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Shape Of Jazz'
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
American TunesNonesuch releases American Tunes, a new studio album by legendary New Orleans musician Allen Toussaint. Toussaint had just completed the album when he passed away in November of last year during a European tour. Recording took place at two sets of sessions with producer Joe Henry: solo piano at Toussaint's New Orleans home studio in 2013, and with the rhythm section of Jay Bellerose and David Piltch-joined by guests Bill Frisell, Charles Lloyd, Greg Leisz, Rhiannon Giddens, and Van Dyke Parks-in Los Angeles in October 2015. The album comprises solo performances of Professor Longhair tunes and band arrangements of songs by Toussaint, Duke Ellington, Fats Waller, Paul Simon, and others.
Allen Toussaint's work as composer, producer, arranger, and performer, especially in the 1960s and '70s, helped shape the sound of R&B, soul, and funk as we know it today. He collaborated memorably with artists ranging from Lee Dorsey and Ernie K. Doe to the Pointer Sisters and Labelle, from the Meters and Dr. John to the Band and Paul McCartney. The New York Times recently said, In Mr. Toussaint's long career as songwriter, arranger and producer he has honed a piano style that's supportive and allusive; a little trill or tremolo sums up all the splashy joys of New Orleans patriarchs like Professor Longhair and James Booker, and a syncopated chord under right-hand octaves summons gospel. Mr. Toussaint has the two-fisted, rippling vocabulary of the city's piano legacy, but he uses it in dapper ways.
Toussaint's children, Alison Toussaint-LeBeaux and Clarence Reginald Toussaint, who have long served as their father's managers, said of the American Tunes album, Our father approached this project with great care and understanding of the songs selected and paid true homage to Professor Longhair, his musical hero. He wanted to bring as much of the Toussaint touch as he could to these wonderful classics.
Nonesuch previously released The Bright Mississippi in 2009. Also produced by Henry, the record includes songs by jazz greats such as Sidney Bechet, Jelly Roll Morton, Django Reinhardt, Thelonious Monk, Duke Ellington, and Billy Strayhorn. The album received tremendous critical praise, with the Boston Globe saying it couldn't sound more like New Orleans. (Toussaint) revisits jazz classics and takes them for a stroll through Preservation Hall, imbuing his own funky brand of pop-song charisma. The results are coolly sophisticated, an unfussy, mostly instrumental set of slink-and-slide joints shot through with a harmonic imagination that turns even a traditional hymn into an after-hours swing Toussaint's musical soul guides all, making the classics sound like his own.
That project indirectly grew from Toussaint's contributions to Our New Orleans, the benefit album that Nonesuch released in fall 2005 to aid hurricane victims in the wake of the Katrina disaster. That collection opens with a version of Yes We Can Can, the Toussaint song the Pointer Sisters made famous, newly recorded with producer Joe Henry, and it included a solo piano piece, Tipitina and Me, co-written by Toussaint in tribute to Professor Longhair.
Joe Henry had first worked with Toussaint when he invited the pianist to join the sessions for I Believe to My Soul, a studio convocation of mature R&B stars. Henry subsequently acted as producer on Toussaint's post-Katrina collaboration with Elvis Costello, The River in Reverse. He describes the most recent sessions: I have been working with Allen Toussaint-under his spell and subject to his influence-for a full decade now. He was a quiet radical, musically-speaking, and a prince of great humility.LP 1
1. Delores' Boyfriend
2. Viper's Drag
3. Confessin' (That I Love You)
4. Mardi Gras In New Orleans
5. Lotus Blossom
6. Waltz For Debby
7. Big Chief
8. Rocks In My Bed
9. Danza, Op. 33
10. Hey Little Girl
2. Come Sunday
3. Southern Nights
4. American Tune
5. Her Mind Is Gone
6. Moon River
7. Bald Head$26.99Vinyl LP - 2 LPs Sealed Buy Now
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
Shapes 10:02Shapes 10:02 Various Artists on 2LP + 2CD
On the second Shapes compilation of 2010, Tru Thoughts A&R Robert Luis treats your ears to a whopping 30 tracks from artists across the labels roster. The double vinyl collection includes more previously unreleased and exclusive cuts than ever.
Continuing what has become the tradition, the first CD is more of a chill, kick back and listen to vibe, and the second CD is a little more focused on the dancefloor. Among the exclusive tracks are Quantics remix of Saravah Soul; Smerins Anti Social Club doing a great reggae version of Dr. Who; and Stonephace (feat Adrian Utley from Portishead) reworking a Micky Finn rave classic into a psychedelic jazz monster. Tru Thoughts new signing Maddslinky (aka Zed Bias) also makes a couple of appearances including the highly rated British future soul track Further Away (which was voted in the Top 5 tunes of 2009 in Gilles Petersons Worldwide awards even though its not out yet). This is taken from the new album, Make A Change, which has been racking up four and five star reviews across the board.
CD One starts with a more reggae influenced groove with Quantics Flowering Inferno, Prince Fatty, Alice Russell and Lanu all getting on the Jamaican influenced tip. It then moves into more soulful/sung vocal territory including an upfront track from Nostalgia 77s upcoming album through to the cinematic sound of the amazing Hidden Orchestra.
CD Two has plenty of treats with Randomers remix of The Bamboos (as played to great reactions by tastemakers including the legend Danny Krivit); At Jazz remixing Maddslinky; a couple of exclusives from Flevans and some hard beats from Benjamin One (out of Bristol).CD 1
1. Flowering Inferno - Dog With A Rope (Dub)
2. Natural Self - Midnight Sun (Prince Fatty Dub)
3. Smerins Anti-Social Club - Dr Who
4. Kylie Auldist - Community Service Announcement (Lanu Remix)
5. Alice Russell - Hurry On Now (Boub Remix)
6. Maddslinky - Further Away feat. Tawiah
7. Lizzy Parks - This And That (PTH Mix)
8. Nostalgia 77 - Beautiful Lie
9. Kinny - Afro Love Forest (Stonephace Mix)
10. Hidden Orchestra - The Windfall
11. Belleruche - 3 Amp Fuse
12. Quantic & His Combo Bárbaro - Mas Pan (Dj Day Remix)
13. Skeletons - Marathon Man
14. Lanu - Jean Paul
15. Azaxx - Loungin Place feat. Larry 'Stonephace' Stabbins
1. Saravah Soul - Mussum (Quantic Remix)
2. The Bamboos - Keep Me In Mind (Randomer Remix)
3. Hint - Pretty Stable
4. Maddslinky - Special feat. Omar (At Jazz Remix)
5. Kylie Auldist - One Goodbye (Hint Remix)
6. Flevans - Foot Tied
7. Lizzy Parks - Raise The Roof (Lanu Remix)
8. Azaxx - The Cyber Convicts
9. Kinny - Back Street Lust feat. Diesler (Azaxx Remix)
10. The Bamboos - Up On The Hill (DJ Yoda Edit)
11. Natural Self - All Static (Natural Self Remix)
12. Stonephace - The Horn Track
13. Flevans - Easy Go feat. Kylie Auldist
14. Benjamin One - God Is On Your Side
1. Maddslinky - Further Away feat. Tawiah
2. Natural Self - Midnight Sun feat. Elodie Rama (Prince Fatty Dub)
3. Kylie Auldist - Community Service Announcement (Lanu Remix)
4. Hint Pretty Stable
5. Kinny - Back Street Lust feat. Diesler (Azaxx Remix)
6. Belleruche - 3 Amp Fuse
1. Benjamin One - Potentially
2. Flevans - Foot Tied
3. Lizzy Parks - Raise The Roof (Lanu Remix)
4. Flevans - Easy Go feat. Kylie Auldist
5. Stoneplace - The Horn Track
6. Hidden Orchestra - The Windfall$19.99Vinyl LP - 2 LPs Sealed Buy Now
Memory DrawingsThe follow-up to their debut Noumena. Though the music on this release is familiar, there's a depth to both the performance and production that feels new. The direct-to-analog tape mix is used as another instrument to help shape each song, channeling the mythos of late 60s jazz and late 70s dub classics. They've also expanded their influences with shades of afro-beat and disco-soul.1.If Wishes Were Like Horses
3.I Had A List And I Lost It
4.Years Gone By
4.Floating Truth$19.99Vinyl LP - 2 LPs Sealed Buy Now
Chicago FireThere's an old saying that a great jazz musician never plays a song the same way once. That could certainly be said of Eric Alexander. One of the busiest players in jazz yet his playing is as imaginative as ever, with the ideas pouring out of his horn. His harmonic inventiveness is exceptional and he'll run the changes at such length at times that you wonder if he'll resolve everything in time and end up back on the beat - but he always does. He has a big, full, sound, and a ferocious technique, with access to the full range of his instrument, all under super-human control. Both the Bird and the Sonny Rollins legacies have been thoroughly internalized but here Eric explores the repertoire of another school of tenor playing - the Chicagoans. With long-time collaborators Harold Mabern, John Webber and Joe Farnsworth Eric gives the nod to some Windy City players who helped shape the sound of jazz for decades Eddie Harris, Von Freeman and others.1. Save Your Love For Me
2. The Bee Hive
3. Eddie Harris
4. Just One of Those Things
5. Blueski for Vonski
6. Mr. Stitt
7. You Talk That Talk
8. Don't Take Your Love From Me$18.99Vinyl LP - Sealed Buy Now
Take A PictureTake a Picture blends Margo's infectious and highly intelligent songcraft with her absolutely unique voice - equal parts girl group innocence and seductive torch. One of the most endearing and delicious soft rock records from its era, here's an impeccable Sundazed vinyl reissue of this '68 masterpiece, direct from the original masters.
Margo Guryan is the most original songwriter that I've ever produced, and also something of an enigma. Underneath it all, she's a schooled composer, but she writes moving pop songs. She writes from her heart, but also from her head.
- John Hill, album producer
When Margo heard God Only Knows for the first time, she dropped everything. Steeped in learnings of jazz and composition, Margo was shaping her musical self in 1966, and Pet Sounds was just what she wanted to hear. Inspired, and working in the glow of Brians masterpiece, Margo began work on Take A Picture. Its a beautiful lost gem. I love this album dearly. The first thing to notice is Margos voice, a unique upper register whisper. But when it starts off you say whoa, what is this? as Sunday Morning sounds like a garage funk band with studio musician talents. The albums production is wonderful in that it is so expert, but never showy. This is one of the most laid back albums Ive heard. Another sunday morning staple....Its jazz, slightly psych pop, with all the ornaments of the Pet Sounds orchestra. A brilliant record...
-The Rising Storm1. Sunday Morning
3. Love Songs
5. Don't Go Away
6. Take a Picture
7. What Can I Give You?
8. Think of Rain
9. Can You Tell
10. Someone I Know
11. Love$24.99Vinyl LP - Sealed Buy Now
WomanchildWhen CÉcile McLorin Salvant arrived at the Kennedy Center in Washington, DC to compete in the finals of the 2010 Thelonious Monk International Jazz Competition, she was not only the youngest finalist, but also a mystery woman with the most unusual background of any of the participants. When she walked away with first place in the jazz world's most prestigious contest, the buzz began almost immediately. If anything, it has intensified in the months leading up to the launch of her Mack Avenue Records debut, WomanChild.
"She has poise, elegance, soul, humor, sensuality, power, virtuosity, range, insight, intelligence, depth and grace," Wynton Marsalis asserts. "I've never heard a singer of her generation who has such a command of styles," remarks pianist Aaron Diehl. "She radiates authority," critic Ben Ratliff wrote in The New York Times in response to one of her post-competition performances, and a few weeks later his colleague Stephen Holden announced that "Ms. McLorin Salvant has it all.... If anyone can extend the lineage of the Big Three-Billie Holiday, Sarah Vaughan and Ella Fitzgerald-it is this 23-year-old virtuoso."
Yet at almost every step of the way, McLorin Salvant has followed a different path from her peers. Born in Miami to a French mother and Haitian father, McLorin Salvant's first language was French. She immersed herself in the classical music tradition, long before she turned to jazz-starting on piano at age five and joining the Miami Choral Society at age eight. When it came time for college, McLorin Salvant bypassed all the US conservatories and jazz schools, heading instead to Aix-en-Provence in France, where she continued to develop as a singer, but with an emphasis on classical and baroque vocal music as well as jazz.
There, thousands of miles away from jazz's land of origin, McLorin Salvant entered into a fruitful partnership with reed player and teacher Jean-François Bonnel, first as a student and soon as a performer. Before returning to the US, she gave concerts in Paris, recorded with Bonnel's quintet, and immersed herself in the early jazz and blues vocal tradition. By the time she returned to her home country to take the stage in the Monk Competition, she had drawn on this unusual set of formative experiences in shaping a personal style of jazz singing, surprising and dramatic by turns, and very much in contrast to that of the other participants and McLorin Salvant's contemporaries.
In the aftermath of McLorin Salvant's triumph at the Monk Competition, the jazz world eagerly awaited the winner's first US recording. Answering that call with WomanChild, McLorin Salvant draws on songs spanning three centuries of American music. "I like to choose songs that are a little unknown or have been recorded very few times," McLorin Salvant notes. "While these songs aren't recognized as standards, many should be because they are so beautifully crafted."
On the album, her repertoire ranges from the 19th century ballad "John Henry," refreshed in a spirited up-to- date arrangement, to McLorin Salvant's own 21st century waltz "Le Front CachÉ Sur Tes Genoux" which draws on a poem by Haitian writer Ida Salomon Faubert for its lyric. She is joined by a world class band who share her concern for creating jazz of today by drawing on vibrant traditions of the past: pianist Aaron Diehl and bassist Rodney Whitaker (both of whom are Mack Avenue label mates), guitarist James Chirillo and master drummer Herlin Riley.
The old and new rub shoulders throughout this album, but this singer's attitude is neither beholden to the past nor trying to anticipate the trends of the future. Her captivating singing is immersed in the immediacy of the present moment. So much so, that those who have seen McLorin Salvant in concert marvel at how she radiates the confidence and poise of a mature artist even though she is just at the dawn of her own career.
McLorin Salvant may have the deepest roots of any singer of her generation. She knows the sounds and styles of modern jazz but also possesses complete command of the classic blues and early American vocal tradition. She has studied the entire recorded legacy of the great Bessie Smith (1894-1937), often called the Empress of the Blues, and also has deep familiarity with Valaida Snow, Bert Williams and other early masters of American music. For her, these musicians are exponents of living traditions that she has drawn into the orbit of her own work.
However, McLorin Salvant can't be pinned down as a jazz traditionalist. Alongside fellow Monk Competition winner Jacky Terrasson, she has recorded works by John Lennon/Yoko Ono and Erik Satie, and can sing in French, Spanish or English as the mood and situation warrant. Knowledgeable jazz fans will identify the influence and inspiration from some of the most distinctive modern jazz stylists, such as Betty Carter, Carmen McRae and Abbey Lincoln. She is also currently continuing her studies of the classical and baroque tradition. In short, McLorin Salvant is a seeker and a creative spirit who is determined to push ahead, even while she shows an extraordinary command of the tradition that has preceded her.
In his article in The New York Times, critic Stephen Holden listed some of the virtues of McLorin Salvant's singing: "perfect pitch and enunciation, a playful sense of humor, a rich and varied tonal palette, a supple sense of swing, exquisite taste in songs and phrasing, and a deep connection to lyrics." Her musical skills are considerable, but they are matched by an interpretive ability that is almost more akin to an actor's than a singer's. She draws out the story hidden inside the song, and can draw on the elements of her own personality and a full gamut of emotional stances-from the darkly troubling to the richly comic-in bringing lyrics to life.
"I want to get as close to the center of the song as I can," McLorin Salvant explains. "When I find something beautiful and touching I try to get close to it, and share that with the audience."
On WomanChild, McLorin Salvant gives music lovers the chance to hear why the illustrious judges at the Monk Competition gave her top honors. McLorin Salvant is still a bit of a mystery, but she will hardly be a secret any longer.1. St. Louis Gal
2. I Didn't Know What Time It Was
5. Prelude/There's A Lull In My Life
6. You Bring Out The Savage In Me
7. Baby Have Pity On Me
8. John Henry
9. Jitterbug Waltz
10. What A Little Moonlight Can Do
11. Deep Dark Blue$35.99Vinyl LP - Sealed Buy Now
The Passion Of Charlie ParkerFeaturing Ben Monder, Madeleine Peyroux, Melody Gardot, Gregory Porter, And More
On this Impulse! release, Charlie Parker's music is uniquely re-imagined by living legends of the modern jazz scene. Produced by Larry Klein, and including artists like Ben Monder, Madeleine Peyroux, Melody Gardot, and Gregory Porter, this 'musical play' follows the narrative arc of Bird's life. This release aims to sound "like something that outlines the shape of what Bird might be doing in this time, were he still alive and playing these songs".LP 1
1 Meet Charlie Parker (Chan's Overture) [Vocal Version Of Ornithology]
2 The Epitaph Of Charlie Parker (The Funeral) [Vocal Version Of Visa]
3 Yardbird Suite (A Genius In His Youth) [Vocal Version]
4 So Long (Exodus To New York City) [Vocal Version Of K.C. Blues]
5 Every Little Thing (The Song Of The Acolyte) [Vocal Version Of Bloomdido]
6 Central Avenue (A Dark Journey To Los Angeles) [Interlude]
1 Los Angeles (The Dealer's Song) [Vocal Version Of Moose The Mooche]
2 Live My Love For You (Chan's Love Song) [Vocal Version Of My Little Suede Shoes]
3 Fifty Dollars (Angels And Demons) [Vocal Version Of Segment]
4 The King Of 52nd Street (Chan's Declaration) [Vocal Version Of Scrapple From The Apple]
5 Salle Pleyel (The Journey To Paris) [Interlude]
6 Après Vous (The Apotheosis Of Charlie Parker) [Vocal Version Of Au Privave]$25.99Vinyl LP - 2 LPs Sealed Buy Now
Yesterdays2001 was a vintage year for the Jarrett trio, as three outstanding live albums - "The Out-of-Towners", "Always Let Me Go" and "My Foolish Heart"- have already shown. "Yesterdays", registered at Tokyo's Metropolitan Festival Hall, is a fourth 2001 concert recording, with an all-standards programme and a strong emphasis on bebop, including Charlie Parker's "Scrapple from the Apple", "Shaw'nuff" by Parker and Dizzy Gillespie, and Horace Silver's "Strollin'". There is also an exhilarating splash of ragtime in the shape of "You Took Advantage Of Me", and beautiful ballads including the title track and "Smoke Gets In Your Eyes" (both from Jerome Kern's pen). As a bonus: the album concludes with a radiant "Stella by Starlight" captured at a soundcheck: Jarrett, Peacock and DeJohnette playing just for the joy of it...
Keith Jarrett - piano
Gary Peacock - double-bass
Jack DeJohnette - drums
Recorded April 20011. Strollin'
2. You Took Advantage Of Me
5. You've Changed
6. Scrapple From The Apple
7.A Sleepin' Bee
8. Smoke Gets In Your Eyes
9. Stella By Starlight$25.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Sonic Mandala Go: Organic OrchestraAdam Rudolph and Go: Organic Orchestra Find the Dynamic, Beautiful Center of Globally Informed, Improvisationally Generated Sound
A walled city, a map of the world, a spiraling call: a mandala's meaning extends far beyond pattern and line. It does more than represent an ideal or suggest a path. It is reality, laid out in its true form, for us to contemplate. Composer and percussionist Adam Rudolph finds a similar shape of things via sound, enlisting the Go: Organic Orchestra, an ensemble of players who can be assembled anywhere, anytime.
In the project's latest iteration, Rudolph has gathered his longest collaborating group of musicians based in New York, for a series of elegant, diversely textured pieces that form a Sonic Mandala. Following a compositional and conducting approach Rudolph has honed over decades of contemplation, performance, and creation, the group delineates a space where contemporary classical, jazz, and global traditions effortlessly converge. Though Rudolph provides matrix-based scores and a streamlined vocabulary of conducting gestures to guide musicians, ultimately the pieces spring from the intent focus and spontaneous dialogue engendered in the musicians themselves. The beauty lies in the ambiguity, the openness, reflects Rudolph. There's something about playing into the center of the expressive quality of the music, something really intuitive that the musicians bring to it, as they focus on it. It's about being in tune, being completely in the present. You don't think about your musical gesture ahead of time, but serve the moment.LP1
Part One (Invitation)
Part Seven (slow)
Part Seven (medium)
Part Seven (fast)
Part Twelve (Universal Mother)$35.99Vinyl LP - 2 LPs Sealed Buy Now
Wild Man DanceMore than 50 years into an already legendary career, 2015 is shaping up to be a momentous year for Charles Lloyd. As reported today in The New York Times, the esteemed saxophonist and composer has signed with Blue Note Records and will release his first album for the iconic label in 30 years with the arrival of Wild Man Dance, a magnificent live recording of a remarkable long-form suite commissioned by the Jazztopad Festival in Wroclaw, Poland.$25.99Vinyl LP - 2 LPs Sealed Buy Now
$49.99 $44.99 Save $5.00 (10%)
Bitches Brew (Awaiting Repress) (On Sale)Monumental 1970 Double Album is Signpost for Jazz Fusion: Psychedelic Record Still Sounds Ahead of Its Time More Than 40 Years Later
Otherworldly Sonics: Mobile Fidelity Delivers the Consummate Pressing of the Uncompromising Work Ranked by Rolling Stone as Among the Greatest 100 Albums of All Time
Grammy Award-Winning Set Ignores Convention, Pursues Funk and Rock Directions Via Innovative Rhythms and Groundbreaking Ensemble Configurations
A Dozen Five-Star Miles Davis Albums Spanning 1958-1971 Available from Mobile Fidelity on Definitive-Sounding LP
"Listen to This." As the original working title for Bitches Brew, the invitation resonates as the best way to approach a record that shattered conventions, altered music history, and still sounds far ahead of its time. The aural Mount Rushmore of jazz fusion, Bitches Brew is rightly ranked by virtually every significant press outlet among the 100 greatest albums ever made in any genre.
Sewn together with vibrant colors, voodoo textures, and ethereal moods, the 1970 landmark emerges with supreme detail and nonpareil feeling on Mobile Fidelity's definitive 180g 2LP. Mastered from the original master tapes, these audiophile editions join the ranks of eleven other essential Davis sets given supreme sonic treatment by Mobile Fidelity.
Davis conceived Bitches Brew by having the musicians stand in a semi-circle, where he pointed at them with vague directions for tempo, solos, and cues. The collective improvisation and interplay spawned a galaxy of melodies and grooves later spliced together by producer Ted Macero. Here, these distinct creations take shape with utmost realism.
Mobile Fidelity's reissues envelop you in expansive warm tonal blankets.
Gathering a Hall of Fame-worthy lineup of musicians, Davis follows through on his idea to "put together the greatest rock and roll band you ever heard" on Bitches Brew. The vast psychedelic expanses of warped echoes, liquid reverb, and tape loops speak to the leader's ambitious contrasts of light and dark, fear and hope. Yet the most absolute characteristic of this watershed effort lies in how it encourages free thought-the very principle with which Davis
conceived the everlasting beauty that is Bitches Brew.
This title is not eligible for further discount.1. Pharaoh's Dance
2. Bitches Brew
3. Spanish Key
4. John McLaughlin
5. Miles Runs the Voodoo Down
6. Sanctuary$49.99 $44.99 Save $5.00 (10%)180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
New York DaysNew York Days features Italy's highly inventive jazz musicians Enrico Rava and protÉgÉ Stefano Bollani,
together with three leading American jazzmen: master drummer Paul Motian, bassist Larry Grenadier,
and, in his ECM debut, saxophonist Mark Turner. A magical European/American collaboration, recorded in the jazz capital of the world.
The album is both a transatlantic project and a kind of 'homecoming'. Rava found his musical direction
while living in New York in the late 60s/early 70s. Since then an increasingly 'Italian' lyricism has also
made itself felt in his playing. Rava's soulful trumpet is strongly contrasted with the lean, analytical playing of Mark Turner. Bollani's playful harmonic imagination shapes bridges between them. Larry Grenadier is "present and focused in "every moment" as Rava says, and Paul Motian is as idiosyncratically creative as ever.
The Rava/Bollani/Motian trio album of 2004, Tati was a popular and critical success. New York Days,
take the combination to the next level.1. Lulù
2. Improvisation I
4. Certi Angoli Segreti
6. Thank You, Come Again
7. Count Dracula
8. Luna Urbana
9. Improvisation II
10. Lady Orlando
11. Blancasnow$25.99Vinyl LP - 2 LPs Sealed Buy Now
80/81Pat Metheny's credibility with the jazz community went way up with the release of this package, a superb two-LP collaboration with a quartet of outstanding jazz musicians that dared to be uncompromising at a time when most artists would have merely continued pursuing their electric commercial successes. From the disbanded Keith Jarrett American quartet came bassist Charlie Haden and tenor Dewey Redman - who alternates with and occasionally plays alongside tenor Michael Brecker - and Jack DeJohnette provides more combustible drumming than Metheny had ever experienced on record before. Yet Metheny's off-kilter wandering on solo electric guitar is a comfortable fit for the post-bop rhythmic crosscurrents of this music. Indeed, Haden and Metheny are in total sympathy, perhaps celebrating their mutual Missouri roots, and Metheny's difficult Pretty Scattered - which he mockingly described as Guitar Revenge! - nearly manages to stump even Redman and Brecker. The first of the Two Folk Songs is a great example of the Metheny folk-jazz fusion, with furious strummed guitar underpinning Brecker's melodic line and excursions on the outside and DeJohnette's spectacular drums. Another remarkable track is Open, a group improvisation that finds DeJohnette shaping the track's direction with a pushing solo and Metheny and the saxes emerging at the end. The two original LPs were organized so that the more distinctive Metheny fusions were on sides one and four and the overt jazz tracks occupied sides two and three.1. Two Folk Songs
2. 1st Pat Metheny
3. 2nd Charlie Haden
5. The Bat
6. Turn Around
8. Pretty Scattered
9. Every day (I Thank You)
10. Goin' Ahead$25.99180 Gram Audiophile Virgin Vinyl - 2 LPs Sealed Buy Now
The Straight Horn of Steve Lacy (Pure Pleasure)The only thing 'straight' about Steve Lacy's horn is its shape - as the soprano sax here is used in some extremely inventive and modern ways, especially for the date of the session! We don't think we're going out on a limb to say Lacy is one of the foremost melodic improvisors of his time, and easily one of the most talented soprano players too - and his early date as a leader shows both his forward looking involvement with the avant garde (he'd played with Cecil Taylor just before this date and does a couple of his compositions here) and a career-long fascination with Thelonious Monk. Although the group here is piano-less there's a definite Monk-like edge to many of the numbers, carried off especially by the sharp turns in Lacy's horn!
- Steve Lacy (soprano saxophone)
- Charles Davis (baritone saxophone)
- John Ore (bass)
- Roy Haynes (drums)
Recording: November 1960 in Nola Penthouse Studios, New York City, by Bob d'Orleans
Production: Nat Hentoff
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. Louise
3. Donna Lee
4. Played Twice
6. Criss Cross$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Following MountainThe Following Mountain, the newest solo album by experimental folk artist, singer, and multi-instrumentalist Sam Amidon, will be released on Nonesuch Records.
Created with producer Leo Abrahams (Brian Eno, Regina Spektor) and Amidon's frequent collaborator Shahzad Ismaily, it represents a new approach for Amidon, who shifts here from his previous norm of re-working traditional folk songs and presents nine wholly original compositions, with some lyrics drawing on traditional sources. The album features a rare guest appearance by drummer Milford Graves, known initially for his work in the 1960s with free jazz legends Albert Ayler and Sonny Sharrock.
The Following Mountain was made during two distinct recording sessions: an initial weekend in Brooklyn where Ismaily and Amidon brought in Graves, percussionist Juma Sultan (Jimi Hendrix), and saxophonist Sam Gendel for a heavily improvised session; followed by time in the studio over the summer in London, where Amidon worked with Leo Abrahams to shape and develop the songs.
The Following Mountain is a walk through the thickets of the imagination, Amidon said, a personal mythology of sounds and visions and characters. It is my first album of original music, but is still linked to the Appalachian music I love, as well as improvisation, beats, Don Cherry, Vermont, London.
The Following Mountain is Amidon's sixth album and follows Lily-O, his 2014 Nonesuch Records collaboration with guitarist Bill Frisell.1. Fortune
3. Juma Mountain
4. Another Story Told
5. Gendel in 5
7. Trouble in Mind
9. April$18.99Vinyl LP - Sealed Buy Now
The Great ReunionOriginally released as a second volume of recordings by Roulette Records from a 1961 summit between two jazz icons, after hearing this collaboration you'll wish they had recorded ten volumes. And wit the musical talent and knowledge between them, they could have!
Using Armstrong's regulars plus Ellington at the piano (who performs exceptionally well, comping understatedly behind the vocals), the duo romps through seven of the Duke's most famous and popular compositions. And when Satchmo decides to blow, he leaves the Dixie clich? at home and shapes his solos perfectly into the tasteful arrangements.
With Trummy Young on trombone and Barney Bigard on clarinet plus a rhythm section of Mort Herbert on bass and Danny Barcelona on drums, these recordings are a once-in-a-lifetime dream summit meeting that thank God producer Bob Thiele was brilliantly astute enough to arrange and capture on tape.1. It Don't Mean A Thing (If It Ain't Got That Swing)
3. Don't Get Around Much Anymore
4. I'm Beginning To See The Light
5. Just Squeeze Me
6. I Got It Bad (And That Ain't Good) and Azalea$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Studio One Story'Studio One Story' is a documentary this is both a staggering slice of musical history and a definitive guide to Studio One, Jamaica's greatest ever record company, and its legendary founder, Clement 'Coxsone' Dodd.
Often described as the Motown of Jamaica, or 'The University Of Reggae', Studio One is where the careers of literally hundreds of reggae artists began: Bob Marley And The Wailers, Alton Ellis, The Heptones, Ken Boothe, The Skatalites, Burning Spear and Sugar Minott, to name but a few. Studio One is the 'foundation' label of Jamaican Reggae.
One and a half years in the making, 'Studio One Story' is a truly unique documentary in which the late Clement Dodd gave unprecedented personal access to tell the previously untold story of how Studio One literally shaped the rise of reggae music from the 1950s onwards through to the late 1970s.
This is the true story of reggae music and its Jamaican roots told from the inside: From the rise of Kington's sound systems in the 1940s and 1950s, through to the evolution of a Jamaican music industry (and Studio One's dominance) in the 1960s and the worldwide success of reggae in the 1970s.LP 1
1. Theo Beckford - Easy Snapping
2. The Skatalites - Guns Of Navarone
3. Delroy Wilson - Dancing Mood
4. Michigan And Smiley - Nice Up The Dance
5. Heptones - Baby
6. The Abyssinians - Declaration Of Rights
7.Alton Ellis - I'm Still In Love With You
8. Tommy Mccook - Tunnel One
1. Sugar Minott - Jah Jah Children
2. The Skatalites - Man In The Street
3. Dub Specialist - Banana Walk
3. Dennis Alcapone - Run Run
5. Larry Marshall - Nanny Goat
6. Brentford Allstars - Throw Me Corn
7. Lone Ranger - Love Bump
8. Jackie Mittoo - Freak Out$29.99Vinyl LP - 2 LPs Sealed Buy Now
UNIM-ECM-3089xChris Potter, Underground Orchestra
Chris Potter: tenor and soprano saxophones, bass clarinet
Adam Rogers: guitars
Craig Taborn: piano
Steve Nelson: vibraphone, marimba
Fima Ephron: bass guitar
Scott Colley: double bass
Nate Smith: drums
Mark Feldman: violin
Joyce Hammann: violin
Lois Martin: viola
Dave Eggar: cello
Imaginary Cities is the recording premiere of saxophonist Chris Potter s new Underground Orchestra. At the core of this larger ensemble is the personnel of his long-established Underground quartet with Adam Rogers, Craig Taborn and Nate Smith now joined by two bassists, a string quartet, and Potter s old comrade from Dave Holland Quintet days, vibes and marimba man Steve Nelson. The title composition is a suite, panoramic in its reach, with movements subtitled Compassion , Dualities , Disintegration and Rebuilding . The scope of the work, and its contrasting moods and thematic development, inspire some of Potter s finest playing. His saxes fly high above his idealized cityscapes or launch into dialogues or group improvising with its gifted inhabitants. Four further pieces Lament , Firefly , Sky and Shadow Self extend the feeling of the suite, successfully combining both tightly written material and very open areas involving all members of the orchestra. References are multi-idiomatic and multicultural, and Potter, who counts Charlie Parker with Strings amongst his formative enthusiasms, had Arabic and Indian string sections in mind, as well as contemporary composition, when shaping this material. Imaginary Cities was recorded in December 2013 in New York s Avatar Studio and produced by Manfred Eicher. Release of the album is followed by US performances with the Underground Orchestra in New York and San Francisco.1. Lament
2. Imaginary Cities (Pt. 1, Compassion)
3. Imaginary Cities (Pt. 2, Dualities)
4. Imaginary Cities (Pt. 3, (Disintegration)
5. Imaginary Cities (Pt. 4, Rebuilding)
7. Shadow Self
8. Sky$25.99Vinyl LP - 2 LPs Sealed Buy Now
Wilco (The Album)Wilcos newest release and seventh studio outing, Wilco (the album), took shape quickly in January 2009 after the band traveled to Auckland, New Zealand to participate in an Oxfam International benefit project. The band began cutting tracks for the new album, producing it themselves with the help of engineer Jim Scott. The sextet completed the album at its Chicago loft studio and performed some of the new material in April at the New Orleans Jazz & Heritage Festival.
Wilco (the album) combines the intimacy of its previous studio release, Sky Blue Sky (2007), with the experimentation of A Ghost Is Born (2004) in a set that boasts strong melodies and gorgeous, often unabashedly pop arrangements. Wilco has clearly laid out the welcome mat to admirers of all aspects of its career. The album even opens with Wilco (the song), originally unveiled in the groups performance on The Colbert Report last October.
Vocalist Jeff Tweedys lyrics remain frank and fascinating, and, similar to Sky Blue Sky, most songs are conscise. Bull Black Nova, however, features a dramatically building arrangement and thrilling guitar crescendo that comes across as more of a duel than a jam. Its followed by the gentle You and I, a duet between Tweedy and Canadian indie sensation Feist, and You Never Know, a glorious anthem. The album culminates with Everlasting Everything, a piano-driven ballad with delicate sonic nuances that lyrically celebrates loves enduring power.
The vinyl version of Wilco (the album) is pressed on 180-gram audiophile-quality vinyl and includes the complete album on CD and MP3. Per Wilco's high standards, the sonics are tremendous, filled with immense detail, warmth, and presence. Yet another masterwork by the best American rock band going.
1. Wilco (the song)
2. Deeper Down
3. One Wing
4. Bull Black Nova
5. You And I
6. You Never Know
7. Country Disappeared
9. I'll Fight
10. Sonny Feeling
11. Everlasting Everything$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Silver Lining: The Songs of Jerome KernFollowing the enormous success of his #1, Grammy-Award winning album with Lady Gaga, Cheek To Cheek, this release continues the classic series of Tony Bennett album releases celebrating the essentials of the Great American Songbook. The Silver Lining: The Songs of Jerome Kern is an appreciation of the genius of Jerome David Kern (1885-1945), one of the 20th century's most important American composers of musical theater and popular music.
Tony Bennett is the only artist to successfully bridge the worlds of pop music and jazz on an international scale for over 60 years. The Silver Lining: The Songs of Jerome Kern become parts of a timeless legacy of recordings that Bennett has done throughout his career that have embraced both genres, in particular the revered piano jazz albums that he recorded with the late Bill Evans in 1975 and 1977. Tony has become synonymous with the pop/jazz connection and in recent years has been a mentor to contemporary artists such as Lady Gaga and the late Amy Winehouse in encouraging them to embrace jazz music. With his 90th birthday less than a year away, The Silver Lining: The Songs of Jerome Kern defines what makes Tony Bennett unique in the pantheon of great singers and is a testament to the legacy that he continues to create as a recording artist and influence in the music industry.
Over the course of his career, Kern composed more than 700 songs, creating musical elements used in more than 100 stage works, collaborating with the greatest lyricists and librettists of the era including P.G. Wodehouse, Oscar Hammerstein II, Dorothy Fields, Johnny Mercer, Ira Gershwin, E.Y. Harburg and many others on a seemingly limitless repertoire of classic songs including Ol' Man River, Can't Help Lovin' Dat Man, Smoke Gets in Your Eyes, The Way You Look Tonight, Long Ago and Far Away and many more.
New York native Jerome Kern was a major force on Broadway and in Hollywood musicals in a career that spanned more than four decades. He expanded on earlier musical theater traditions, from vaudeville to operetta, to embrace new dance rhythms, syncopation and jazz progressions and helped invent the modern musical template. While many of his Broadway musicals and Hollywood musical films were contemporary smash hits, Kern is perhaps best remembered today through revivals of Show Boat, one of his signature achievements.
In his liner notes for The Silver Lining: The Songs of Jerome Kern, music historian Will Friedwald describes Kern as ...the key link between the great music of historical and contemporary classics, a direct connection between Brahms and Charlie Parker....a key architect of a uniquely American art form that would eventually take shape as musical theater....one of the founding fathers of a term that Tony Bennett later coined himself, 'the Great American Songbook.' Friedwald writes about music and popular culture for The Wall Street Journal, worked with Tony Bennett on Tony's The Good Life memoir, and is author of eight books including the award-winning A Biographical Guide to the Great Jazz and Pop Singers, Sinatra! The Song Is You, Stardust Melodies, and Jazz Singing.
The idea of a Kern Songbook project was Tony's, writes Will Friedwald, thereby placing Kern on the very short list of canonical composers (Rodgers & Hart, Harold Arlen, Duke Ellington, Irving Berlin, and Cy Coleman) who have been the beneficiaries of an entire album by Bennett. It was also Bennett's idea to create the album in collaboration with the remarkable Bill Charlap....who can also take a great song we all know by heart and make us feel like we've never heard it before.
Playing alongside Tony Bennett and Bill Charlap on The Silver Lining: The Songs of Jerome Kern are pianist Renee Rosnes (on the piano duet pieces), Peter Washington (bass) and Kenny Washington (drums). Unrelated, though sharing the same last name, Peter and Kenny have been performing with Bill Charlap for nearly two decades and pianist Renee Rosnes has been Charlap's life partner for close to 10 years.
With more than 700 Jerome Kern compositions to choose from, the set list for The Silver Lining: The Songs of Jerome Kern is a distillation of essential highlights from a boundless catalog. With these interpretations of some of Jerome Kern's finest songs, Tony Bennett and Bill Charlap offer a definitive introduction to Kern's music while providing a deep understanding of the abiding and universal qualities of these songs.1. All the Things You Are
2. Pick Yourself Up
3. The Last Time I Saw Paris
4. I Won't Dance
5. Long Ago and Far Away
6. Dearly Beloved
7. The Song Is You
8. They Didn't Believe Me
9. I'm Old Fashioned
10. the Way You Look Tonight
12. Make Believe
13. Nobody Else But Me
14. Look For the Silver Lining$37.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
$25.99 $18.19 Save $7.80 (30%)
Ritual (On Sale)Ritual is something of an anomaly in the Keith Jarrett archive. It's a solo album, as many of his best are, only this time it is pianist, conductor, and frequent collaborator Dennis Russell Davies at the keys playing a work penned entirely by Jarrett. The hallmarks of a Jarrett piano recital are all there-the rolling ostinatos, dense arpeggios, and profound doublings-yet are valenced differently under the rubric of "composition." In this context, we get a sense of "once removed-ness" that might not present itself under improvisational circumstances. The piece's modest 32 minutes are divided into two immodest parts. From the opening groundswell we get not only dense pockets of energy, but also nodes of emptiness. Put another way: the music's glorious peaks share the same space as the shadowy valleys at their feet, thereby encompassing a harmonious middle ground. Like a geyser, its eruptions are predictable yet manage to enthrall every time. Despite its claustrophobic beginnings, Part 1 ends in bright solitude, like a room in which the curtain has been slowly opened to welcome the morning sun. Heavier chording marks Part 2, which resolves in a hopeful melancholy, but not before gelling the emotional plasticity of its precursor. This brings us full circle, ending on a solemn intonation of a single note.
Ritual is far more "regulated" than typical Jarrett fare, spun as it is from the surrogacy of another performer rather than through the alchemy of spontaneous creation (though there is, of course, some of each in the other). The results are captivating in their own way, stoked by every depressed key and lifted pedal. Its shapes are drawn not by what is, but what has been and will be. The present is invisible and lives on only as formless possibility, caught like a blown kiss in the cup of one's hand.
Recorded June 1977 at Tonstudio Bauer, Ludwigsburg
Engineer: Martin Wieland
Produced by Manfred Eicher1. Ritual (Part I)
2. Ritual (Part II)$25.99 $18.19 Save $7.80 (30%)Vinyl LP - Sealed Buy Now
COIN COIN Chapter Two: Mississippi Moonchile180g LP Audiophile Pressing Includes Art Poster
The spokeswoman for a new, politically conscious and refractory jazz scene. - Jazzthetik
Roberts gives her audience a long look at something ghostly, tragic, and beautiful. - Peter Margasak, Chicago Reader
A major talent. - The Wire
COIN COIN Chapter Two: Mississippi Moonchile is the much-anticipated new installment of Matana Roberts' unique and forward-looking project. Guided by an aesthetic practice she has dubbed 'panoramic sound quilting' (partly in homage to the literal handicraft heritage of her patrilineal line), COIN COIN finds Roberts conjuring some of the most nuanced, thoughtful and substantial American liberation music of the 21st century.
COIN COIN has also been a profoundly generous and collaborative process for Roberts, who has been developing various chapters of the COIN COIN cycle with a wide range of musicians from diverse backgrounds over many years. The hugely acclaimed Chapter One: Gens de couleur libres was the culmination of two years of regular visits to MontrÉal and featured fifteen musicians assembled from that city's out-jazz, experimental and avant-rock scenes. Chapter Two: Mississippi Moonchile was developed for a more intimately woven New York jazz sextet and was recorded with this group in late 2012, following several years of local and international performances of the piece with this line-up.
Mississippi Moonchile takes the next leap forward in Roberts' iconoclastic and complex project of memory and recuperation, where historical and contemporary musical tropes, fragmentary spoken and sung narratives, and Matana's cascading alto saxophone are supported by prodigiously talented players on piano (Shoko Nagai), trumpet (Jason Palmer), double bass (Thomson Kneeland), drums (Tomas Fujiwara) and operatic tenor voice(Jeremiah Abiah). While demarcated by 18 titles and track IDs, the album presents an uninterrupted, incantatory swirl of through-composed music, where thematic structure and
free improvisation are propelled in continual and fluid co-existence.
While Chapter One was marked by more defined set pieces, stark juxtapositions, and the epic cacophony of a sprawlingly unconventional big band, Chapter Two unfolds as a cohesive album-length piece unto itself, channeling the drama and catharsis of Gens de couleur libres into something more measured and circumscribed, playing with notions of dignity, rarefaction and restraint. The inclusion of a male operatic singer contributes significantly to the tone and tension of Mississippi Moonchile in this respect, and operates as a fascinating foil to Roberts' own voice, which alternates between splintered 'wordspeak' and deeply soulful singing. The six players are in a perpetual motion of coalescence and divergence, where melodic themes, occasional ostinato passages, and variously deployed
literal voices ('There are some things I can't tell you about ') serve to rally the overriding theme of individual narratives and personal expressions as struggles with, celebrations of and threads within collective history. The contortions of empowerment, pride, shame, suffering, eulogy, empathy, liberation and transcendence are Matana's raw material in the
broadest and most specific senses;she has given this raw material another beautiful and compelling shape in the second chapter of the COIN COIN story.
Illustrated once again with Roberts' own graphic scores, COIN COIN Chapter Two: Mississippi Moonchile is gorgeously packaged in a heavyweight 100% recycled paperboard jacket and includes an art poster.1. invocation
2. humility draws down blue
3. all nations
4. twelve sighed
5. spares of the world
6. secret covens
7. river ruby dues
9. amma jerusalem school
10. for this is
12. the labor of their lips
13. was the sacred day
15. woman red racked
16. thanks be you
17. humility draws down new
18. benediction.$25.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now