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  • With The Modern Jazz Quartet With The Modern Jazz Quartet Quick View

    $21.99
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    With The Modern Jazz Quartet

    1. The Stopper
    2. In A Sentimental Mood
    3. No Moe
    4. Almost Like Being In Love
    Sonny Rollins
    $21.99
    Vinyl LP - Sealed Buy Now
  • Pyramid (Pure Pleasure) (Awaiting Repress) Pyramid (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
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    Pyramid (Pure Pleasure) (Awaiting Repress)

    With such a tight group as the MJQ is is impossible to single out individual musicians which probably accounts for their long lived success.
    This is a strong recording from the Modern Jazz Quartet, with inventive versions of John Lewis' Vendome. Ray Brown's Pyramid, Jim Hall's Romaine, and Lewis' famous Django, along with cooking jams on How High The Moon and It Don't Mean A Thing. The MJQ had become a jazz institution by this time, but they never lost their creative edge, and their performances (even on the remakes) are quite stimulating, enthusiastic, and fresh. - Scott Yanow/AMG

    Musicians:



    • John Lewis (piano)
    • Milt Jackson (vibraphone)
    • Percy Heath (bass)
    • Connie Kay (drums)


    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. Vendome
    2. Pyramid
    3. It Don't Mean A Thing (If It Ain't Got That Swing)
    4. Django
    5. How High The Moon
    6. Romaine
    The Modern Jazz Quartet
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Fontessa Fontessa Quick View

    $27.99
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    Fontessa

    This LP has a particularly strong all-around set by the Modern Jazz Quartet. While John Lewis' Versailles and an 11-minute Fontessa show the seriousness of the group (and the influence of Western classical music), other pieces (such as Bluesology, Woody 'N You and a pair of ballads) look toward the group's roots in bop and permit the band to swing hard.

    -All Music Guide
    1. Versailles (Porte de Versailles)
    2. Angel Eyes
    3. Fontessa
    4. Over the Rainbow
    5. Bluesology
    6. Willow Weep for Me
    7. Woody 'N You
    8. Woody 'N You (alternate take)*


    *Bonus Track

    The Modern Jazz Quartet
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Things Are Getting Better Things Are Getting Better Quick View

    $21.99
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    Things Are Getting Better

    If you ever needed proof that altoist Cannonball Adderley deserves to be considered one of the absolute masters of the jazz idiom, look no further than
    Things Are Getting Better, which provides ample evidence for his canonical stature. On this date, Adderley teams up with Modern Jazz Quartet cofounder
    and vibraphonist extraordinaire Milt Jackson to create a lively, varied set of sonic atmospheres. They are backed by the all-star ensemble of
    Wynton Kelly on piano, Percy Heath on bass, and the legendary Art Blakey on drums. The standout track, Sounds for Sid, finds Adderley grooving hard
    with an R&B flavor, flashing his virtuosic instrumental chops, and demonstrating in the process why this cut stands as one of the very best representations
    of Adderley's early work. Essential listening for all manner of jazz enthusiasts, Things Are Getting Better has something for everyone and deserves a
    place in every self-respecting jazz fan's vinyl collection.
    1. Blues Oriental
    2. Things Are Getting Better
    3. Serves Me Right
    4. Groovin' High
    5. The Sidewalks of New York
    6. Sounds for Sid
    7. Just One of Those Things
    Cannonball Adderley & Milt Jackson
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • Concorde Concorde Quick View

    $21.99
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    Concorde

    The very first long-playing record ever recorded by the Modern Jazz Quartet, Concorde (1955) provides a vehicle for stunningly refined playing by
    legendary vibraphonist Milt Jackson, pianist John Lewis, bassist Percy Heath, and drummer Connie Kay in his maiden voyage behind the kit with the
    MJQ. The centerpiece of the session is undoubtedly the Gershwin Medley, which features interpretations of Soon, For You, For Me Forevermore,
    Love Walked In and Our Love Is Here To Stay that are nothing short of definitive. This landmark album, recorded by the inimitable Rudy Van Gelder,
    captures the cool, thoughtful sound of the Modern Jazz Quartet at their best and is an absolute MUST-HAVE on vinyl for all manner of jazz listeners.
    1. Ralph's New Blues
    2. All Of You
    3. I'll Remember April
    4. Gershwin Medley: Soon / For You, For Me, Forevermore / Love Walked In / Our Love Is Here To Stay
    5. Softly, As In A Morning Sunrise
    6. Concorde
    The Modern Jazz Quartet
    $21.99
    Vinyl LP Reissue - 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
  • Django Django Quick View

    $21.99
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    x

    Django

    Originally released on Prestige in 1955, but actually recorded during three disparate sessions that occurred sporadically from 1953-1955, Django features some of the earliest recorded output from the Modern Jazz Quartet which includes Milt Jackson (vibraphone), John Lewis (piano), Percy Heath (bass) and Kenny Clarke (drums).


    The warm, sophisticated nature of the material here is readily apparent from the get go courtesy of opener and album namesake, Django, a fine dedication to the memory of guitar virtuoso Django Reinhardt. The set is rounded out by graceful takes on Gillespie's One Bass, the Gershwin's But Not For Me, Vernon Duke's Autumn In New York and a handful of accomplished Lewis originals.

    1. Django
    2. One Bass Hit
    3. La Ronde Suite/Piano
    4. La Ronde Suite/Bass
    5. La Ronde Suite/Vibes
    6. La Ronde Suite/Drums
    7. The Queen's Fancy
    8. Delaunay's Dilemma
    9. Autumn In New York
    10. But Not For Me
    11. Milano
    The Modern Jazz Quartet
    $21.99
    Vinyl LP - Sealed Buy Now
  • The Ivory Hunters The Ivory Hunters Quick View

    $27.99
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    The Ivory Hunters

    When Bill Evans agreed to do a two piano date with Bob Brookmeyer, eyebrows surely must have raised. Pairing a rising superstar of modern jazz with a gentleman known for playing valve trombone and arranging charts might have been deemed by some as a daunting task. Fortunately for the keyboardists, this was a good idea and a marvelous concept, where the two could use the concept of counterpoint and improvisation to an enjoyable means, much like a great chess match. For the listener, you are easily able to hear the difference between ostensible leader Evans in the right channel of the stereo separation, and the accompanist Brookmeyer in the left. The opener Honeysuckle Rose gives a basic idea of what to expect, as Evans leads out, Brookmeyer counters his moves, and they trade riffs in an inventive bridge. The Way You Look Tonight is similar as Brookmeyer is more playful in his chiming chords and second melody line. The energy level is very good here, as well as on the democratic, funky contemporary intro to the easy swing of It Could Happen to You and I Got Rhythm, jam-packed with fun plus risk-taking. There's a different give and take during The Man I Love, and they turn the lamp down low on a delicate version of As Time Goes By as the pianists trade leads, and bassist Percy Heath adopts a more pronounced role. It is Heath and drummer Connie Kay, on loan from the Modern Jazz Quartet, who precisely and firmly cement rhythmic elements, allowing the pianists to use space, harmony, wit and wisdom to full effect. Some have called this an effort based more on gimmick and showmanship, but if you agree to listen closely, the depth and substance of Evans and Brookmeyer reveals a lot of soul, invention, and musicians simply having a real good time. It would be nice to hear any alternate takes from this marvelous date.

    -All Music Guide
    1. Honeysuckle Rose
    2. As Time Goes By
    3. The Way You Look Tonight
    4. It Could Happen to You
    5. The Man I Love
    6. I Got Rhythm
    Bill Evans
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Quartet The Quartet Quick View

    $30.99
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    The Quartet

    Milt Jackson Quartet features Milt Jackson leading a group that includes two of his cohorts in the Modern Jazz Quartet (Heath and Kay), with the great Horace Silver sitting in place of John Lewis on the piano (at this time Silver was a member of Art Blakey's Jazz Messengers). Jackson was clearly skilled in this brass-less setting, and the group decided to lay down some cool jazz tracks that epitomize the sound of that movement in the mid-1950s. The tunes are mellow and fluid, with everyone falling into an easy groove that will move even the most uptight jazz fan.
    1. Softly As In A Morning Sunrise
    2. Love ME Pretty Baby
    3. Autumn Breeze
    4. Milt Meets Sid
    5. Moving Nicely
    6. D & E
    7. Heart And Soul
    8. True Blues
    9. Bluesology
    10. Yesterdays
    11. Round About Midnight
    12. Between The Devil And The Deep Blue Sea
    Milt Jackson
    $30.99
    Vinyl LP - Sealed Buy Now
  • Plenty, Plenty Soul Plenty, Plenty Soul Quick View

    $24.99
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    Plenty, Plenty Soul

    Although his name will forever be associated with the celebrated Modern Jazz Quartet, vibraphonist Milt Jackson's discography includes multiple sessions as a leader, many of which are now regarded as jazz classics. Among the crown jewels of his discography was the album Plenty, Plenty Soul, which was given a rating of five stars in Down Beat magazine in 1957, a collection of original compositions and the arrangements of the one and only Quincy Jones. A stone cold classic featuring Cannonball Adderly, Horace Silver, Art Blakey and more. Pressed on 180 gram audiophile vinyl.
    1. Plenty, Plenty Soul (Milt Jackson - Quincy Jones)
    2. Boogity Boogity (Quincy Jones)
    3. Heartstrings (Mils Jackson)
    4. sermonette (Julian Cannonball Adderley)
    5. The Spirit-Feel (Milt Jackson)
    6. Ignunt Oil (Milt Jackson)
    7. Blues At Twilight (Quincy Jones)
    Milt Jackson
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Miles Davis And The Modern Jazz Giants Miles Davis And The Modern Jazz Giants Quick View

    $21.99
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    Miles Davis And The Modern Jazz Giants

    Here are tracks from one of the truly classic sessions, in which a combination of jazz giants gathered in Rudy Van
    Gelder's studio on a chilly Christmas Eve in 1954. With Thelonious Monk and three quarters of the Modern Jazz
    Quartet (Jackson, Heath, and Clarke) as his accomplices, Miles Davis blends sophisticated harmonic knowledge
    with raw, spontaneous invention to produce extraordinary music. This is a strong addition to any jazz collection.
    1. The Man I Love [Take 2]
    2. Swing Spring
    3. 'Round Midnight
    4. Bemsha Swing
    5. The Man I Love [Take 1]
    Miles Davis
    $21.99
    Vinyl LP - Sealed Buy Now
  • Free Jazz Free Jazz Quick View

    $49.99
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    Free Jazz

    Mastered from the Original Master Tapes


    Features a Double Quartet: One Band in Each Stereo Channel with Two Simultaneously Playing Rhythm Sections


    Features Don Cherry, Scott LaFaro, Eric Dolphy, Charlie Haden, Freddie Hubbard Among Other Musicians


    Modern improvisational jazz starts here. With one quartet placed in the left stereo channel and another situated in the right, Free Jazz unloads with two simultaneously playing rhythm sections and a 37-minute-plus title cut devised entirely on the spot.


    Distinctive from the copycat attempts that followed, this 1960 magnum opus claims melody and harmony, solidifying Ornette Coleman's reputation as a compositional genius. Of course, the presence of Don Cherry, Scott LaFaro, Billy Higgins in the left channel and Coleman, Freddie Hubbard, Charlie Haden, and Ed Blackwell in the right doesn't hurt.


    Mastered from the original master tapes, ORG Music's analog edition has turned this classic into an audiophile spectacular. Due to the presentation of the recording in two distinct stereo channels, this album supremely benefits from the label's mastering efforts and decision to expand the music into wider grooves. Prepare for a mind-blowing experience.

    1. Free Jazz- Part 1

    Ornette Coleman


    2. Free Jazz - Part 2

    Ornette Coleman

    Ornette Coleman
    $49.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Wizard Of The Vibes Wizard Of The Vibes Quick View

    $19.99
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    Wizard Of The Vibes

    Wizard of the Vibes was originally released in 1952 by premiere jazz vibraphonist, Milt "Bags" Jackson. The
    Thelonious Monk Quintet and The Modern Jazz Quartet plus Lou Donaldson are featured on this recording. Wizard of the Vibes will be reissued in its original 10" form as part of an overall Blue Note vinyl initiative spearheaded by current Blue Note Records President, Don Was.
    1. Tahiti
    2. Lillie
    3. Criss Cross
    4. Willow Weep For Me
    5. What's New
    6. Bags' Groove
    7. On The Scene
    8. Eronel
    Milt Jackson
    $19.99
    10 Vinyl LP - Sealed Buy Now
  • John Prine John Prine Quick View

    $21.99
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    John Prine


    Prine's 1971 self-titled debut set the tone for the rest of his career. A critical smash, the record contains many of his best known compositions. Proving himself capable of tackling folk balladry, country, and rock with ease, Prine seems to spring into being as a fully formed singer-songwriter at age 24. Lyrically diverse, Prine offers topical songs such as Sam Stone, the tale of a drug addicted Vietnam vet, achingly sad songs, such as the oft-covered Angel from Montgomery, and, of course, his trademark wit gets ample time in the spotlight. Produced by the legendary Arif Mardin (Aretha Franklin, the Modern Jazz Quartet, Hall and Oates), the record is understated, letting Prine's comfy voice drive things. When needed, the famous house band at American Recording Studios in Memphis kicks in tasteful backing. -Ian Landau

    1. Illegal Smile
    2. Spanish Pipedream
    3. Hello In There
    4. Sam Stone
    5. Paradise
    6. Pretty Good
    7. Your Flag Decal Won't Get You Into Heaven Anymore
    8. Far From Me
    9. Angel From Montgomery
    10. Quiet Man
    11. Donald And Lydia
    12. Six O'Clock News
    13. Flashback Blues
    John Prine
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Things Are Getting Better Things Are Getting Better Quick View

    $22.99
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    Things Are Getting Better

    This title provides ample evidence why Cannonball Adderley (alto sax) is considered one of the masters of his craft. Here he joins forces with Modern Jazz Quartet co-founder Milt Jackson (vibes) to create a variety of sonic atmospheres. They are backed by the all-star ensemble of Wynton Kelly (piano), Percy Heath (bass), and the one and only Art Blakey (drums).


    The moody Blues Oriental opens the set with Jackson immediately diving in with his trademark fluid runs and shimmering intonation. Adderley counters with a light and lively line that weaves between the rhythm section. The optimistic Things Are Getting Better is a good-natured romp as the co-leads trade and cajole each other into some downright rollicking exchanges. This directly contrasts with the sultry Serves Me Right, which allows the combo members to demonstrate their collective musical malleability. The interaction between Adderley and Jackson sparkles as they entwine their respective playing with an uncanny singularity of spirit. The cover of Dizzy Gillespie's Groovin' High contains another spirited performance with some thoroughly engaging improvisation, especially during Adderley's voracious solos. Sidewalks of New York bops freely as Jackson unleashes some sublime licks against a hearty and equally boisterous sax. Adderley's Sounds for Sid demonstrates his uncanny ability to swing with a strong R&B vibe. With drop-dead timing and profound instrumental chops, this cut is undoubtedly one of the best from Adderley's earliest canon. The album concludes with a jumping reading of Cole Porter's Just One of Those Things.

    -AllMusic.com

    1. Blues Oriental
    2. Things Are Getting Better
    3. Serves Me Right
    4. Groovin' High
    5. The Sidewalks of New York
    6. Sounds for Sid
    7. Just One of Those Things
    Cannonball Adderley
    $22.99
    Vinyl LP Reissue - Sealed Buy Now
  • Chet Chet Quick View

    $21.99
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    Chet

    Includes Bonus Track!


    Every musician has his area of expertise and for Chet Baker that area was the ballad. Therefore, this album dedicated entirely to ballads, gives listeners a chance to hear Baker doing what he does bestand when Chet Baker does what he does best, he does it better than any other trumpet player in the history of jazz. For this session, recorded on 30 December 1958 at NYCs Reeves Sound Studios, the poster child of West Coast cool jazz (who had just turned 29) assembled a superlative East Coast sextet that featured the unusual front-line combination of flute (Herbie Mann), trumpet (Baker) and baritone (Pepper Adams), departing occasionally from this format, however, to showcase the guitar playing of Kenny Burrell. Pianist Bill Evans, Philly Joe Jones (drums), Paul Chambers (bass), all well-known for their association with Miles Davis, and all some of the top names in jazz are also featured here, along with drummer Connie Kay of the Modern Jazz Quartet. This album represents some of the last studio work Baker did before emigrating permanently to Europe. It also includes one of Bakers own compositions, Early Morning Mood, recorded at the same studio and with the same line-up on 19 January 1959, as a bonus track.

    Side A:
    1. Alone Together
    2. How High The Moon
    3. It Never Entered My Mind
    4.Tis Autumn
    5. If You Could See Me Now


    Side B:

    1. September Song
    2. Youd Be So Nice To Come Home To
    3. Time On My Hands
    4. You And The Night And The Music
    5. Early Morning Good

    Chet Baker
    $21.99
    Vinyl LP - Sealed Buy Now
  • My Favorite Things My Favorite Things Quick View

    $37.99
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    My Favorite Things

    Includes the albums, My Favorite Things and
    Bags & Trane.


    My Favorite Things is the seventh album by jazz musician John Coltrane, released in 1961 on Atlantic Records, catalogue SD-1361. It was the first album to feature Coltrane's playing on soprano saxophone, and yielded a commercial breakthrough in the form of a hit single that gained popularity in 1961 on radio, an edited version of the title song, My Favorite Things. In 1998, the album was a recipient of the Grammy Hall of Fame award.


    Bags & Trane is an album credited to jazz musicians Milt Jackson and John Coltrane, released in 1961 on Atlantic Records, catalogue SD 1368. Taking its title from Jackson and Coltrane's nicknames, it is the only collaborative record by the pair, atlhough only Jackson contributed original compositions. In actuality, the album belongs in Jackson's discography, as he was the session leader and still signed to Atlantic under the auspices of the Modern Jazz Quartet, and not in Coltrane's, who had left the label for Impulse Records at the time of this album's issue.

    LP 1 - My Favorite Things

    Side 1


    1. My Favorite Things (13:44)

    2. Everytime We Say Goodbye (5:43)


    Side 2


    1. Summertime (11:31)

    2. But Not For Me (9:38)


    LP 2 - Bags & Trane

    Side 1


    1. Bags & Trane

    2. Three Little Words (7:29)

    3. The Night We Called It A Day (4:21)


    Side 2


    1. Be-Bop (7:59)

    2. The Late Late Blues (9:32)

    John Coltrane
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Modes and Blues: 8th February 1964 Modes and Blues: 8th February 1964 Quick View

    $25.99
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    Modes and Blues: 8th February 1964


    Live At Ronnie Scott's


    This is a previously unreleased mono recording of Modes and Blues from the Tubby Hayes Quintet's weekly Ronnie Scott's residency on 8th February 1964. Regarded as one of the masterworks of British modern jazz, Modes and Blues shows the Quintet at the very height of its powers, channelling the new musical flavours and inspiration that Tubby Hayes had absorbed from the cutting edge of jazz and the new directions of John Coltrane.


    Recorded with Hayes' approval by Les Tomkins on his Ferrograph tape recorder, this is one of the most engrossing of all his stretch-out epics. Hayes digs in deep with marathon and breathtaking soloing, trumpeter Jimmy Deuchar delivers his characteristically lyrical improvisation, and there's dynamic interplay and drive from the great Terry Shannon, Freddy Logan and Allan Ganley rhythm section.


    The Quintet had barely a few months left to run at the time of this performance, splitting in August 1964, fearing its music had atrophied into self-parody. Modes and Blues is among its many triumphs, a performance that shows how high the band had set the aspirational bar for British modernism, and, as such, is as much a cultural document as a musical souvenir.

    1. Modes and Blues (Part One)
    2. Modes and Blues (Part Two)
    Tubby Hayes Quartet
    $25.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Out of the Afternoon (Speakers Corner) (Awaiting Repress) Out of the Afternoon (Speakers Corner) (Awaiting Repress) Quick View

    $34.99
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    Out of the Afternoon (Speakers Corner) (Awaiting Repress)

    Roy Haynes - despite his 80 years still an active drummer and bandleader - can look back upon an extraordinary career. Almost more than any other drummer, he defined the rhythm of modern playing 'behind the drums'. A role in the background gave him no satisfaction, so it is no wonder that he has more than 30 LPs to his name.



    The present recording, which his Quartet made together with the blind multi-instrumentalist Roland Kirk in Rudy Van Gelder's studio in 1962, is certainly one of his very best. The seven numbers not only offer astounding moments of 'drum talk', and of syncopation carried out with absolute precision, they also offer the main soloist Roland Kirk the opportunity to display his amazing technique of simultaneous performance on some unusual instruments, in Moon Ray for example, or his use of various types of flute in Snap Crackle (see the cover text for further details), and his wealth of ideas in the ballads (If I Should Lose You).



    Perfect recording technique, brilliant arrangements of standard numbers, highly original evergreens, all played by true giants of their respective instruments - what better reasons are there to obtain this fantastic LP with its lavish gatefold sleeve?





    Musicians:



    • Tommy Flanagan (piano)

    • Henry Grimes (bass)

    • Rahsaan Roland Kirk (flute, percussion, tenor saxophone, stritch, manzello)

    • Roy Haynes (drums)




    Recording: May 1962 at Rudy Van Gelder Studios, Englewood Cliffs, N.J., USA, by Rudy Van Gelder

    Production: Bob Thiele





    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. Moon Ray
    2. Fly Me To The Moon
    3. Raoul
    4. Snap Crackle
    5. If I Should Lose You
    6. Long Wharf
    7. Some Other Spring
    Roy Haynes Quartet
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Stitt Plays Bird (Speakers Corner) Stitt Plays Bird (Speakers Corner) Quick View

    $34.99
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    x

    Stitt Plays Bird (Speakers Corner)

    It is widely known that Sonny Stitt didn't want to be taken for Charlie 'Bird' Parker and changed from playing the alto to the tenor saxophone. Although false rumours pop up every now and then, the truth is that at the beginning of the 1940s Stitt independently developed the same be-bop licks as Parker without ever having heard him.
    For Stitt Plays Bird Sonny had to unearth his old instrument and insert a new mouthpiece because Atlantic Records and their entrepreneurial president Ahmet Ertegun hoped for big sales figures. Which actually proved true.


    One half of the modern jazz quartet provided the melodic and rhythmic basis for improvisations on eight 'hits' by Charlie Parker and one composition by his first employer Jay McShann. Added to this are the subtle, sensitive scatterings from Jim Hall and the emphatic beat from Richard Davis, both of which lend delicacy and pulse to the numbers. It's hard to recommend a special track, but Scrapple From The Apple is just awesome! All the numbers are based on standards - just which they are can be found in the informative liner notes by the be-bop expert Ira Gitler. Atlantic's logo "Full Dynamic Frequency Spectrum" is no longer a swindle in this new pressing and at last one can enjoy all nine titles in all their sonic glory.


    This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.

    Musicians:



    • Sonny Stitt (alto saxophone)
    • John Lewis (piano)
    • Jim Hall (guitar)
    • Richard Davis (bass)
    • Connie Kay (drums)



    Recording: January 1963 at Atlantic Studios, New York City, by Tom Dowd

    Production: Nesuhi Ertegun




    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. Ornithology
    2. Scrapple From The Apple
    3. My Little Suede Shoes
    4. Parker's Mood
    5. Au Privave
    6. Ko-Ko
    7. Confirmation
    8. Hootie Blues
    9. Constellation
    Sonny Stitt
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Arms & Hands Arms & Hands Quick View

    $16.99
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    Arms & Hands

    Cornetist and composer Kirk Knuffke is one of modern jazz's most skilled navigators of the divide between inside and outside, freedom and swing. On his latest album, Arms & Hands, he assembles the ideal trio to bridge that divide. Joined by bassist Mark Helias and drummer Bill Goodwin, along with special guests Brian Drye (trombone), Daniel Carter (alto saxophone), and Jeff Lederer (soprano/tenor saxophone), Knuffke creates a set of music that is both engaging and inventive.


    Helias is best known for his work with jazz experimentalists like Anthony Braxton, Cecil Taylor, Marilyn Crispell, and Gerry Hemingway, his band BassDrumBone with Hemingway and Ray Anderson, and his trio Open Loose with Tony Malaby and Tom Rainey. Goodwin, on the other hand, is recognized as a premiere straight-ahead drummer, through his decades-long relationship with saxophonist Phil Woods and credits that include such giants as Bill Evans, Tony Bennett, Dexter Gordon, Jim Hall, Gary Burton, and Art Pepper.
    The chemistry between the trio is irrefutable on Arms & Hands, which is a showcase for the immense creativity of all three musicians. Knuffke intentionally wrote compositions that took advantage of Goodwin's gift for groove and swing while remaining open enough to allow the improvisations to wander however far afield the moment might call for.


    Kirk Knuffke is a prolific composer and improviser who has worked with a host of incredible musicians including Roswell Rudd, William Parker, Uri Caine, Myra Melford, Allison Miller, Steve Swell, John Zorn, Dave Douglas, Billy Hart, Steven Bernstein, and Mary Halvorson. Internationally, he has played with ensembles at jazz festivals in Saalfeldan Austria, Willisau Switzerland, The North Sea Jazz festival in Holland, The Moers festival as well as festival dates in Canada, Mexico, Italy and France. He is currently a member of the Matt Wilson Quartet. Knuffke is also a member of the Mark Helias Quartet, the Andrew D'angelo Big Band, Josh Roseman's Extended Constellations, Kenny Wollesen's Wollesonic and Allison Miller's Boom tic Boom. Knuffke's leader debut, Big Wig, was released by Clean Feed in 2008, followed by the trio recordings Chew Your Food and Amnesia Brown and the quartet album Chorale. He has also recorded several duo CDs with pianist Jesse Stacken and one with percussionist Mike Pride, and co-led the collaborative trio Sifter with Mary Halvorson and Matt Wilson and a quartet with saxophonist Ted Brown.

    1. Safety Shoes
    2. Bright Light
    3. Pepper
    4. Chirp
    5. Umbrella
    6. Next
    7. Arms & Hands
    8. Bonderizer
    9. Atessa
    10. Thanks A Lot
    Kirk Knuffke
    $16.99
    Vinyl LP - Sealed Buy Now
  • Time Further Out: Miro Reflections Time Further Out: Miro Reflections Quick View

    $32.99
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    Time Further Out: Miro Reflections

    Numbered Limited Edition!


    Time Further Out continues the Dave Brubeck Quartet's exploration of unusual time signatures that began on the ensemble's definitive 1959 album Time Out. Accompanied by an all-star cast, the esteemed pianist arranging tunes according to the number of beats per bar, in the process rewriting rhythmic rules and dance steps. In fact, the tracks are ordered by the number of beats per bar, starting with It's a Raggy Waltz and Bluette in 3/4, Charles Matthew Hallelujah in 4/4, Far More Blue and Far More Drums in 5/4, Maori Blues in 6/4, Unsquare Dance in 7/4, Bru's Boogie Woogie in 8/8, and concluding with Blue Shadows in the Street in 9/8.


    Like the original Time Out album, Time Further Out's cover features a work of modern art: a painting by Spanish artist Joan Miro. Mastered from the original analog tape by George Marino at Sterling Sounds in New York and pressed at RTI in Camarillo, California, this record has never sounded so alive or immediate. A must-have jazz benchmark.

    1. It's A Raggy Waltz
    2. Bluette
    3. Charles Matthew Hallelujah
    4. Far More Blue
    5. Far More Drums
    6. Maori Blues
    7. Unsquare Dance
    8. Bru's Boogie Woogie
    9. Blue Shadows In The Street
    Dave Brubeck
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • A Distortion Of Love (On Sale) A Distortion Of Love (On Sale) On Sale Quick View

    $49.99 $44.99 Save $5.00 (10%)

    Buy Now
    x

    A Distortion Of Love (On Sale)

    A Distortion of Love on Numbered Limited Edition 180 Gram LP from Mobile Fidelity


    Acclaimed Pianist/Singer's Oft-Neglected 1992 Sophomore Effort Teems With Poetic Enterprise and Intrepid Originality


    Smooth, Transparent Sonics Worthy of an Intimate Venue: One of Only Two Barber Albums to Never Have Been Reissued-Until Now


    Audiophile Favorite Steams Up Mirrors With Enchanting Melodies, Breathy Vocals, Daring Originality


    Patricia Barber's origins are commonly associated with 1994's CafÉ Blue and the follow-up, 1998's Modern Cool. Both quickly established the singer/pianist as an immediate audiophile favorite whose rare combination of astute instrumental performance, daring originality, poetic enterprise, intrepid vocals, and sculpted production announced her as an artist that both takes immense care in her music as well as in her sound. While largely unknown to many, 1992's diverse A Distortion of Love signaled the beginning of Barber's unfettered creativity.


    Half-speed mastered from the original master tapes and pressed at RTI, Mobile Fidelity's numbered, limited-edition 180 gram LP of the Chicagoan's sophomore album features the similar wowing detail and perspective-altering clarity offered on the reissue label's celebrated versions of Mythologies, The Cole Porter Mix, and the now out-of-print and extremely sought-after CafÉ Blue, Modern Cool, Companion, and Nightclub.


    Such is the attention brought to Barber's tastefully reverb-assisted singing, the quartet's stripped-down arrangements, the grand piano's resonance, the background finger snaps, and the astounding transparency of every note and breath uttered in the studio. Smoothness, balance, and neutrality abound. Through and through, this is an audiophile delight.


    While national acclaim wouldn't come to Barber until the mid-90s, it wasn't because she didn't provide notice of her monumental talent and MacArthur Grant-worthy inventiveness. On A Distortion of Love, her individuality manifests on a surprisingly eerie rendition of the standard "Summertime" and subsequent "Subway Station No. 5," a lengthy piece adorned with atmospheric nervousness, tonal shifts, and contrapuntal movements that ultimately lead into a swinging theme.


    Barber, guitarist Wolfgang Muthspiel, bassist Marc Johnson, and percussionist Adam Nussbaum achieve like-minded heights on an improvised and clever read of the Temptations' "My Girl." Here, and again especially on the aptly titled "You Stepped Out of a Dream," Barber's textured vocals seemingly float on a jet-black plain, emanating as if her lips and mouth are just feet away, the slap of the acoustic bass and patter of the drums responding in kind to her expressiveness. Whether you're familiar with this album, a longtime Barber fan, or just coming to her for the first time, Mobile Fidelity's pressing of this record will please even the sternest critics of vocal jazz.


    This title is not eligible for further discount.

    1. Summertime
    2. Subway Station No. 5
    3. You Stepped Out of a Dream
    4. Parts Parallels
    5. Or Not To Be
    6. Yellow Car
    7. Yet Another In a Long Series of Yellow Cars
    8. I Never Went Away
    9. My Girl
    10. Be Myself
    Patricia Barber
    $49.99 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • City Of Refuge City Of Refuge Quick View

    $21.99
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    City Of Refuge

    In her relatively short musical career, Abigail Washburn has covered a lot of ground; both physically and metaphorically. Bouncing between China and Appalachia has informed much of her musical output and influenced a body of work that goes far beyond the usual claw hammer banjo repertoire.



    Her Rounder debut, City of Refuge is a sublime marriage of old-time and indie-pop. On the album Washburn pairs venerable folk elements with far-flung sounds, and the results feel both strangely familiar and unlike anything anybody's ever heard before. The album features My Morning Jacket's Car Broemel, The Decemberists' Chris Funk, Turtle Island Quartet's Jeremy Kittell, atmospheric jazz guitarist Bill Frisell, veteran Nashville studio percussionist Kenny Malone, Old Crow Medicine Show's Ketch Secor and Morgan Jahnig, Wu Fei, master of the guzheng, and the Mongolian stringband Hanggai, who managed to contribute ambient throat-singing from halfway around the world.



    The album was produced by Tucker Martine (The Decemberists, Tift Merritt, Mudhoney) and features the talents of multi-instrumentalist, singer/songwriter, Kai Welch (Tommy and the Whale). City of Refuge offers an expansive palette of supple and modern textures resulting in a remarkably harmonious piece of art.

    1. Prelude
    2. City of Refuge
    3. Bring Me My Queen
    4. Chains
    5. Ballad of Treason
    6. Last Train
    7. Burn Thru
    8. Corner Girl
    9. Dreams of Nectar
    10. Devine Bell
    11. Bright Morning Stars
    Abigail Washburn
    $21.99
    Vinyl LP - Sealed Buy Now
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