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MilestonesMiles Davis created just one studio album with his original sextet and he made every moment count. Joined by Cannonball Adderley, John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones, the trumpeter not only laid the groundwork for the modalism that immediately followed but created a genuine modern-jazz masterwork laden with performances that are among the most explosive of his distinguished career in the process.
Due to its position between the more famous 'Round About Midnight and epochal Kind of Blue, Milestones remains, for too many music lovers, an overlooked classic. Every song here is a highlight, whether it's the influential title track, the bravado of "No Jackle," the blues themed "Sid's Ahead," or the definitive rendition of Thelonious Monk's signature piece "Straight, No Chaser," this 1958 release is a milestone indeed!1. Dr. Jackle
2. Sid's Ahead
3. Two Bass Hit
5. Billy Boy
6. Straight, No Chaser$27.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
MilestonesOnly Record to Feature Davis Original Sextet, Including Rhythm Section of Paul Chambers and Philly Joe Jones
Title Track Stands as First-Ever Modal Composition Even as Blues and Hard-Bop Flavors Make LP One of Davis Most Explosive Affairs
Miles Davis created just one studio album with his original sextet. He made every moment count. Pairing with Cannonball Adderley, John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones, the trumpeter not only laid the groundwork for the modalism that immediately followed but tailored a genuine modern-jazz masterwork laden with performances among the most explosive of his distinguished career. Due to its sandwiched position between the more famous Round About Midnight and epochal Kind of Blue, Milestones remains, for too many music lovers, an overlooked classic.1. Dr. Jekyll
2. Sid's Ahead
3. Two Bass Hit
5. Billy Boy
6. Straight, No Chaser$24.99180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
Kind Of BlueRanked 12/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
High quality 180 gram Audiophile Vinyl
Replication of Original Artwork
Released August 17, 1959, on Columbia Records in the United States. Recording sessions for the album took place at Columbia's 30th Street Studio in New York City on March 2 and April 22, 1959. The sessions featured Davis's ensemble sextet, which consisted of pianist Bill Evans (Wynton Kelly on one track), drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley.
After the entry of Bill Evans into his sextet, Davis followed up on the modal experimentations of Milestones (1958) and 1958 Miles (1958) by basing the album entirely on modality, in contrast to his earlier work with the hard bop style of jazz. Though precise figures have been disputed, Kind of Blue has been described by many music writers not only as Davis's best-selling album, but as the best-selling jazz record of all time. On October 7, 2008, it was certified quadruple platinum in sales by the Recording Industry Association of America (RIAA). It has been regarded by many critics as the greatest jazz album of all time and Davis's masterpiece. The album's influence on music, including jazz, rock, and classical music, has led music writers to acknowledge it as one of the most influential albums ever made. In 2002, it was one of fifty recordings chosen that year by the Library of Congress to be added to the National Recording Registry. In 2003, the album was ranked number 12 on Rolling Stone magazine's list of the 500 greatest albums of all time.1. So What
2. Freddie Freeloader
3. Blue In Green
4. All Blues
5. Flamenco Sketches$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Sharpenin' The Milestone1. Milestoned
5. Afro Punk
6. Favourite Tongues
7. Jazzy Pressing
9. Prodigy Jam$13.99Vinyl LP - Sealed Buy Now
Milestones180 Gram Vinyl Includes Fully Restored Original Artwork
Milestones was originally released on September 24, 1973 and was Roy Orbison's final album from The MGM
Years. The singles were 'Blue Rain' and 'I Wanna Live,' but other standouts include Roy's renditions of
contemporary hits 'Sweet Caroline' and 'Drift Away.' This re-issue is fully remixed and remastered to return the
audio to its original glory.1. I Wanna Live
2. You Don't Know Me
3. California Sunshine Girl
5. Blue Rain (Coming Down)
6. Drift Away
7. You Lay So Easy On My Mind
8. The World You Live In
9. Sweet Caroline
10. I've Been Loving You Too Long
11. The Morning After$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Av Oss, For OssNew full-length from one of the pioneers of the Viking Metal genre with artwork made by Costin Chioreanu.
In over twenty years we have carried out our vision.
We were there when Norwegian extreme metal grew forth and took shape as an enormous cultural export. We played far and wide. At home and abroad. We were part of something new. Something special and innovative. We were there when Norwegian metal gathered and inspired thousands. We were there and swung the hammer when Viking metal was forged as a unique expression that later inspired countless bands, worldwide.
Now the horns of war sound again. And Einherjer is there.
Behind us we have an array of albums - some of which stand as milestones in a genre of explosive growth.
Frode Glesnes - guitar, bass fx & vocal
Aksel Herløe - lead guitar, bass fx & backing vocal
Gerhard Storesund - drums & samples1. Fremad
2. Hammer i kors
4. Hedensk oppstandelse
5. Nord og Ner
8. Av oss, for oss$22.99Vinyl LP - Sealed Buy Now
Rocket Number NinePressed On Green Colored Vinyl
Among Sun Ra's most famous and jet-propelled anthems, Rocket Number Nine is heard here in one of the earliest renditions from a marathon June 1960 session, with a staggering, swaggering, hip-bop beat. Ignition. Liftoff. Rocket Number Nine Take Off for the Planet Venus, Zoom Zoom! Up in the air! Zoom! Up! Paired with originally unknown recordings, including the driving, bossa nova-infused Ankhnation from 1959 and Project Black Mass from 1962.
More energized and driving in contrast with the rather laconic subsequent versions appearing elsewhere, Ankhnation features a feast of traded solos from assorted Arkestral all-stars such as John Gilmore, Pat Patrick, and Hobart Dotson.
Project Black Mass is straight from the Vaults of Mystery: Voice of the Cosmos in spirit-science precision. Romping, rumbling low tones, glittering, twinkling stars, wanderful wondering. Architecture of moments, milestones of Blackness.
Extension out.1. Rocket Number Nine
3. Project Black Mass$15.99Colored 10 Vinyl Single - Sealed Buy Now
Steppin' UpRiver's Invitation
The Real Deal
Be Anything, But Be Mine
Lift Every Voice$12.99Vinyl LP Reissue - Sealed Buy Now
Hank Crawford, alto sax
Cornell Dupree, guitar
Richard Tee, keyboards
Wilbur Bascomb, bass
Bernard Purdie, drumsEndless Love
You Send Me
Stand By Me
Let's Fall In Love All Over Again
Bedtime$4.99Vinyl LP - Sealed Small cutout slit on cover Buy Now
September BalladsSeptember Fifteenth
When She Is Mine
When This Love Affair Is Over
Sack Full of Dreams
I Never Went Away
Spring Is Where You Are$8.99Vinyl LP - Sealed Buy Now
I Can't Get Started
Samba De Orpheus$4.99Vinyl LP - Sealed Small cutout slit on cover Buy Now
Harlem Bush Music UhuruAvant garde jazz player's 1971 album featuring Andy Bey, Ron Carter, Juni Booth, Harold White, Nat Bettis.1. Blue (A Folk Tale)
2. Uhuru Sasa
4. Celestial Blues
5. The Planets$31.99Vinyl LP - Sealed Buy Now
In The NowIn The Now is the new solo album from Barry Gibb, the surviving member of one of music s most successful and revered bands, the Bee Gees, formed with his brothers Robin and Maurice. Produced by Barry and co-producer John Merchant, In The Now is only the second solo effort of Gibb's career and his first album of all new material since the Bee Gees final studio album in 2001.
The new album is an impassioned solo effort that signals a welcome return of one of the most identifiable and versatile voices in the history of rock, pop, and R&B. The 12-track album was recorded in Miami with the same gathering of accomplished musicians Barry assembled for his acclaimed 2014 solo tour. And Barry has kept In The Now a family affair, writing all the songs with his sons Stephen and Ashley. Commenting on working with his sons, Barry said, 'We've been writing together for a long long time - my eldest son Stephen and my second eldest son Ashley. So in a very spiritual way it's not my three brothers, it's my two sons. But it still works the same way. I'm a better writer if I'm writing with somebody.
Barry proudly admits, All of the feelings that I've ever had in life are all in this album.
Barry Gibb has had a phenomenal career. As a founding member of the Bee Gees, along with his brothers Robin and Maurice, Barry Gibb has sold more than 220 million albums worldwide. Between Robin, Maurice, and Andy, the Gibb brothers achieved 19 number one records on the Billboard charts including a phenomenal 6 in a row, equaling The Beatles record. As a record producer/songwriter, Barry has been instrumental in creating milestones for other artists, ranging from Barbra Streisand's 'Guilty' album to Dolly Parton and Kenny Rogers country record 'Islands In The Stream' also, Diana Ross 'Eaten Alive featuring 'Chain Reaction' as well as Dionne Warwick's 'Heartbreaker' album.LP 1
1. In the Now
2. Grand Illusion
3. Star Crossed Lovers
1. Blowin' a Fuse
2. Home Truth Song
3. Meaning of the Word
1. Cross to Bear
3. Amy In Colour
1. The Long Goodbye
3. End of the Rainbow$29.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
UNIM-FAN-5363xGary Bartz NTU Troop
Harlem Bush Music - UhuruHarlem Bush Music is a compilation of two albums by saxophonist Gary Bartz NTU Troop recorded in 1970 and 1971 and originally released on the Milestone label.<1. Blue (A Folk Tale)
2. Uhuru Sasa
4. Celestial Blues
5. The Planets$24.99Vinyl LP - Sealed Buy Now
Die Healing (Awaiting Repress)"Die Healing" featuring original SAINT VITUS vocalist Scott Reagers! This is essential doom!!!!
Recommended if You Like: BLACK SABBATH, TROUBLE, COUNT RAVEN, CANDLEMASS, THE OBSESSED, HIGH ON FIRE, SLEEP, BARONESS, MASTODON, SIR LORD BALTIMORE
Die Healing is a pivotal point in Vitus' discog; not only their very last before they temporarily ended their relentlessly classic doom metal album releases with a thirteen year hiatus, but their third recording with Scott Reagers, who helped make the eponymous debut, Hallow's Victim and EP The Walking Dead such milestones of doom. And what a way to go out. Many will tell you this is actually Saint Vitus' finest moment, and although I favour the debut and Wino's career zenith Born Too Late above it, there is no doubt it deserves as solid a place in the pantheon of doom as Nightfall or Master Of Reality or In The Rectory Of The Bizarre Reverend.
The band's sound and instrumentation is class without question. The guitar tone saw a slight departure from the fuzz prevalent on Wino-albums (including the 2012 opus Lillie: F-65), with something more of an electric edge familiar to C.O.D. Fret not, the tone is still plenty burly, and of course massively appropriate for the toking of vaporous substances.
The guitar solos are likewise a little clearer - though of course solos like on 'One Mind' and 'Return Of The Zombie' have that inimitable Chandler scaling chaos in spades, squeaking like a dozen metal detectors malfunctioning. In general though the album's sound gives the feeling of the band moving forward with the sound established on the underappreciated, Chritus Linderson-assisted C.O.D., while welcoming their original singer back into the fold as easily as if he'd never left. It comes together brilliantly.
What cements the album's place atop the pile of '90s Vitus releases is that it's a lot more solid than V and C.O.D. in terms of songs, chock full of highlights with nary a skippable track. 'Dark World' heralds absolutely no messing about, a timeless slow burn Saint Vitus classic to get you going. Reagers unlocks his trademark moon-touched howls, boosted here with a gruffness and depth that must have come with age. He can still hit the unnerving highs that made the debut such a unique piece. Not to mention his more aghast and tragic-heroic style is accompanied by a lyrical shift toward tales of horror and myth, adding further colours of yore to the band's solidified musical approach (although 'In The Asylum' is as brilliantly witty a tale of human disintegration as anything Wino has written for Vitus).
Some of the great knells peeling off Chandler's guitar in the main riff of 'Let The End Begin' are highlights for Vitus' entire career. It climaxes with a great rocking section, splashed with sumptuous guitar and bass solos, in a move actually quite uncharacteristic for the band, who tended to steer between leadweight trawling songs and more rambunctious cuts. The eerie build on 'Sloth' is another of the band's best moments. The entire song, with its off-kilter structure and wailing chorus, is an example of just how muscular the band's creative fibers were at the time. 'Return of the Zombie', a quasi-sequel to the classic, shifty song off the debut of course, makes its mark with a crazed vocal performance and some spooky effects. And of course there's more, I've just listed a few real standouts but the album is too generous in its blessings for them to be exhaustively listed.
It's just a really solid album that builds on all the best things the band had done to date while keeping the songwriting fresh. What a swansong this was. This album is the reason Lillie: F-65 had such vast expectations from me. A must have.
- joncheetham88 (Metal Archives)1. Dark World
2. One Mind
3. Let The End Begin
4. Trail Of Pestilence
6. Return Of The Zombie
7. In The Asylum
8. Just Another Notch$21.99Vinyl LP Reissue - Sealed AWAITING REPRESS Buy Now
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.
- 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
9. Castles Made of Sand
10. Up From the Skies
11. Gypsy Eyes$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Spine Of God (Pre-Order)Reissue of a milestone in the Stoner Rock genre! The kings of hard psychedelic rock present Spine Of God a re-release of their first studio album. Originally released in 19991, this milestone is the perfect reincarnation of Black Sabbath,Deep Purple and Hawkwind. It has already achieved cult status in the Stoner Rock genre. The album was completely written and produced by singer and mastermind Dave Wyndorf.
This re-issue is an absolute must-have for any Stoner / Psychedelic Rock Fan.1. Pill Shovel
3. Nod Scene
4. Black Mastermind
5. Zodiac Lung
6. Spine Of God
7. Snake Dance
8. Sin's A Good Man's Brother
10. Ozium (Demo Version)$19.99Vinyl LP - Sealed PRE-ORDER Buy Now
ADAD-VAG-9712xEdward Sharpe & The Magnetic Zeros
Edward Sharpe And The Magnetic ZerosThe third studio album from Edward Sharpe & The Magnetic Zeros, the record seems to mark a milestone for the collective, who have gone on to earn widespread success since their 2009 debut album, Up From Below.
"These songs mean everything to me," said frontman Alex Ebert in a press release. "It's the rawest, most liberated, most rambunctious stuff we've done."1. Better Days
2. Let's Get High
5. Life is Hard
6. If I Were Free
7. In The Lion
8. Country Calling
9. They Were Wrong
10. In The Summer
11. Remember To Remember
12. This Life$24.99Vinyl LP - 2 LPs Sealed Buy Now
Sunday Morning RecordSunday Morning Record, the Band of Heathens' fourth studio album (and seventh overall), marks a milestone in the resilient outfit's development, capturing the musicians' remarkable creative chemistry along with the deepening melodic and emotional resonance in the songwriting of founding singer-guitarists Ed Jurdi and Gordy Quist.1. Shotgun
2. Caroline Williams
3. Miss My Life
4. Girl with Indigo Eyes
5. Records in Bed
6. Since I've Been Home
7. The Same Picture
8. One More Trip
9. Shake the Foundation
10. Had it All
11. Texas$17.99Vinyl LP - Sealed Buy Now
Maiden VoyageMaiden Voyage is arguably the best in Herbie Hancock's series of fine Blue Note albums from the 60s. Every single cut on this album from the haunting Maiden Voyage to the gentle, swinging Dolphin Dance has found its way into the standard jazz repertoire. Herbie Hancock fashioned a modern jazz milestone here with extraordinary compositions, interplay and solos.
Every single tune on this album from the haunting Maiden Voyage to the gentle, swinging Dolphin Dance has found its way into the standard jazz repertoire. Herbie Hancock fashioned a modern jazz milestone with extraordinary compositions, interplay and solos.
Originally released in 1965.
Herbie Hancock, piano
Ron Carter, bass
George Coleman, tenor saxophone
Freddie Hubbard, trumpet
Anthony Williams, drums1. Maiden Voyage
2. The Eye Of The Hurricane
3. Little One
4. Survival Of The Fittest
5. Dolphin Dance$49.99180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
UNIM-FAN-5165xJoe Henderson & Alice Coltrane
The ElementsThe Elements is an album by American saxophonist Joe Henderson, originally released in 1973 on Milestone.
1970 began a decade of discovery for Joe Henderson; a time to set aside the post-bop instrumentation and repertoire he was identified with and branch out into other realms. One of the most successful and challenging of these efforts that the Milestone label documented was the present four-part improvisation on the basic themes of Fire, Air, Water and Earth.
Assisting the tenor saxophonist was a group of sympathetic explorers--Alice Coltrane on piano and harp, violin original Michael White, bass giant Charlie Haden, and the multifaceted percussionist Kenneth Nash.
Latin American, Indian, and Native American strains enter the mix as Henderson applies the heat and mercurial invention of his more conventional work to these open-ended settings. While the music is enhanced with overdubbing in spots, the true magic of The Elements emanates from the musicians' collective genius at listening and responding to each other.1. Fire
4. Earth$24.99Vinyl LP - Sealed Buy Now
NDR 60 Years Jazz Edition No. 1 - Dizzy GillespieOriginal Remastered
The story behind the bent trumpet
It is just a few days since the accident that gave the career of the trumpeter Dizzy Gillespie a new boost and made the main figure of this captivating Jazz history appear that bit crazier, that bit more "Dizzier". At the end of the year 1953, according to the legend, Lorraine Gillespie, Dizzy's wife, was celebrating her birthday in Manhattan; there were a lot of musicians, dancers and actors present and, after performing for the birthday girl, Dizzy's trumpet was left lying unattended on the stage while the trumpeter was outside in front of the club giving an interview. The two dancing comedians "Stump & Stumpy" (Jimmy Cross and Eddie Hartman) were capering around the stage and one of them fell on the instrument and damaged it so that the bell was bent upwards at an angle of 45 degrees. Dizzy, the story continues, tried to play the mutilated instrument and noticed just how near to his ear his own sound suddenly was, nearer at least than with a normal trumpet. He had the damaged instrument repaired, but ordered a new trumpet from a manufacturer with exactly the same kink as the accident had caused.
If all of that is true, the first jazz recording in the archive of today's NDR was played either with the repaired trumpet or with a substitute instrument -Mister Gillespie, who came on the 9th of March 1953 with his quintet for a studio recording to Hamburg's studio 10(which at the time was merged with the Cologne broadcaster under the name of "Nordwestdeutscher Rundfunk" - NWDR), is not only wearing - even though there is no audience - a decorative Tyrolean hat like the popular singing comedian and EX-GI Billy Mo; the ornately decorated trumpet he plays has no kink, it is absolutely straight (as verified in the photos by Susanne Schapowalow). The "old" Dizzy, so to speak, becomes a prominent guest on this remarkable day in Hamburg, and the "new" Dizzy has just ordered his future trade mark from the trumpet manufacturer. "60 Years Jazz in the NDR" could hardly have kicked off more auspiciously.
In 1953 John Birks Gillespie is 36 years old and a world star in Jazz. Born in 1917 in the small town of Cheraw/South Carolina, the youngest of nine children, he is known in the scene as "Dizzy" because, alongside the inventors of bebop Charlie Parker and Bud Powell, he likes to play the mad intellectual with goatee beard, Basque beret and round sunglasses. He cultivates the role of provocateur, in 1964 he even stands for election as president of the USA. However, the history of bebop has already been written when he comes to Hamburg in the spring of 1953; now the time has come for Dizzy, the spirited oddball, to reinvent himself - until in 1968 with a grandiose big band at the Berlin Jazz Festival and from then on, again and again, he sets important milestones in a great career, including NDR concerts of course. He never switches styles and sounds as drastically as, for example, Miles Davis - Dizzy was always Dizzy - but ever new musical formations led up to the "United Nations Orchestra" with whom he guested in the last years before his death on 6 January 1993 all over the world including on northern German festival stages. As often as possible, the recording vans of NDR were always there.
In March 1953, Gillespie is accompanied by the baritone saxophonist Bill Graham, a musician who in the years beforehand had been part of the "Dee Gee Days", the "Savoy Sessions" (the album of this title became a classic of modern Jazz). Graham contributed not only magnificent solos in the sessions such as now in Hamburg; he also wrote "Oh-sho-be-do-be" a light-hearted ditty about the whispered conversations of young lovers which became a genuine classic in Gillespie's repertoire. At the piano in the Hamburg studio sits Wade Legge, barely thirty years old at the time, and one of the greatest but highly underestimated and unfortunately almost forgotten talents of the time. Legge's partner of many years, Lou Hackney, plays bass, and Al Jones is on percussion.
Among other places, this European tour also brought the band to Paris; they recorded five tracks on a stop at the Hamburg studio. Gershwin's "They Can't Take That Away From Me" and "Alone Together" by Arthur Schwartz and Howard Dietz are followed by two of those compositions laced with Latino rhythms that Dizzy had developed with the percussionist Chano Pozo and the arranger Gil Fuller: "Manteca" and "Tin-Tin-Deo". The short but extremely sweet program ends with "I Can't Get Started", a masterpiece for posterity written by Vernon Duke and Ira Gershwin.
The power of imagination is really not sufficient to conceive of the interaction of Gillespie's quintet with the other band in this studio session - or how on this 9th of March what was probably the most important modern quintet in the German-speaking world performed alongside Dizzy. Hans Koller had formed the band around himself. Koller was born in 1921 in Vienna. After time spent as an American prisoner of war, in 1946 he returned to his home city to found a Jazz club, and the saxophone sound he made his own influenced at least a generation. The trombonist Albert Mangelsdorff was not even 25 years old in March 1953, and it is not so long since he swapped the guitar for the trombone as a professional musician. Jutta Hipp is the pianist. Born in Leipzig in 1935, she was regarded as the greatest piano talent of her time; her career took off vertically, but ended abruptly and tragically shortly after she moved to the USA. She never played piano again and she never returned to Germany. She died in 2003 in New York, almost completely forgotten. Shorty Roeder on bass and the percussionist Karl Sanner are the top rhythmists of their age - and this band of twenty-somethings (Koller is the oldest at 32, and with a certain amount of bravado he christened them the "New Jazz Stars") is showing quite clearly that Jazz in Europe wants to and will take other paths than Dizzy in the motherland of the genre.
Koller selected some quite standard fare; "The Way You Look Tonight" is followed by "Indian Summer", "You Go to My Head" is followed by "All the Things You Are". Old friends, all very familiar - but the interpretation that the quintet gives these tracks is cooler than anything considered cool or fashionable up to then in the USA. What would have been going through Mr. Gillespie's keen mind when he heard just how uncompromisingly these young Krauts and Koller were advancing the renewal of music which had begun to develop further and beyond the Dizzy standard at home in the USA ?
Anyone in the NWDR studio in Hamburg on the 9th of March 1953 who could read minds would probably have witnessed an international dialogue, which has ever since repeatedly influenced the Jazz world. "60 years Jazz in the NDR" - and what an event stands at the very beginning!Side A - Dizzy Gillespie Quartet
1. They Can't Take That Away From Me
2. Alone Together
4. Tin Tin Deo
5. I Can't Get Started
Side B - Hans Koller New Jazz Stars
6. The Way You Look Tonight
7. Indian Summer
8. You Go To My Head
9. All The Things You Are$32.99Vinyl LP - Sealed Buy Now
Sad Wings Of DestinyThe groundbreaking Sad Wings of Destiny was the first great Judas Priest album, simultaneously taking the entire heavy metal genre to new depths of darkness and new heights of technical precision and musicality. The album was an important milestone in the eventual development of the progressive metal subgenre, and established a standard of excellence to which Judas Priest would adhere through the remainder of the '70s.1. Victim Of Changes
2. The Ripper
3. Dreamer Deceiver
9. Island Of Dominatio$18.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Library Catalog Music Series: Music for Savage Tropical ImageryYuuki Matthews is a Seattle-based freelance musician and owner of 2 cats. Originally from Hollywood (Burbank), California, Yuuki moved to the Northwest with his mother and brother in the mid-nineties. He recorded the songs that make up Music for Savage Tropical Imagery at home between tours, odd jobs, and major milestone events. With this record, Yuuki sought to expand upon the nostalgia of subtle sound degradation.1. Villa
2. Hk Cinema Funk
3. Equatorial Broadway Funk
6. Sun Bear
7. Sloth Documentary
8. Em'S Dream
10. Sea Sponge Cake$14.99Vinyl LP - Sealed Buy Now