Trumpeter Lee Morgan was just 19 years old and still early on in his lengthy Blue Note association when he cut his brightly swinging 1957 album, City Lights, featuring Curtis Fuller, George Coleman, Ray Bryant, Paul Chambers and Art Taylor. The set includes 3 compositions by Morgan's mentor Benny Golson. This stereo Blue Note Tone Poet Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

Jon Batiste - "BIG MONEY". 7x Grammy-winner Jon Batiste returns with a new album, BIG MONEY. An exploration of the real currency of life as we know it today, Batiste melds classic and modern styles of R&B, Americana, soul, roots, jazz, gospel and more to create sounds of jubilee and diasporic expression. The soundtrack of a movement. Social music.

Vibraphonist Joel Ross returns with his 5th Blue Note album, Gospel Music, featuring an expanded sextet line-up of his band Good Vibes with Josh Johnson on alto saxophone, Maria Grand on tenor saxophone, Jeremy Corren on piano, Kanoa Mendenhall on bass and Jeremy Dutton on drums. The album is Ross' sonic interpretation of the biblical story, an exploration of his faith, and the fulfilment of his musical upbringing in the church, which delivers a message of hope and love. 2 LP set.

Now Music is proud to announce the second of this vinyl series, 'NOW Presents. 12-inch 80s: Volume Two: 1983-1984', as a stunning 5-LP boxset. Kicking off in 1983 with Wham and the 12-inch version of their #2 smash 'Bad Boys' ahead of the massive collaboration between Paul McCartney and Michael Jackson on 'Say Say Say' in it's extended version. Spandau Ballet, Eurythmics and The Cure with the extended version of 'The Lovecats' complete the first side, and Tears For Fears open the flip side with 'Change' ahead of some of the best extended pop from '83, including from Altered Images, Haysi Fantayzee, Men Without Hats, and finishing with the extended version of the debut hit for Marilyn 'Calling Your Name'. LP2's first side is a celebration of 1983's fusion of synth-pop, electronic beats and hip-hop influence and vocals. First up, the most successful 12-inch single of the decade; 'Blue Monday' from New Order, alongside the massive 'I.O.U' (Megamix) from Freeez, Rock Steady Crew's extended version of '(Hey You) The Rock Steady Crew' and the genre-melding 'Double Dutch' from Malcolm McLaren - while over on Side B, huge floor-fillers from Lionel Richie with the 12-inch Version of 'All Night Long (All Night)', KC & The Sunshine Band with the #1 'Give It Up', here in it's 'John Luongo Disco Mix', plus Donna Summer, Laura Branigan and Matthew Wilder's enduringly popular 'Break My Stride'. LP3 contains a mixture of essential 12-inches from both '83 and '84, with a trio of iconic tracks opening; extended mixes of Heaven 17's 'Temptation' and The Human League's '(Keep Feeling) Fascination', along with the first Top 10 hit 'Love On Your Side', the 'Rap Boy Rap' version from Thompson Twins. More peerless pop from Bananarama and Adam Ant finish side A - whilst side B celebrates Hi-Energy gold from Frankie Goes To Hollywood with the 'New York Mix' of 'Relax', Evelyn Thomas and the extended anthemic 'High Energy' alongside Bronski Beat with 'Why' and Dead Or Alive's breakthrough chart hit 'That's The Way (I Like It)' in it's extended version. LP4 opens with a side of massive chart hits from Culture Club with their mash-up US 12-inch mix of 'It's A Miracle' and 'Miss Me Blind' and Tina Turner with her signature 'What's Love Got To Do With It' (Extended 12-inch Remix), 'I Feel For You' hit the top spot for Chaka Khan, and Grandmaster Flash & Melle Mel had a massive hit with 'White Lines (Don't Do It)' - the 12-inch Long Version is included here. Flip the LP over for more essential h-energy from Hazell Dean and Divine, plus '80s disco favourites from The Pointer Sisters and Miami Sound Machine. The final LP kicks off with the 'Dance Mix' of Duran Duran's huge #1 'The Reflex' ahead of extended versions of 1984's sophisticated synth pop from Nik Kershaw and Howard Jones, plus Scritti Politti with their sublime 'Absolute' (Version), before the side closes with the 12-inch Version of 'Pearly Dewdrops' Drops' - a timeless gem from the Cocteau Twins and over on the last side three incredible 12-inches: 'The Killing Moon' gave Echo & The Bunnymen their second Top 10 single and has become a contemporary classic - featured here as the 12-inch 'Up All Night Version' - Propaganda made their debut with 'Dr Mabuse' and 'Das Testament Des Dr Mabuse' (12-inch Edit for Germany) still sounds as breathtaking 40 years on - and to close this amazing collection, a second appearance from Frankie Goes To Hollywood: 'Two Tribes', was not only their second single in the decade end Top 5, but also spent longer - 9 weeks - at #1 than any other song - and the legendary 'Annihilation' mix is the perfect way to sign off on this stunning collection, bringing 44 essential 12-inch versions together on one vinyl set.

With so much virtuosity living inside bassist Gary Peacock and guitarist Ralph Towner, one might expect from this duo a showcase of lively showmanship. And while this is most certainly at it's heart, on the whole we are given an understated album recorded out of deepest respect for it's listeners. The improv is robust yet tender and marked by a distinct patina around the edges. Oracle is like the ocean: we know it's overall shape, but the movement of every wave is at the whim of something unseen that flows through all of us.

Recorded and released in 1958, just over a year before his death, Laughin' to Keep from Cryin' captures saxophonist Lester Young in one of his final studio sessions. Though his tone had softened, Young's phrasing remains fluid and expressive, favoring subtlety over force. Produced by Norman Granz, the date brings together Roy Eldridge and Harry "Sweets" Edison on trumpet, whose contrasting styles (fiery drive and relaxed, bluesy restraint) create a compelling musical contrast. Backed by Hank Jones (piano), Herb Ellis (guitar), George Duvivier (bass), and Mickey Sheen (drums), the session blends small-group swing with a polished studio feel. Highlights include "They Can't Take That Away from Me" and "Salute to Benny," a tribute to Benny Goodman, who gave Young his first clarinet. Verve's Acoustic Sounds Series features transfers from analog tapes remastered on 180g vinyl.

Khun Narin's Electric Phin Band are a multi-generational psychedelic powerhouse from rural Thailand whose ecstatic, amplifier-blown folk music has quietly become one of the most unlikely global cult phenomena of the last decade. Hailing from Phetchabun Province, the group formed as a community celebration band - playing weddings, temple fairs, ordinations and village parades. At the center of their sound is the electrified phin, a traditional three-stringed Thai lute whose piercing, spiraling melodies cut through walls of percussion and portable PA distortion. What might begin as a local procession quickly transforms into something transcendent: hypnotic riffs cycling endlessly, rhythms pushing forward with relentless momentum, musicians of all ages locked into communal euphoria. Ten years after their last release, Khun Narin's Electric Phin Band return with their first new album in a decade - and their first ever recorded inside a professional studio. Produced by Tommy Brenneck (known for his work with Amy Winehouse, Charles Bradley, Sharon Jones, Beyonce, Mark Ronson, and The Budos Band), the album captures the band with a depth and clarity never heard before - without sacrificing the ecstatic propulsion that defines them. The result is both refinement and revelation. The phin still soars in sharp, spiraling lines; the percussion still drives with marathon intensity; but now every texture resonates with new dimension. It is the sound of a village tradition amplified for the world stage - communal, kinetic, and joyfully uncontainable. Khun Narin's Electric Phin Band do not simply perform songs; they create momentum. They build trance from repetition. They turn celebration into transport. A decade later, their return feels less like a comeback and more like a continuation of something timeless - music that exists beyond borders, beyond genres, and beyond expectation.

Recorded in 1962 and released the following year, Listen to Art Farmer and the Orchestra stands as one of his most ambitious statements as a leader. The album places Farmer at the forefront of a large ensemble arranged and conducted by Oliver Nelson. The personnel bridges New York's hard-bop scene with leading studio and jazz musicians, with Farmer featured as the principal solo voice against Nelson's full complement of brass, reeds, and rhythm. Guitarists Jim Hall & Barry Galbraith, bassist George Duvivier, drummer Charlie Persip, and pianist Tommy Flanagan support Farmer alongside an expanded orchestra. Nelson's orchestrations give him space to showcase his lyricism and poised tone, balancing tightly arranged ensemble passages with luminous solo statements. This program draws on beloved standards, including "Street of Dreams" and "Naima." The Verve Vault series is always mastered from analog tapes and pressed on 180g vinyl at Optimal.

Marcos Valle - "Samba '68 (Verve Vault Series)" [180g Heavy Vinyl LP] Samba '68, released on Verve, introduced Brazilian singer/songwriter and multi-instrumentalist Marcos Valle to a wider international audience. Already established in Brazil through songs such as "Samba de Verao" ("Summer Samba"), Valle worked here with producer Creed Taylor on a recording that pairs Brazilian rhythmic forms with contemporary American studio orchestration. The sessions include vocals by Anamaria Valle and arrangements by Eumir Deodato. The repertoire features English-language versions of compositions co-written by Valle, including "So Nice (Summer Samba)," "Chup Chup, I Got Away," and "Safely In Your Arms," alongside additional material that reflects his economical writing and feather-light rhythmic approach. The album documents a meeting point between Brazilian popular music and international pop-jazz studio practice at the end of the 1960s. The Verve Vault series is always mastered from analog tapes and pressed on 180g vinyl at Optimal. Verve Label Group; Verve; Jazz; Catalog.

A subtle tour de force are the words with which Billboard met guitarist Bill Connors's Of Mist and Melting upon the album's release in 1978; and revisiting this music decades later only confirms that special spirits were indeed at work when the Manfred Eicher-produced session with Jan Garbarek, Gary Peacock, Jack DeJohnette and Connors unfolded at Oslo's Talent Studio in December 1977. Reissued as part of ECM's Luminessence series, Of Mist and Melting arrives in a tip-on gatefold jacket with new liner notes and photos from the archive.

Arbre is a collective consisting of three focused musicians: Melusine Chappuis sings and plays keyboards, Paul Butscher sings, plays flugelhorn and keys, and Xavier Almeida plays drums. The three are constantly evolving, both individually and as a band, as their album history already documents. Their clear and airy sound is underpinned by clever grooves and compact interplay. Despite it's lightness, the music becomes dense, raw, intricate and touching. The fragility of the tracks and songs is given solid roots, anchored in the depths of the sea: they form a mysterious and precise ecosystem of sound and groove.

Double vinyl LP pressing. With his stunning 4th Blue Note album, The Myth We Choose, the brilliant South African pianist, composer, healer, and philosopher Nduduzo Makhathini explores the ways in which various societies choose their own myths through song. The album, which was co-produced by his son Thingo Makhathini, refracts Makhathini's distinctive sound through a broad spectrum of sonic settings with bassist Dalisu Ndlazi and drummer Lukmil Perez, plus collaborators including Black Coffee, Shabaka, Omagugu, Thando Zide & Muneyi

Blossom Dearie - Give Him The Ooh-La La, released in 1958 on Verve Records, captures pianist and vocalist Blossom Dearie's signature blend of cool understatement, crisp diction, and harmonic finesse. Produced by Norman Granz, the session features Dearie on piano and vocals, leading a quartet with guitarist Herb Ellis, bassist Ray Brown, and drummer Jo Jones. The program includes songs by Cole Porter, Rodgers & Hart, and Noel Coward, along with two Dearie co-writes - "Try Your Wings" and "Bang Goes the Drum (And You're in Love)" - which showcase her wit and compositional touch. From the sly charm of the title track to the graceful melancholy of "Plus je t'embrasse," Dearie's performances balance elegance with rhythmic ease. The intimate arrangements leave space for subtle interplay between her voice and piano, supported by a rhythm section steeped in the language of swing and bop. The Verve Vault series is always mastered from analog tapes and pressed on 180g vinyl at Optimal.

What A Diff'rence A Day Makes, released in 1959 on Mercury Records, marked a turning point in the career of vocalist Dinah Washington - earning her a GRAMMY Award and bringing her rich, blues-informed style into the world of lush orchestral pop. Produced by Clyde Otis and arranged by Belford Hendricks, the album represents Washington's successful crossover from jazz and R&B into the mainstream pop market. The title track, originally written in Spanish in the 1930s and popularized in English by other vocalists, became Washington's signature song after her version climbed the Billboard charts and won the 1960 GRAMMY for Best Rhythm & Blues Performance - the first year the award was presented. The result is a seamless fusion of jazz tradition and contemporary production, establishing Washington as one of the most versatile and expressive vocalists of her era. The Verve Vault series is always mastered from analog tapes and pressed on 180g vinyl at Optimal.

Tenor saxophonist and Blue Note stalwart Hank Mobley was just 2 years into his fruitful 15-year association with the label when he cut his swinging sextet date 'Hank' in 1957 with Donald Byrd on trumpet, John Jenkins on alto sax, Bobby Timmons on piano, Wilbur Ware on bass and Philly Joe Jones on drums. This mono Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket. This mono Blue Note Tone Poet Edition was produced by Joe Harley, mastered by Kevin Gray (Cohearent Audio) from the original analog master tapes, pressed on 180g vinyl at Record Technology Inc. (RTI), and packaged in a deluxe gatefold tip-on jacket.

Tyrone Washingto - Natural Essence Blue Note Tone Poet Edition Tyrone Washington's 1967 debut 'Natural Essence' introduced a vital new voice whose unique conception moved between exploratory post-bop and groove-based soul jazz. Having emerged from Horace Silver's Quintet the saxophonist offered his own calling card with this set featuring Woody Shaw, James Spaulding, Kenny Barron, Reggie Workman and Joe Chambers. This stereo Blue Note Tone Poet Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.