are often marketing free-for-alls; promoting bands takes precedence over choosing songs that make sense for the film. However, nothing could be further from the truth for Scott Pilgrim vs. the World's music. Since so much of the comic revolves around the bands that the characters play in, the film was already somewhat protected from having a bunch of random songs crammed into its soundtrack, but the film's creative team ensured that the music was done right. Director Edgar Wright's other films (Shaun of the Dead, Hot Fuzz, etc.) boast soundtracks that brim with personality onscreen and play more like mixtapes than albums in their own right; that feeling continues here with picks like Beachwood Sparks' By Your Side, T. Rex's Teenage Dream, and Frank Black's I Heard Ramona Sing.
The musicians who bring the comic's bands to life are just as cleverly chosen. Beck revisited his slacker-punk roots with the songs he wrote for Scott's band Sex Bob-Omb; though they're performed by Michael Cera and the other actors in the film, Threshold, Summertime, and Garbage Truck still have Beck's gloriously messy early-`90s vibe to them. Later, he contributes Ramona, a dreamy ballad that sounds more like his 2000s work. Meanwhile, Broken Social Scene are Crash and the Boys, the rival band whose I'm So Sad, So Very Very Sad lasts a whopping five seconds. Every part of the soundtrack shows how much care went into it, from choosing artists like Broken Social Scene and Metric to nod to the story's Canadian setting, to the 8-bit version of Threshold that reflects Pilgrim's immersion in video games. The sweetest detail may be the song that started it all: Scott Pilgrim, by the Canadian all-female band Plumtree from their 1997 album Predicts the Future, holds within it all the breathless true love and crunchy guitar goodness that sparked the comic.
Somehow, Scott Pilgrim vs. the World's music remains true not just to the comic, but to the work of everyone involved in the story at every stage, with plenty of fun and heart to boot. ~ Heather PharesEntertainment Weekly (p.75) - 'Garbage Truck' is the keeper, with a fuzz-punk groove that's no laughing matter.1. We Are Sex Bob-Omb - Sex Bomb-Omb
2. Scott Pilgrim - Plumtree
3. I Heard Ramona Sing - Frank Black
4. By Your Side - Beachwood Sparks
5. O Katrina! - Black Lips
6. I'm so Sad, so Very, Very, Sad - Crash and the Boys
7. We Hate You Please Die - Crash and the Boys
8. Garbage Truck - Sex Bomb-Omb
9. Teenage Dream - T. Rex
10. Sleazy Bed Track - The Bluetones
11. It's Getting Boring by the Sea - Blood Red Shoes
12. Black Sheep - Metric
13. Threshold - Sex Bomb-Omb
14. Anthems for a Seventeen Year Old Girl - Broken Social Scene
15. Under My Thumb - The Rolling Stones
16. Ramona [Acoustic Version] - Beck
17. Ramona - Beck
18. Summertime - Sex Bomb-Omb
19. Threshold (8-Bit) - Brian Lebarton$19.99Colored Vinyl LP - Sealed Buy Now
Psychic Temple IIIt may seem hard to imagine a place where indie rock visionaries like Sufjan Stevens and Castanets' Ray Raposa could meld minds with the genius of Brian Wilson, where death metal pioneer Paul Masvidal might wield his legendary six-string chops on a blissed-out soul ballad, where adventurous young jazz players like Kris Tiner and Devin Hoff share credit with Mars Volta keyboardist Ikey Owens and singer/songwriter Aaron Roche.
Long Beach composer, producer and multi-instrumentalist (not to mention truck driver) Chris Schlarb has not only imagined such a place but has now made it manifest for a second time. Released by Asthmatic Kitty, Psychic Temple II is a labor of love, envisioned by Schlarb to bring his most far-ranging inspirations to life - as he puts it, "a dream ensemble that could never actually exist." The ensemble's sophomore release was painstakingly constructed over more than a year with the cooperation of some of the most progressive musical minds from a staggering variety of genres.
"I love interesting juxtapositions, where you bring together people from different communities," Schlarb says. He cites iconoclastic predecessors like Bill Laswell's ever-changing group Material, which once brought together a young Whitney Houston with jazz legend Archie Shepp and future Soundgarden and Red Hot Chili Peppers producer Michael Beinhorn to cover a song by Hugh Hopper of English prog-rock pioneers Soft Machine. On 2010's Psychic Temple, Schlarb assembled a 29-member ensemble that included Minutemen bassist Mike Watt, vocalist Julianna Barwick, and pianist Mick Rossi of the Philip Glass Ensemble.
"It seems like a crazy combination of people," Schlarb says, "but they're all just musicians. Why not bring them all together? It may not always work, but it's always worth reaching further."
Psychic Temple II reaches beyond the long-form experiments of its predecessor for a more tightly focused yet conceptually dense collection whose songs are no less exploratory for their briefer durations. "I never see the point in continuing to regurgitate," Schlarb says of the new album's unique direction. "What was natural at that time would now feel contrived. I have to keep moving forward."
Schlarb also includes three cover songs by composers who share his boundary-demolishing mindset: Joe Jackson's "Steppin' Out," Frank Zappa's "Sofa No. 2," and Brian Wilson's "'Til I Die," a gorgeous, lesser-known Beach Boys song that features vocals by Sufjan Stevens, Castanets' Ray Raposa, and Cryptacize's Nedelle Torrisi.
Psychic Temple had its origins in Create (!), a large improvising ensemble with which Schlarb used to perform. The free-form group would often incorporate multiple drummers, a concept that Schlarb decided to pursue in a more composition-oriented setting. No matter how much Psychic Temple mutates from track to track, the rhythmic possibilities of its two drummers (in this case, Tabor Allen and Andrew Pompey) remain intact.
Schlarb's imaginative leaps are evidenced from the outset of Psychic Temple II, on the intoxicating opening track, "Seventh House." Featuring the sinuous vocals of Sarah Negahdari, who recently served as touring bassist for Silversun Pickups, the song weaves together lyrical and musical references to Neil Young's "Will To Love," to the Art Blakey & the Jazz Messengers album Pisces, and to Sheena Easton's notorious Prince-penned pop hit "Sugar Walls."
Then there's "The Starry King Hears Laughter" and "She Is the Golden World," two songs that pay simultaneous homage to poet William Blake and jazz legend Bill Evans; or "Solo in Place," Schlarb's attempt to filter classic soul through his own "weird prism," a missing link between the Isley Brothers and the Alan Parsons Project that features guitar wizard Paul Masvidal of the death metal bands Death and Cynic.
Despite such a mind-blowing array of talent from the farthest reaches of the musical spectrum, Psychic Temple II is a surprisingly cohesive album, a testament to Schlarb's clear controlling vision. "One of the fundamental flaws of modern music is the idea of the record as a pastiche," he says. "With hip-hop and R&R records starting in the '90s, you had ten tracks with ten different producers so every track sounded completely different. There was no aesthetic where you could just put on a record and listen to it beginning to end. I admire people who are control freaks."
Schlarb has wielded control over a number of vastly different projects himself. The New York Observer called his debut solo album, Twilight & Ghost Stories, "40 minutes of avant-garde bliss," while Interoceans, recorded with experimental jazz duo I Heart Lung, was chosen by NPR as one of the top five jazz albums of 2008. He composed the score for Nicklas "Nifflas" Nygren's video game Nightsky and has received grants from the Canada Council for the Arts and Meet the Composer. In 2001, Schlarb founded the eclectic Sounds Are Active record label, which has released music by the likes of Nels Cline, Mike Watt, and Castanets.1. Seventh House
2. The Starry King Hears Laughter
3. Solo In Place
4. Bird In The Garden
5. 'Til I Die
6. She Is The Golden World
7. Steppin' Out
8. All I Want Is Time
9. Sofa No. 2
10. NO TSURAI
11. Hyacinth Thrash Quarter$19.99Vinyl LP - Sealed Buy Now
The Nightfly (45 RPM Box Set) (Out Of Stock)Mastered From The Original Master Tapes With Mobile Fidelity's One-Step Process: The Nightfly US1S 45RPM Box Set Is The Ultimate Analog Version Of Donald Fagen's 1982 Landmark Debut
Lavish Packaging Includes Opulent Box And Special Foil-Stamped Jackets: Deluxe Audiophile Pressing Strictly Limited To 6000 Numbered Copies
Cinema For The Ears: The Nightly Remains One Of The Best-Sounding Albums Ever Made With Reference Production, Standout Playing, And Jazz-Like Arrangements That Embody Timeless Cool
Donald Fagen's largely autobiographical The Nightfly remains one of the best-sounding albums ever made. Revered by audiophiles, the Steely Dan co-founder's 1982 set immediately became a demonstration disc at hi-fi shows and audio salons the world over. It also quickly emerged as an irreplaceable monitor-evaluating tool for recording-studio engineers and front-of-the-house testing device for concert-venue soundboard engineers who continue to use it today. Painstakingly recorded over eight months by illustrious producer Gary Katz and a Hall of Fame-worthy cast of perfectionist-minded musicians, The Nightfly endures as a rare trifecta of superlative performance, consummate songwriting, and crisp, benchmark production. Mobile Fidelity is honored to give this seminal effort unsurpassed treatment befitting the most serious music connoisseurs.
Fagen's solo debut reaches three-dimensional sonic and emotional heights never before attained by analog recordings on Mobile Fidelity's opulent UD1S (UltraDisc One-Step) box set. Strictly limited to 5,000 numbered copies, this ultra-hi-fi collector's edition literally and figuratively brings you closer to music that picks up where Steely Dan's Gaucho leaves off. You'll enjoy deep-black backgrounds, boundless soundstaging, pointillist details, staggering dynamics, and arguably, the most lifelike tonalities and nuances ever committed to vinyl. Experienced via UD1S, The Nightfly places Fagen and his session pros in your listening room. Every note, breath, and movement is reproduced with exquisite accuracy, wowing clarity, and impeccable balance. Consider this edition your new go-to reference.
The lavish packaging and beautiful presentation of Mobile Fidelity's The Nightfly pressing befit its extremely select status. Housed in a deluxe box, this UD1S version contains special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this reissue of The Nightfly is a curatorial artifact meant to be preserved, poured over, touched, and examined. It is made for discerning listeners that prize sound quality and creativity, and who desire to fully immerse themselves in the art - and everything involved with the album, from the images to the textures and liner notes.
Nominated for seven Grammy Awards, The Nightfly represent[s] certain fantasies that might have been entertained by a young man growing up in the remote suburbs of a northeastern city during the late fifties and early sixties, i.e., one of my general height, weight, and build, pens Fagen in the liner notes, revealing the work's thematic thrust and wistful, nostalgic appeal. At their core, songs look at the world via an optimistic, mindfully innocent lens and through the eyes of an adolescent holed up in his bedroom with his ear to a radio whose exciting transmissions inspire thoughts of futuristic cities, late-night deejays, otherworldly hopes, and Cold War romances. Cinema for the ears, The Nightfly comes on like a film transferred to wax - its stories filled with relatable vulnerability, ambition, and warmth.
It is also timelessly cool, with everything from the iconic album cover - complete with Fagen in the role of a cigarette-smoking disk jockey spinning a Sonny Rollins album on an RCA turntable at 4:09 in the morning - to the flawless playing honoring the laid-back, hip, stylish jazz pedigree of the arrangements. Indeed, The Nightfly's fame owes as much to the stunning contributions by stickler musicians - saxophonist Michael Brecker, trumpeter Randy Brecker, guitarist Larry Carlton, drummer Steve Jordan, bassist Marcus Miller, drummer Jeff Porcaro, and Harmonica Frank Floyd included - as it does the particulars behind its creation, which involved cutting-edge technology, novel microphoning techniques, and pioneering recording methods that gave Fagen exactly what he demanded. His insistence on dialing in exacting drum sounds is by itself the stuff of legend.
The results of the meticulous sessions transcend eras and generations - part of its very design. Virtually every track connects with classic 50s and 60s styles. Green Flower Street doubles as an homage to the jazz standard On Green Dolphin Street. The title track draws imagery from blues pioneer Charley Patton. Ruby Baby references soul greats the Drifters. Maxine nods to harmonies perfected by big-band vocal quartets like the Four Freshmen. The Goodbye Look acknowledges the bossa-nova craze of Fagen's youth. In all respects, The Nightfly rules the airwaves.
More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a convert. Delicate converts are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.
This title is not eligible for discount.1. I.G.Y.
2. Green Flower Street
3. Ruby Baby
5. New Frontier
6. The Nightfly
7. The Goodbye Look
8. Walk Between Raindrops$99.99Vinyl LP UltraDisc One-Step 45 RPM Box Set - 2 LPs Sealed Temporarily out of stock
It's Time (Out Of Stock)Jimmy D. Lane's guitar playing will knock you over. His control of his guitar, from the most delicate tonal nuances to the flashiest, fastest licks, is almost superhuman. Only the most masterful guitar players can command their instruments this way, and all the practice in the world can't develop it. Jimmy D. Lane is a natural-born guitar monster. - Bob Margolin, guitarist in the Muddy Waters Band for seven years
It's Time could just as well have been titled It's Overdue. It's long been time for one of today's most powerful and expressive musicians to break the chains of relative commercial obscurity. Time to seize the reins of blues leadership, just as his father, Jimmy Rogers, did in the 1940s. Masters Eddie Kramer (engineer for Hendrix, Zeppelin, Woodstock etc.), Chris Whipper Layton and Tommy Shannon (of Double Trouble) and Mike Finnigan (organ in the bands of Etta James, Taj Mahal and CSN&Y) are all onboard to give Jimmy the nudge he needs to clear the launching pad. It's Time.
Just wanted to let you know how much Frank and I are enjoying Jimmy D. Lane's new CD - It's Time. It is truly wonderful! We are looking forward to experiencing the Blues Masters concert in Oct. Take care and thanks so much for such a hauntingly awesome CD. Please convey to him that we are hoping not to wear out the CD we enjoy it so much. - Peggy Ulasek, Maryland
Lane's certainly got the goods. The guitarist and singer - he plays bass and drums, too, on a pair of tracks - wrote all but one of the disc's 12 songs. And he's got a knack for mixing Hendrix- and Vaughan-influenced contemporary blues with old-school roots learned from his father...what makes It's Time a fun listen is its textural variety...Kramer's production offers a bright, modern sound that still has the warm feel of live performance. He and Lane keep the set tightly focused...For Jimmy D. Lane, now's as good a time as any. - Michael Cote, Blues Revue, February/March 2005Side One
1. What Makes People
2. 'Til I Loved You
3. Half Love
1. Ain't It a Pity
2. It's Time
3. Stuck in the Middle
1. Hand on the Door
2. Bad Luck
3. My Nature
2. Bleeding Heart
3. Salina$29.99180 Gram Audiophile Virgin Vinyl 45RPM LP - Sealed Temporarily out of stock