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The Shape Of Jazz To ComeRanked #246 on Rolling Stone's List of the 500 Greatest Albums of All Time
Quartet Includes Don Cherry and Charlie Haden
Mastered from the Original Master Tapes on 180 Gram Vinyl
1959's landscape-shifting The Shape of Jazz to Come is true to its title. Switching from tenor to alto sax, Ornette Coleman creates free jazz, a language where chords structures are absent and harmony gives way to improvisational whims. The Atlantic set finds Coleman collaborating with Don Cherry, Charlie Haden, and Billy Higgins in making a masterful work free of any identifiable chord structures. Nonetheless, melodies remain, as do engrossing repetitions of main themes.
ORG Music brings the breakthrough arrangements and magnificent colors to life in a way no one's experienced since the LP was recorded. Mastered from the original master tapes, this life-changing music has never sounded so alive and dynamic. This is a must.1. Lonely Woman
4. Focus on Sanity
6. Chronology$49.99180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
Free JazzMastered 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
2. Free Jazz - Part 2
Ornette Coleman$49.99180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
Tomorrow Is The Question!The springboard in Ornette Coleman's pursuit of freedom of expression as a soloist, Tomorrow Is The Question! is notable for its lack of piano, which the
saxophone maverick chose to strike from the record in favor of a quartet composed of drummer Shelly Manne, trumpeter Don Cherry, and alternatingly
Percy Heath and Red Mitchell on bass. Coleman's belief was that removing piano and thus layers of harmonic structure, would allow the soloists to truly
roam freely around the tune, pioneering new dimensions in sonic interplay. As a result, Tomorrow Is the Question! was a very literal title; where would
Coleman's iconoclastic vision take him next? The free-jazz pioneer was just getting started, and what a dazzling start it is! This essential document of
American Jazz History is now available on vinyl.1. Tomorrow Is The Question!
2. Tears Inside
3. Mind And Time
9. Endless$21.99Vinyl LP - Sealed Buy Now
Ornette On Tenor1. CROSS BREEDING
5. ECARS$15.99Vinyl LP Reissue - Sealed Buy Now
New York Is Now!
Part Of The Blue Note 75th Anniversary Vinyl Reissue Campaign
Recorded during the same session that resulted in the Love Call album (in late April and early May of 1968), New York Is Now is one of the true curiosity pieces in Ornette's catalog. With a rhythm section comprised of ex-Coltrane sidemen Jimmy Garrison and Elvin Jones as well as tenorist Dewey Redman, Ornette is, in some sense, at odds with himself here. This particular rhythm section is a lot more modally than harmonically propelled -- especially Jones, who sounds here like he doesn't know what to do with himself in the restrictive tempos -- and creates a complex set of issues for Coleman and Redman to contend with. That said, on The Garden of Souls, which opens the album, Coleman makes the most of this sprightly, energetic rhythm team and moves through quotations of Moon River, Danny Boy, and even Paul Muriat's Love Is Blue during his solo, before shifting the harmonics around and anchoring them somewhere between E flat 7 and E major. On Broadway Blues, Coleman uses Monk liberally in his melodic conception, and he and Redman have a go at turning a seven-note vamp into all sorts of knotty material for soloing -- and you can almost feel Jones smile as the tempo reaches triple time as the saxophonists race each other through it. And while this date is of only marginal interest on some level (for true hardcore Ornette-ophiles), it is pleasant and amusing if not amazing -- with the exception of For a Commercial, which features Ornette's fine violin playing above the rest of the band in the mix (what a downer). ~ Thom Jurek1. The Garden Of Souls
2. Toy Dance
3. We Now Interrupt For A Commercial
4. Broad Way Blues
5. Round Trip$19.99Vinyl LP Reissue - Sealed Buy Now
Blank ProjectFollowing last month's announcement that Neneh Cherry will release her first solo album in 16 years - a collaboration with RocketNumberNine, produced by Four Tet, and featuring a guest appearance by Robyn - Neneh is now ready to share further details of this forthcoming record with the world. The 10-track album, recorded and mixed over a 5-day period, will be titled Blank Project, and it will be out February 25th, 2014 on Smalltown Supersound. It follows 2012's The Cherry Thing, a collaborative record with free jazz, noise collective The Thing, which featured new versions of songs by The Stooges, MF Doom, Ornette Coleman, amongst others.
While her energy and demeanor may not have changed since the days of Rip Rig + Panic, musically, Blank Project is a departure from anything Neneh has previously done, initially written as a means of working through personal tragedy. What stands out upon first listen is the album's sparseness: loose drums and a few synthesizers are the only accompaniment to Neneh's wildly poetic, sometimes-spoken, sometimes-screeching, soul-flooded and raw vocals. The space created by this minimal aesthetic leaves room for occasional pistes and flurries of rapid, yet throbbing and thunderous instrumentation. Featuring combined elements of beat poetry, avant-electronica and beautiful vocal melodies, it's a record that uses simple ideas to create something entirely original. And despite the personal struggles, Neneh was working through in writing this new material, the songs are far from introverted.
As many are aware, the stories from Neneh's early years are astonishing. She spent her childhood living 50/50 between a loft in New York and in the South of Sweden with her mother and stepfather, the legendary jazz musician Don Cherry. She's been lifted onto Miles Davis' lap, Allen Ginsberg regularly passed through their home in an evening and as she got older, she could pop in on Arthur Russell, Talking Heads and The Modern Lovers who all lived in the same loft complex in Long Island City New York. At 14, she started taking trips to Harlem with Ari Up of the Slits at a time when few would venture so far uptown. Soon after, she left home and moved to London, and spent the next 20 years inside the crucial developments in British subculture. As post-punk became the site of 80s Britain's artistic and political resistance, she helped form the anarchic multi-ethnic, multi-genre Rip, Rig + Panic, and she was one of the first to bring hip-hop culture to a British audience with "Buffalo Stance" and Raw Like Sushi. Although at points her career had brushes with the mainstream, Neneh remained staunchly counter-culture.
Through post-punk's adherence to mixed-race line-ups and anti-government stance, to UK rap's refusal of the conventions of pop, trip-hop's connection with the politicized elements of rave culture and, through 1996's Man, where Neneh introduced elements of Senegalese language to mainstream audiences for the first time via the mammoth "7 Seconds" single featuring Senegalese singer Youssou N'Dour, and now, with Blank Project, Neneh continues to arrive at moments in musical history when there is an opportunity to subvert ideas of popular culture. She is subverting once again, only this time, although this record is musically bold, Neneh sees the stasis she's challenging isn't musical or societal, but her own.1. Across The Water
2. Blank Project
4. Spit Three Times
8. Out Of The Black (featuring Robyn)
10. Everything$21.99Vinyl LP + CD - 2 LPs Sealed Buy Now
The Shape Of Jazz To ComeImport
Ranked 246/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
An aptly titled 1959 release, Ornette Coleman's The Shape Of Jazz To Come was one of the first free jazz albums ever produced. A classic in every sense of the word!1. Lonely Woman
4. Focus On Sanity
6. Chronology$32.99Vinyl LP - Sealed Buy Now
This Is Our Music
Pressed On Two 180gram Audiophile-Grade Lps At Pallas Group In Germany
Mastered From Original Analog Tapes At 45rpm By Bernie Grundman
Housed In A Stoughton Case-Wrapped Gatefold Jacket
Ornette Coleman Quartet Features Don Cherry, Charlie Haden, & Ed Blackwell
With two landmark albums already under its belt, the
Ornette Coleman Quartet spent nearly a year out of
the studio before reconvening for This Is Our Music.
The album features Coleman on alto, Don Cherry on
trumpet, Charlie Haden on bass, and Ed Blackwell on
drums. "All in all, This Is Our Music keeps one of the
hottest creative streaks in jazz history going strong"
(AllMusic). This essential edition of Coleman's fifth
album was mastered from original analog tapes at
45RPM by Bernie Grundman, pressed on two 180gram
LPs, and is housed in an old school style Stoughton
case-wrapped gatefold jacket.1. Blues Connotation
2. Beauty Is A Rare Thing
4. Embraceable You
6. Humpty Dumpty
7. Folk Tale$49.99180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
A Fickle SonanceAlto saxophonist Jackie McLean was one of the few jazz players to come up through bebop and incorporate free jazz into his style. Even though A Fickle Sonance preceded McLean's intense 1962 album Let Freedom Ring, the playing remained in a swinging blues-oriented style, showing no hint of the direction his music was about to take. The sidemen on the date (Tommy Turrentine [trumpet], Sonny Clark [piano], and Butch Warren [bass]) prove to be an invigorating combination of musicians, however not as involved in the burgeoning free music as drummer Billy Higgins. At the time of these sessions, Higgins had already played with Ornette Coleman, providing a link to the avant-garde, but nevertheless his playing follows the hard bop pace of the others. McLean provides two original compositions, Subdued and the title track, while Clark, Turrentine, and Warren fill the remaining tracks.Five Will Get You Ten
A Fickle Sonance
Lost$11.99Vinyl LP Reissue - Sealed Buy Now
Plastic Ono BandRemastered From The Original Tapes By Sean Lennon
This long-overdue vinyl reissue of Yoko Ono's seminal, but massively under-appreciated Plastic Ono Band has all the makings of a classic rock nostalgia trip: Ono, John Lennon, Ringo Starr, Klaus Voorman and free-jazz legend Ornette Coleman. All the pieces are here to stir up a dangerous amount of nostalgia. But once the needle drops, the record achieves something exactly perpendicular to nostalgia.
Released in 1971, the album not only influenced the approach of other musicians for decades, it also sounds absolutely modern 44 years out, eternally fresh despite the forward march of time. Yoko Ono/Plastic Ono Band not only predicted the intersection of the avant-garde and rock that would take place in the second half of that decade, the album would sound right at home at where that intersection is happening today.1. Why
2. Why Not
3. Greenfield Morning I Pushed An Empty Baby Carriage All Over The City
5. Touch Me
6. Paper Shoes$23.99Vinyl LP - Sealed Buy Now
Something Else!!!! The Music Of Ornette ColemanThis 1958 debut recording by the Ornette Coleman Quintet, which featured Coleman on his trademark white plastic alto, Don Cherry on trumpet, Billy Higgins on drums, Walter Norris on piano, and Don Payne on bass, shook up the jazz world -- particularly those musicians and critics who had entered the hard bop era with such verve and were busy using the blues as a way of creating vast solo spaces inside tight and short melody lines. Something Else!!!! is anathema to that entire idea, and must have sounded like it came from outer space at the time. First, Coleman's interest was in pitch, not being in tune. His use of pitch could take him all over -- and outside of -- a composition, as it does on Invisible, which begins in D flat. The intervals are standard, but the melodic component of the tune -- despite its hard bop tempo -- is, for the most part, free. But what is most compelling is evident in abundance here and on the next two tunes, The Blessing and Jayne: a revitalization of the blues as it expressed itself in jazz. Coleman refurbished the blues framework, threaded it through his jazz without getting rid of its folk-like, simplistic milieu. In other words, the groove Coleman was getting here was a people's groove that only confounded intellectuals at the time. Coleman restored blues to their classic beginnings in African music and unhooked their harmonies. Whether the key was D flat, A, G, whatever, Coleman revisited the 17- and 25-bar blues. There are normal signatures, however, such as Chippie in F and in eight-bar form, and The Disguise is in D, but in a strange 13-bar form where the first and the last change places, altering the talking-like voice inherent in the melodic line. But the most important thing about Something Else! was that, in its angular, almost totally oppositional way, it swung and still does; like a finger-poppin' daddy on a Saturday night, this record swings from the rafters of the human heart with the most unusually gifted, emotional, and lyrical line since Bill Evans first hit the scene. ~ Thom Jurek, Rovi1. Invisible
2. The Blessing
5. The Disguise
6. Angel Voice
8. When Will the Blues Leave?
9. The Sphinx$21.99Vinyl LP Reissue - Sealed Buy Now
Twins1. FIRST TAKE (17:00)
2. LITTLE SYMPHONY (5:15)
3. MONK AND THE NUN (5:35)
4. CHECK UP (10:10)
5. JOY OF A TOY (4:35)$16.99Vinyl LP Reissue - Sealed Buy Now
Complete CommunionNot counting a couple of sessions he co-led with John Coltrane and Albert Ayler, Complete Communion was the first album Don Cherry recorded as a leader following his departure from the Ornette Coleman Quartet. It was also one of the earliest showcases for the Argentinian tenor saxophonist Gato Barbieri, who Cherry discovered during a stay in Rome. While the music on Complete Communion was still indebted to Coleman's concepts, Cherry injected enough of his own personality to begin differentiating himself as a leader. He arranged the original LP as two continuous side-long suites, each of which incorporated four different compositions and was recorded in a single take. In practice, this meant that several melodic themes popped up over the course of each side; all the musicians free-associated off of each theme, engaging in intense, abstract dialogues before moving on to the next. As the album's title suggests, every member of the group not only solos, but shares the total space selflessly. Bassist Henry Grimes and drummer Ed Blackwell both play extremely active roles, especially Grimes, who solos powerfully and sometimes carries the main riffs. Often the music sounds more like a conversation, as opposed to a solo with support, because the musicians make such intelligent use of space and dynamics, and wind up with a great deal of crackling, volatile interplay as a result. The leader remains recognizably himself, and his burnished tone is a nice contrast with Barbieri's fiery approach; for his part, Barbieri's playing has a lot of speechlike inflections, and he spends a lot of time in the upper register of his horn, which makes him sound quite similar to Ornette at times. As a whole, the project comes off remarkably well, establishing Cherry as an avant-garde force to be reckoned with in his own right.
- Steve Huey (All Music)1. Complete Communion
2. And Now
3. Golden Heart
6. Our Feelings
8. Wind, Sand, and Stars$19.99Vinyl LP Reissue - Sealed Buy Now
Chappaque SuiteConrad Rook had asked Ornette Coleman to compose the music for his film Chappaqua. In june '65 David Izenzohn, Charles Moffet, tenor saxophonist Pharoah Sanders and several other musicians started recording the album.
Conrad Rook eventually decided to go for a different score for his film, as he found it was so beautiful that he feared it would overpower the imagery and action of the film.
Since its original release by Columbia in 1965, Chappaqua Suite has been out of print most of the time or available in small quantities, until nowLP 1
1. PART I
2. PART II
1. PART III
2. PART IV$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Naked Lunch Soundtrack
Featuring Original Artwork By Rich Kelly
Celebrating Naked Lunch's 25th Anniversary
First Time Ever On Vinyl
In collaboration with Howe Records, we're excited to announce celebrating the 25th anniversary for the score to Naked Lunch. Composed by three-time Oscar-winner Howard Shore collaborating with both jazz legend Ornette Coleman and the London Philharmonic Orchestra.
The soundtrack is a dazzling mix of a traditional Hollywood Orchestral score with incredible free jazz flourishes from Coleman , here he works with the London Philharmonic creating incredible textures over Shore's beautiful , edgy and moody orchestrations that recall Bernard Herrmann's work on Taxi Driver and occasionally lets loose without them (Bugpowder, Interzone Suite) backed only by his son Denardo on drums, these tracks are thrilling and offer a perfect counterbalance to the more measured tracks with the Orchestra, showcasing the incredible and fearless free jazz stylings that made him a legend.1. Naked Lunch
2. Hauser And O'Brien / Bugpowder
5. The Black Meat
6. Simpatico / Misterioso
7. Fadela's Coven
8. Interzone Suite
9. William Tell (Complete)
12. Dr. Benway
13. Clark Nova Dies
14. Ballad / Joan
15. Cloquet's Parrots
16. Midnight Sunrise
17. Nothing Is True; Everything Is Permitted
18. Welcome To Annexia
20. Hauser And O'Brien (Complete)
21. Dual Typewriters
22. Simpatico (Reprise)
24. Intersong (Take 2)
25. Bugpowder (Take 9)$40.98Vinyl LP - 2 LPs Sealed Buy Now
Skies Of America (Awaiting Repress)1. Skies of America (Part 1): 21:17
Skies of America
The Good Life
Birthdays and Funerals
Sounds of Sculpture
Holiday For Heroes
All of my Life
The Soul Within Woman
The Artist in America
2. Skies of America (Part 2): 20:15
The New Anthem
Place in Space
Foreigner in a Free Land
The Men Who Live in the White House
Sunday in America$17.99Vinyl LP Reissue - Sealed AWAITING REPRESS Buy Now
E.S.P. (Awaiting Repress)
Available For The First Time On 180 Gram Vinyl
All-Tube/All-Analog Mastering By Chris Bellman At Bernie Grundman Mastering
Faithfully Reproduced Jacket And Labels
Individually Numbered And Strictly Limited To 3,000
ESP marks the beginning of a revitalization for Miles Davis, as his second classic quintet -- saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams -- gels, establishing what would become their signature adventurous hard bop. Miles had been moving toward this direction in the two years preceding the release of ESP and he had recorded with everyone outside of Shorter prior to this record, but his addition galvanizes the group, pushing them toward music that was recognizably bop but as adventurous as jazz's avant-garde. Outwardly, this music doesn't take as many risks as Coltrane or Ornette Coleman's recordings of the mid-'60s, but by borrowing some of the same theories -- a de-emphasis of composition in favor of sheer improvisation, elastic definitions of tonality -- they created a unique sound that came to define the very sound of modern jazz. Certainly, many musicians have returned to this group for inspiration, but their recordings remain fresh, because they exist at this fine dividing line between standard bop and avant. On ESP, they tilt a bit toward conventional hard bop (something that's apparent toward the end of the record), largely because this is their first effort, but the fact is, this difference between this album and hard bop from the early '60s is remarkable. This is exploratory music, whether it's rushing by in a flurry of notes or elegantly reclining in Hancock's calm yet complex chords. The compositions are brilliantly structured as well, encouraging such free-form exploration with their elliptical yet memorable themes. This quintet may have cut more adventurous records, but ESP remains one of their very best albums.
- Stephen Thomas Erlewine (All Music Guide)1. E.S.P.
3. Little One
7. Mood$32.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
Quartets: Live At The Village Vanguard Vol. 2
Part Of The Blue Note 75th Anniversary Vinyl Reissue Campaign
Named Jazz Album of the Year by readers of Downbeat Magazine, this double album features tenor saxophonist Joe Lovano during two appearances at the Village Vanguard recorded ten months apart. Other than the leader, the pair of quartets are completely different and they bring out two sides of Lovano. The earlier session features the leader in a stimulating piano-less quartet, matching wits and creativity with flÜgelhornist Tom Harrell. While the music is closer to Ornette Coleman than to Gerry Mulligan (to name two famous pianoless groups), Harrell's tone more closely resembles Chuck Mangione than Don Cherry although fortunately he is much more inventive. The four Lovano originals are adventurous and all of the musicians sound as if they are stretching themselves. The second disc showcases Lovano in a more conventional quartet. The repertoire (just one original this time) covers John Coltrane, Thelonious Monk, Miles Davis, Charles Mingus, and Gordon Jenkins and finds the tenorman displaying his roots in Sonny Rollins. The rhythm section on the later date (pianist Mulgrew Miller, bassist Christian McBride, and drummer Lewis Nash) is excellent at accompanying (rather than challenging) Lovano. In both cases, Joe Lovano is heard in prime form, making this an easily recommended two-fer.
- Scott Yanow (All Music Guide)1. Lonnie's Lament
3. Little Willie Leaps
4. This Is All I Ask
6. Duke Ellington's Sound Of Love
7. Sounds Of Joy$24.99Vinyl LP Reissue - 2 LPs Sealed Buy Now
Seven TurnsSeven Turns is the ninth studio album by the Allman Brothers Band, released in 1990. Their first studio album since Brothers of the Road in 1981, it was well-received, and peaked at #53. Hit singles were Good Clean Fun (#1 on the Mainstream Rock Tracks); Seven Turns (#12) and It Ain't Over Yet (#26).
This is the Allman Brothers Band's comeback album, and their best Blues-based outing since Idlewild South that restored a lot of their reputation. With Tom Dowd running the session, and the group free to make the music they wanted to, they ended up producing this bold, rock-hard album, made up mostly of songs by Dickey Betts (with contributions by new keyboardman Johnny Neel and lead guitarist Warren Haynes), almost every one of them a winner.
Apart from the rippling opening number, Good Clean Fun, which he co-authored, Gregg Allman's contribution is limited to singing and the organ, but the band seem more confident than ever, ripping through numbers like Low Down Dirty Mean, Shine It On, and Let Me Ride like they were inventing blues-rock here, and the Ornette Coleman-inspired True Gravity is their best instrumental since Jessica.1. Good Clean Fun
2. Let Me Ride
3. Low Down Dirty Mean
4. Shine It On
5. Loaded Dice
6. Seven Turns
7. Gambler's Roll
8. True Gravity
9. It Ain't Over Yet$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Free Jazz / Ornette!Two Original AlbumsLP1 - Free Jazz - A Collective Improvisation By The Ornette Coleman Double Quartet
1. Free Jazz - Part 1
2. Free Jazz - Part 2
3. Ramblin' *
LP2 - Ornette! - The Ornette Coleman Quartet
2. T. & T.
3. C. & D.
* Bonus Track$32.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
The Haden TripletsThird Man Records is proud to present the debut album from The Haden Triplets. These are songs steeped in history and sung in a close harmony
that could only be achieved from sharing a lifetime of sisterly togetherness and a near psychic vocal interplay that can only come from being born mere
seconds apart from each other. It's been rendered and produced beautifully by American music legend Ry Cooder.
This is an album expanding on an American musical tradition. It is not pastiche or a tribute, but rather a direct antecedent and extension of the original folk legacy that is being exhibited within these songs.
Here's a little more about it in the Haden's own words.
During our early life, we were surrounded by music on both sides of our family. We visited our dad's family in Missouri, where they taught us old country songs they used to perform on the radio as The Haden Family. Our grandparents on our mother's side used to sing us to sleep with old Yiddish songs. Growing up, we often had music playing in the house, whether it be our mom playing Billie Holiday and Nina Simone records, or our dad playing Keith Jarrett and Ornette Coleman in the living room.
We met Ry when we played with his son Joachim, and Joachim asked him if he'd sit in for our show. Once Ry heard we were singing "Voice From On High" by Bill Monroe, he was in right away. The next day we got a call from Ry suggesting we record an album. We wrote down a collection of songs we all liked, then narrowed it down to the music that became the Haden Triplets album. These songs are rich in history, and by recording them we hope to help keep them alive. - Tanya, Rachel & Petra Haden
Produced by Ry Cooder (Buena Vista Social Club, Captain Beefheart's Magic Band, Paris, Texas)and mixed by Martin Pradler (Robbie Robertson, Mavis Staples, Buddy Guy)1. Slowly I'm Falling
2. Single Girl, Married Girl
3. Voice from on High
4. Memories of Mother and Dad
6. Making Believe
7. When I Stop Dreaming
8. My Baby's Gone
9. Billy Bee
10. A Tiny Broken Heart
11. On a Lonesome Night
12. Will You Miss Me When I'm Gone?
13. Oh Take Me Back$17.99Vinyl LP - Sealed Buy Now
UNIM-BLU-0667xOrnette Coleman Trio
At The Golden Circle Stockholm Vol. 1
Remastered And Reissued As Part Of The Blue Note 75th Anniversary Vinyl Reissue Campaign
The Ornette Coleman Trio's At The Golden Circle Stockholm Vol. 1 marks the beginning of Coleman's contract with Blue Note. Recorded on December 3,
1965, this album features Ornette Coleman on alto sax, along with violin and trumpet, David Izenzon on bass and Charles Moffett on drums. Mastered by
Alan Yoshida, At The Golden Circle will be reissued on vinyl as part of an overall Blue Note 75th anniversary vinyl reissue campaign spearheaded by
current Blue Note Records President, Don Was.1. Snowflakes And Sunshine
2. Morning Song
3. The Riddle
4. Antiques$19.99Vinyl LP - Sealed Buy Now
Black Rhythm HappeningThis, the second Blue Note album by Eddie Gale, was released in 1969 and includes jazz heavy weight Elvin Jones on drums and sax man Jimmy Lyons. This is a blend of soul jazz, free form freak outs and a gospel-influenced street choir, and it's suggested listening for fans of Sun Ra & Brother Ah, John Coltrane's late '60s LPs, and Ornette Coleman and Albert Ayler's more groove-oriented recordings. The original vinyl LPs go for big bucks on Ebay, and this is the first time this Blue Note album has ever been reissued. Remastered from the original master tapes with original artwork.1. Black Rhythm Happening
2. The Gleeker
3. Song Of Will
4. Ghetto Love Night
5. Mexico Thing
6. Ghetto Summertime
7. It Must Be You
8. Look At Teyonda$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Lights From The Chemical PlantProduced by Jacquire King (Tom Waits, Kings Of Leon),
Robert Ellis' 2nd album, THE LIGHTS FROM THE CHEMICAL
PLANT, continues his journey into folk music he began 3 years
ago. The songs on the new record, which range from the majestic
string-adorned title track to noir pop rock and somber confessionals,
all show Ellis' growth and the various sides of this multidimensional
songwriter. Ellis recently told Rolling Stone THE LIGHTS FROM THE CHEMICAL
PLANT is "stylistically ambiguous," as he is
inspired by a wide variety of artists. "On this record I was trying
to channel everything from Paul Simon, Randy Newman and Bill
Withers, to free jazz artists like Ornette Coleman," Ellis explained.1. TV Song
2. Chemical Plant
3. Good Intentions
4. Steady As The Rising Sun
5. Bottle Of Wine
6. Still Crazy After All These Years
8. Only Lies
10. Sing Along
11. Tour Song$27.9945 RPM Vinyl LP - 2 LPs Sealed Buy Now