Audiophile reviews rave about saxophone master John Coltrane's immortal Impulse! Records, A Love Supreme (1964) and Ballads (1963). Ballads is an album that will never go out of style and never be unwelcome on any jazz lover's turntable. You're about to experience Ballads at it's peak of vinyl perfection - in UHQR format on Clarity Vinyl, with the added bonus of a double 45 RPM cut by Ryan K. Smith at Sterling Sound. Ryan's cut has his characteristic clarity and transparency all set against Quality Record Pressing's usual noiseless backgrounds on 200-gram flawless records. Each UHQR will be packaged in a deluxe box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product. For this 45 RPM 2LP edition you'll also receive a 12' x 12' 12-page booklet featuring liner notes by Ashley Kahn and recording session images by Jim Marshall. The intense passionate Coltrane interpretation of standards such as 'All Or Nothing At All, ' 'What's New, ' 'It's Easy To Remember' and the Sinatra classic 'Nancy (With The Laughing Face)' are the essence of Ballads. When asked why attempt such an undertaking, Coltrane replied 'Variety.' While it may have been a short detour by Trane before he exploded off into the nether regions of jazz music a few years later, it is still a fantastic document of one of the premier jazz groups of the 1960s. Recorded December 21, 1961 and September 18 & November 13, 1962 at Rudy Van Gelder Studios. * Analogue Productions' UHQR, the pinnacle of high-quality vinyl! * 45 RPM Ultra High Quality Record release limited to 5, 000 copies * Mastered from the original tape by Ryan K. Smith at Sterling Sound * Pressed at Quality Record Pressings using Clarity Vinyl® * Includes a 12' x 12' 12-page booklet featuring liner notes by Ashley Kahn and recording session images by Jim Marshall Tracks: Side 1 Say It (Over And Over Again) (4:15) You Don't Know What Love Is (5:11) Side 2 Too Young To Go Steady (4:20) All Or Nothing At All (3:35) Side 3 I Wish I Knew (4:54) What's New (3:43) Side 4 It's Easy To Remember (2:45) Nancy (With The Laughing Face) 3:09)

Count Basie occasionally cautioned young sidemen who were feeling their oats not to play bebop in his band, which was rooted in the rhythmic and harmonic soil of the swing era. How, then, could Basie be expected to make an album with Dizzy Gillespie, one of the progenitors of bop? Happily. Before he began evolving bebop, Gillespie was a swing-era musician. He and Basie operated from a common store of jazz knowledge and wisdom. Masters of time and the blues, they had no difficulty accommodating one another, none at all. This 1977 album is built on the blues. The limitless possibilities inherent in the form summoned the inventiveness, flexibility, and enthusiasm of all the players. Bass and drums are by Ray Brown and Mickey Roker, musicians unquestionably qualified to make music with two of the seminal figures in jazz. Mastered by Kevin Gray from the original analog master tape, and pressed at Quality Record Pressings for optimal sound quality, this Analogue Productions 180-gram reissue is an exceptional audiophile disc. Housed in a gatefold Stoughton Printing tip-on jacket. 180-gram vinyl Mastered by Kevin Gray from the original analog master tape Pressed at Quality Record Pressings Housed in Stoughton Printing tip-on gatefold jacket Tracklist: Side A 1. Back to the Land 2. Constantinople 3. You Got It Side B 1. St. James Infirmary 2. Follow the Leader 3. Ow!

Despite various reissue formats over several decades, the seven original LPs contained in Thelonious Monk - The Riverside Tenor Sessions stood perfectly well on their own at the time of initial release and remain among the highest achievements of a truly golden age. Recorded and released between 1956 and 1961, these seven Monk combo albums were critical in Monk's emergence from a decade of ridicule and neglect to his status at the pinnacle of the jazz pantheon. For Thelonious in Action, Monk recorded live at the Five Spot Cafe in the Bowery neighborhood of Manhattan on August 7, 1958, at the same sessions that produced Misterioso. One of New York's most celebrated jazz rooms, the Five Spot is where Monk first emerged into the spotlight. With him on this date was tenor saxophonist Johnny Griffin, drummer Roy Haynes, and bassist Ahmed Abdul-Malik. They created two highly memorable in-performance albums (of which this is the first) of classic Monk repertoire. From the moment Monk's fingers touch the keys on the opening track, 'Light Blue, ' the listener is transported into a world of musical virtuosity and improvisational brilliance. Monk leads the quartet through a series of electrifying performances that are as daring as they are captivating. In addition to some of his best recorded piano performances and more than two dozen of his profoundly personal compositions, the albums in this reissue series provide an overview of the era's major tenor saxophonists, with contributions by Sonny Rollins, Coleman Hawkins, John Coltrane, Johnny Griffin, Charlie Rouse and Harold Land. Max Roach, Art Blakely, Roy Haynes and Thad Jones are among the other jazz immortals featured on the essential Brilliant Corners, Monk's Music: Thelonious Monk Septet, Thelonious Monk and John Coltrane, Thelonious in Action, Misterioso, 5 by Monk by 5 and Quartet Plus Two At The Blackhawk. Thelonious Monk - Thelonious In Action One of seven standout Thelonious Monk albums from the Riverside Records catalog! Reissued on 180-gram vinyl by Analogue Productions! Mastered AAA by Kevin Gray from the original analog master tape Pressed at Quality Record Pressings Tracklist: Side A 1. Light Blue 2. Coming On The Hudson 3. Rhythm-a-ning 4. Epistrophy (theme) Side B 1. Blue Monk 2. Evidence 3. Epistrophy (theme)

Despite various reissue formats over several decades, the seven original LPs contained in Thelonious Monk - The Riverside Tenor Sessions stood perfectly well on their own at the time of initial release and remain among the highest achievements of a truly golden age. Recorded and released between 1956 and 1961, these seven Monk combo albums were critical in Monk's emergence from a decade of ridicule and neglect to his status at the pinnacle of the jazz pantheon. 5 by Monk by 5 was deliberately conceived and executed as a quintet album. The 'five' are made up of what was, at the time of the 1959 sessions, Monk's regular working quartet plus Thad Jones. That is to say, a well-integrated unit with a striking added voice absorbed into it. The album consists of two new Monk compositions and reworkings of three earlier numbers. This is a classic album with a lively quintet that includes Monk, piano; Thad Jones, cornet; Sam Jones, bass; Art Taylor, drums and the amazing Charlie Rouse, tenor sax - here just beginning a very fruitful association with Monk - and really adding a lot to the session with some incredible tenor work that's as angular and modern as needed for Monk's work, yet with a soulful edge that really brings a lot to the music. The album's got five long tracks - hence the title - and they're all Monk classics that include 'I Mean You,' 'Ask Me Now,' 'Jackie-ing,' and 'Straight No Chaser.' In addition to some of his best recorded piano performances and more than two dozen of his profoundly personal compositions, the albums in this reissue series provide an overview of the era's major tenor saxophonists, with contributions by Sonny Rollins, Coleman Hawkins, John Coltrane, Johnny Griffin, Charlie Rouse and Harold Land. Max Roach, Art Blakely, Roy Haynes and Thad Jones are among the other jazz immortals featured on the essential Brilliant Corners, Monk's Music: Thelonious Monk Septet, Thelonious Monk and John Coltrane, Thelonious in Action, Misterioso, 5 by Monk by 5 and Quartet Plus Two At The Blackhawk. Thelonious Monk - 5 by Monk by 5 One of seven standout Thelonious Monk albums from the Riverside Records catalog! Reissued on 180-gram vinyl by Analogue Productions! Mastered AAA by Kevin Gray from the original analog master tape Pressed at Quality Record Pressings Tracklist: Side A 1. Jackie-ing 2. Straight, No Chaser 3. Played Twice (take 3) Side B 1. I Mean You 2. Ask Me Now

Despite various reissue formats over several decades, the seven original LPs contained in Thelonious Monk - The Riverside Tenor Sessions stood perfectly well on their own at the time of initial release and remain among the highest achievements of a truly golden age. Recorded and released between 1956 and 1961, these seven Monk combo albums were critical in Monk's emergence from a decade of ridicule and neglect to his status at the pinnacle of the jazz pantheon. For Misterio, Monk recorded live at the Five Spot Cafe in the Bowery neighborhood of Manhattan on August 7, 1958, at the same sessions that produced Thelonious in Action. One of New York's most celebrated jazz rooms, the Five Spot is where Monk first emerged into the spotlight. With him on this date was tenor saxophonist Johnny Griffin, drummer Roy Haynes, and bassist Ahmed Abdul-Malik. They created two highly memorable in-performance albums (of which this is the second) of classic Monk repertoire. This recording showcases Monk's distinctive blend of angular melodies, dissonant harmonies, and rhythmic complexity, all delivered with his trademark sense of style and flair. From the hypnotic groove of the title track, 'Misterioso, ' to Monk's passion for inside-out melody lines on 'Let's Cool One, ' each composition on this album is a testament to Monk's unparalleled musical vision. Monk leads the listener on a journey through a sonic landscape that is at once unpredictable and deeply compelling. With it's daring improvisations, unexpected twists and turns, and infectious energy, Misterioso captures the essence of Monk's creative spirit and serves as a shining example of his enduring influence on the world of jazz. In addition to some of his best recorded piano performances and more than two dozen of his profoundly personal compositions, the albums in this reissue series provide an overview of the era's major tenor saxophonists, with contributions by Sonny Rollins, Coleman Hawkins, John Coltrane, Johnny Griffin, Charlie Rouse and Harold Land. Max Roach, Art Blakely, Roy Haynes and Thad Jones are among the other jazz immortals featured on the essential Brilliant Corners, Monk's Music: Thelonious Monk Septet, Thelonious Monk and John Coltrane, Thelonious in Action, Misterioso, 5 by Monk by 5 and Quartet Plus Two At The Blackhawk. Thelonious Monk - Misterioso One of seven standout Thelonious Monk albums from the Riverside Records catalog! Reissued on 180-gram vinyl by Analogue Productions! Mastered AAA by Kevin Gray from the original analog master tape Pressed at Quality Record Pressings Tracklist: Side 1 Nutty Blues Five Spot Let's Cool One Side 2 In Walked Bud Just a Gigolo Misterioso

Despite various reissue formats over several decades, the seven original LPs contained in Thelonious Monk - The Riverside Tenor Sessions stood perfectly well on their own at the time of initial release and remain among the highest achievements of a truly golden age. Recorded and released between 1956 and 1961, these seven Monk combo albums were critical in Monk's emergence from a decade of ridicule and neglect to his status at the pinnacle of the jazz pantheon. Monk's third Riverside album, Brilliant Corners - the first to include horns and emphasize his original compositions - is recognized as the first major step in his rise from being considered a mere eccentric to rightful acceptance as a true jazz giant. Released in 1957, this masterpiece stands as a testament to Monk's genius as a composer, pianist, and bandleader. With it's complex harmonies, angular melodies, and unpredictable rhythms, 'Brilliant Corners' defies convention and challenges the listener to explore new sonic territories. Original compositions recorded here in multiple 1956 sessions, represent Monk at his most inventive and most challenging. 'Brilliant Corners' with it's uneven meter and it's tempo changes, is undoubtedly the real back-breaker, but this doesn't mean that the others are simple: 'Pannonica' is a near-ballad with guts; 'Ba-lue Bolivar Ba-luse-are,' has lots of extended blowing room (and don't neglect to dig several things Monk is doing behind the horns); and 'Bemsha Swing,' is only one of the four originals not specifically prepared for this record date. Monk recorded it twice previously, but comparison shows that it hasn't remained static during that time. Each track offers a glimpse into Monk's singular musical vision. It took real stars to master some of Monk's most difficult and brilliant music and Brilliant Corners is backed by an all-star ensemble featuring the likes of Sonny Rollins, Max Roach, Oscar Pettiford, Ernie Henry, Paul Chambers and Clark Terry. In addition to some of his best recorded piano performances and more than two dozen of his profoundly personal compositions, the albums in this reissue series provide an overview of the era's major tenor saxophonists, with contributions by Sonny Rollins, Coleman Hawkins, John Coltrane, Johnny Griffin, Charlie Rouse and Harold Land. Max Roach, Art Blakely, Roy Haynes and Thad Jones are among the other jazz immortals featured on the essential Brilliant Corners, Monk's Music: Thelonious Monk Septet, Thelonious Monk and John Coltrane, Thelonious in Action, Misterioso, 5 by Monk by 5 and Quartet Plus Two At The Blackhawk. Thelonious Monk - Brilliant Corners One of seven standout Thelonious Monk albums from the Riverside Records catalog! Reissued on 180-gram vinyl by Analogue Productions! Mastered AAA by Kevin Gray from the original analog master tape Pressed at Quality Record Pressings Tracklist: 1. Brilliant Corners 2. Ba-Lue Bolivar Ba-Lues-Are 3. Pannonica 4. I Surrender Dear 5. Bemsha Swing

Despite various reissue formats over several decades, the seven original LPs contained in Thelonious Monk - The Riverside Tenor Sessions stood perfectly well on their own at the time of initial release and remain among the highest achievements of a truly golden age. Recorded and released between 1956 and 1961, these seven Monk combo albums were critical in Monk's emergence from a decade of ridicule and neglect to his status at the pinnacle of the jazz pantheon. Monk's Music is a landmark in jazz - easily one of Thelonious Monk's greatest albums ever, and a magical crossroads of talents that brings together a variety of jazz traditions! The work is performed by an ambitious Monk septet that includes both Coleman Hawkins and John Coltrane on tenor sax - and if you've ever doubted the brilliance of Hawk, this is the record to change your mind. The rest of the group is equally great - with Ray Copeland on trumpet, Gigi Gryce on alto, Wilbur Ware on bass, and Art Blakey on drums - all coming together with Monk to craft a perfect set of tunes that are virtually the definition of 'modern jazz.' Titles include 'Abide With Me,' 'Off Minor,' 'Crepuscule With Nellie,' and 'Epistrophy.' It's probably true that Monk's own ability to translate his ideas into actual piano performance has seldom if ever been at a higher level of skill and clarity than here on Monk's Music. In addition to some of his best recorded piano performances and more than two dozen of his profoundly personal compositions, the albums in this reissue series provide an overview of the era's major tenor saxophonists, with contributions by Sonny Rollins, Coleman Hawkins, John Coltrane, Johnny Griffin, Charlie Rouse and Harold Land. Max Roach, Art Blakely, Roy Haynes and Thad Jones are among the other jazz immortals featured on the essential Brilliant Corners, Monk's Music: Thelonious Monk Septet, Thelonious Monk and John Coltrane, Thelonious in Action, Misterioso, 5 by Monk by 5 and Quartet Plus Two At The Blackhawk. Thelonious Monk - Monk's Music: Thelonious Monk Septet One of seven standout Thelonious Monk albums from the Riverside Records catalog! Reissued on 180-gram vinyl by Analogue Productions! Mastered AAA by Kevin Gray from the original analog master tape Pressed at Quality Record Pressings Tracklist: Side A 1. Abide With Me 2. Well, You Needn't 3. Ruby, My Dear Side B 1. Off Minor 2. Epistrophy 3. Crepuscule With Nellie

Anyone who ever heard Count Basie launch his band into a blues with several choruses of effortless piano has lamented that there is far too little of Basie the soloist among his recorded legacy. This shortage was rectified to a certain extent by the trio albums Basie made with Ray Brown and Louis Bellson in the Seventies, of which this is the sequel to the For the First Time set of the previous year. Once again, Basie's poetic introductions, precise calibrations of touch and coloration, and definitive swing create a joyous program of four venerable standards and an equal number of new blues. Bellson is empathetic throughout and dances with his brushes on 'Sandman,' while Brown's robust tone and earth-moving walking lines bring out the best in Basie the soloist and accompanist. Mastered by Kevin Gray from the original analog master tape, and pressed at Quality Record Pressings for optimal sound quality, this Analogue Productions 180-gram reissue is a reissue jazz fans and audiophiles alike will treasure. Housed in a single pocket Stoughton Printing tip-on jacket. 180-gram vinyl Mastered by Kevin Gray from the original analog master tape Pressed at Quality Record Pressings Housed in Stoughton Printing tip-on single pocket jacket Tracklist: Side A 1. Sandman 2. If I could Be With You One Hour Tonight 3. Draw 4. On The Sunny Side of the Street Side B 1. The One I Love Belongs To Somebody Else 2. Blues for Eric 3. I Surrender, Dear 4. Racehorse

From his earliest days in territory bands in the Southwest, Count Basie had a secret: How to make a collection of instrumentalists generate rhythmic thrust so irresistible that no listener's foot could remain motionless. Basie's swing was the opposite of tense. Relaxed is what it was, and powerful. Through five and a half decades, Basie never lost the ability to infect a band with his swing magic. This edition of his swing machine, recorded just a couple of years before his death, is evidence of the continuing force of that magic. Cut from metal parts mastered by Doug Sax from the original analog master tape. Pressed at Quality Record Pressings for superior sound quality, and housed in a Stoughton Printing tip-on single pocket jacket. 180-gram vinyl Cut from parts mastered by Doug Sax from the original analog master tape Pressed at Quality Record Pressings Housed in Stoughton Printing tip-on single pocket jacket Tracklist: Side 1 1. Way Out Basie (4:19) 2. St. Louis Blues (7:13) 3. Beaver Junction (4:43) 4. Lester Leaps In (4:57) Side 2 1. Blues For The Barbecue (10:27) 2. I Don't Know Yet (4:10) 3. Ain't That Something (4:15) 4. Jumpin' At The Woodside (3:20)

Basie Jam is two sides of some of the best swing ever recorded. This record was produced by Norman Granz and Pablo Records. Granz, responsible for one of the greatest jazz labels ever - Verve - knew what he was doing in a studio. The Big Band sound of Count Basie and the other orchestra leaders dominated dance halls and the airwaves for almost two decades. This late 1973 session features the Count with an eight-piece band. As the title indicates, this recording is like a jam session, so all the tracks are based around the blues. After a classic Basie Piano intro the first track 'Doubling Blues' swings like mad, but then you notice there's something different going on when the solos start. What's different is that Basie is playing Organ for most of the rest of the track and the difference is amazing. The little Piano phrases that we're all so used to hearing Basie play aren't there. Then after six minutes the piano comes back in and we finish track with Basie as we started. For more of Basie's organ playing have a listen to 'One-Nighter' - a lovely medium tempo number on which he plays a restrained introductory solo, before Zoot Sims plays the opening tenor sax solo. The running time is just under 50 minutes, and with only five tracks on the album that tells you that the musicians were given plenty of opportunity to stretch out. They do, and it's well worth getting a copy of this album. Cut from metal parts mastered by Doug Sax from the original analog master tape. Pressed at Quality Record Pressings for superior sound quality, and housed in a handsome Stoughton Printing tip-on gatefold jacket. 180-gram vinyl Cut from parts mastered by Doug Sax from the original analog master tape Pressed at Quality Record Pressings Housed in Stoughton Printing tip-on gatefold jacket Tracklist: Side 1 1. Doubling Blues (6:57) 2. Hanging Out (9:23) 3. Red Bank Blues (8:50) Side 2 1. One-Nighter (11:30) 2. Freeport Blues (9:44)

It could be argued that no two pianists could be more unalike than Count Basie, the master of understatement, and Oscar Peterson, the avatar of speed, power, and embellishment. The contrast in their approaches is part of what made their collaborations riveting. But the fact is that Basie, who held great power in reserve, could let it rip (and stride) when the mood struck him. And Peterson is capable of judiciously applying all that horsepower to achieve the most delicate effects. Both kinds of role reversals occur here. As the album title indicates, the great common denominator between the two is the observance and interpretation of time, not only in the sense of overall swing but of placement of notes and phrases. Their unaccompanied duet in the first choruses of 'Rent Party' provides an emphatic demonstration. Mastered by Kevin Gray from the original analog master tape, and pressed at Quality Record Pressings for optimal sound quality, this Analogue Productions 180-gram reissue is everything jazz fans expect from an audiophile reissue. Housed in a single pocket Stoughton Printing tip-on jacket. 180-gram vinyl Mastered by Kevin Gray from the original analog master tape Pressed at Quality Record Pressings Housed in Stoughton Printing tip-on single pocket jacket Tracklist: Side A 1. I'm Confessin' (That I Love You) 2. Soft Winds 3. Rent Party Side B 1. (Back Home Again In) Indiana 2. Hey, Raymond 3. After You've Gone 4. That's the One

Ella Fitzgerald, often referred to as the 'First Lady of Song,' and Joe Pass, a legendary jazz guitarist, collaborated on four duet albums together. This album, their second, has endured as a classic in the jazz canon, remaining highly regarded by jazz enthusiasts and musicians alike. Fitzgerald's performance on this album, released in 1976, won her the 1977 Grammy Award for Best Jazz Vocal Album. Fitzgerald's celebrated musicianship remained exceptional after four decades in the limelight, and her ability to get inside the meaning of a lyric and convey it to an audience had been woefully underestimated. Pass, who gets to display the subtler aspects of his own virtuosity and his overlooked strengths as an accompanist, was the perfect partner for an effort where the relaxed 'after hours' feeling intensified the level of communication. Duke Ellington's songbook is generously represented by four titles, 'Tis Autumn' and 'Tennessee Waltz' are transformed, and there are spellbinding wordless performances of 'Rain' and 'One Note Samba.' Cut from existing metal parts mastered by Doug Sax from the original analog master tape, and pressed at Quality Record Pressings for optimal sound quality, this Analogue Productions 180-gram reissue is a must-have for jazz fans. Housed in a single pocket Stoughton Printing tip-on jacket. 180-gram vinyl Cut from existing metal parts mastered by Doug Sax from the original analog master tape Pressed at Quality Record Pressings Housed in Stoughton Printing tip-on single pocket jacket Tracklist: Side 1 1. I Ain't Got Nothin' But The Blues (4:04) 2. 'Tis Autumn (5:05) 3. My Old Flame (4:49) 4. That Old Feeling (2:45) 5. Rain (2:20) 6. I Didn't Know About You (4:41) 7. You Took Advantage Of Me (3:35) Side B 1. I've Got The World On A String (4:05) 2. All Too Soon (4:24) 3. The One I Love (Belongs To Somebody Else) (4:04) 4. Solitude (3:41) 5. Nature boy (2:26) 6. Tennessee Waltz (3:35) 7. one Note Samba (5:00)

Analogue Productions (Atlantic Series) Celebrating the 75th Anniversary of Atlantic Records! 180-gram 45 RPM double LP Mastered by Kevin Gray at Cohearent Audio from the original analog tape Mingus taps blues and roots sources for a joyous swinging outing! Plated and pressed at Quality Record Pressings! Gatefold old-style 'tip-on' jacket by Stoughton Printing AllMusic marks Charles Mingus' Blues & Roots as a rejoinder to the critical carping that the virtuoso bass player and accomplished jazz pianist and bandleader and his evocative music 'somehow didn't swing enough.' For this album Mingus turned to the earthiest and earliest sources of black musical expression - blues, gospel, and old-time New Orleans jazz. The resulting album ranks arguably as Mingus' most joyously swinging outing. Recorded in 1959 and released in 1960, Blues & Roots' birth was explained by Mingus in the album's liner notes: 'This record is unusual-it presents only one part of my musical world, the blues. A year ago, Nesuhi Ertegun suggested that I record an entire blues album in the style of 'Haitian Fight Song' (in Atlantic LP 1260), because some people, particularly critics, were saying I didn't swing enough. He wanted to give them a barrage of soul music: churchy, blues, swinging, earthy. I thought it over. I was born swinging and clapped my hands in church as a little boy, but I've grown up and I like to do things other than just swing. But blues can do more than just swing. So I agreed.' Anyone who had heard 'Haitian Fight Song' shouldn't have been surprised that such an album was well within Mingus' range. Mingus boosts the complexity of the music by assembling a nine-piece outfit and arranging multiple lines to be played simultaneously - somewhat akin to the Dixieland ensembles of old, but with an acutely modern flavor. That modern flavor is reinforced and enhanced by the lush Analogue Productions reissue treatment that gives this new version more depth, richer sonic execution and acute audio clarity, particularly in the higher frequencies. Expert mastering from the original master tape by Kevin Gray at Cohearent Audio, and two 45 RPM flat-as-a-table 180-gram LP platters from Gary Salstrom and his crew at Quality Record Pressings properly unveil the loose and free-swinging performance. The wider-spaced grooves promote better cartridge tracking and the silent black playing surface stays clear of the audio playback. There's no question of Mingus' firm grounding in the basics on Blues & Roots, writes AllMusic, nor of his deeply felt affinity with them. Whether the music is explicitly gospel-based - like the groundbreaking classic 'Wednesday Night Prayer Meeting' - or not, the whole album is performed with a churchy fervor that rips through both the exuberant swingers and the aching, mournful slow blues. Still, it's the blues that most prominently inform the feeling of the album, aside from the aforementioned 'Wednesday Night Prayer Meeting' and the Jelly Roll Morton tribute 'My Jelly Roll Soul.' Tracklist: 1 Side A 2 1. Wednesday Night Prayer Meeting 3 2. Cryin' Blues 4 Side B 5 1. Moanin' 6 Side C 7 1. Tensions 8 2. My Jelly Roll Soul 9 Side D 10 1. E's Flat Ah's Flat Too

Despite various reissue formats over several decades, the seven original LPs contained in Thelonious Monk - The Riverside Tenor Sessions stood perfectly well on their own at the time of initial release and remain among the highest achievements of a truly golden age. Recorded and released between 1956 and 1961, these seven Monk combo albums were critical in Monk's emergence from a decade of ridicule and neglect to his status at the pinnacle of the jazz pantheon. One of the most significant events in jazz took place in the latter part of 1957 at the Five Spot in New York, where the Thelonious Monk quartet featuring John Coltrane on tenor saxophone was in residence. The music that Monk made with Coltrane quickly attained the status of legend. Although the group remained together for only a half-year, those who were lucky enough to witness them play called it electrifying. The recordings on Thelonious Monk with John Coltrane are more Monk's than Coltrane's - Monk was signed to Riverside at the time - and the set mixes in three quartet tracks that have the pair working with Wilbur Ware on bass and Shadow Wilson on drums - plus two more from the sessions for the famous Monk's Music record - alternate takes from those sessions, with a larger group that features Gigi Gryce on alto, Coleman Hawkins on additional tenor, and Ray Copeland on trumpet! Quartet tracks include 'Ruby My Dear', 'Trinkle Trinkle', and 'Nutty' - with the larger group on alternates of 'Off Minor' and 'Epistrophy' - and a solo performance by Monk on an alternate of 'Functional.' In addition to some of his best recorded piano performances and more than two dozen of his profoundly personal compositions, the albums in this reissue series provide an overview of the era's major tenor saxophonists, with contributions by Sonny Rollins, Coleman Hawkins, John Coltrane, Johnny Griffin, Charlie Rouse and Harold Land. Max Roach, Art Blakely, Roy Haynes and Thad Jones are among the other jazz immortals featured on the essential Brilliant Corners, Monk's Music: Thelonious Monk Septet, Thelonious Monk and John Coltrane, Thelonious in Action, Misterioso, 5 by Monk by 5 and Quartet Plus Two At The Blackhawk. Thelonious Monk - Thelonious Monk with John Coltrane One of seven standout Thelonious Monk albums from the Riverside Records catalog! Reissued on 180-gram vinyl by Analogue Productions! Mastered AAA by Kevin Gray from the original analog master tape Pressed at Quality Record Pressings Tracklist: Side A 1. Ruby, My Dear 2. Trinkle, Tinkle 3. Off Minor Side B 1. Nutty 2. Epistrophy 3. Functional

Ella Fitzgerald and guitarist Joe Pass teamed up in 1973 for a set of duets for this album. The fabulous pairing's highlights include 'Don't Be That Way' and 'A Foggy Day.' The album is the first of four studio albums that Ella recorded with Pass, and it was the latest in a long line of duets for Ella with just one other instrument. Cut from metal parts mastered by Stan Ricker from the original analog master tape, and pressed at Quality Record Pressings for optimal sound quality, this Analogue Productions 180-gram reissue is an audiophile treasure. Housed in a Stoughton Printing tip-on jacket. 180-gram vinyl Cut from parts mastered by Stan Ricker from the original analog master tape Pressed at Quality Record Pressings Housed in Stoughton Printing tip-on single pocket jacket Tracklist: Side 1 1. Take Love Easy (4:32) 2. Once I Loved (2:15) 3. Don't Be That Way (4:38) 4. You're Blase (3:24) 5. Lush Life (3:29) Side 2 1. A Foggy Day (6:05) 2. Gee Baby, Ain't I Good To You (4:00) 3. You Go To My Head (5:40) 4. I Want To Talk About You (3:25)

Analogue Productions (Atlantic Series) Celebrating the 75th Anniversary of Atlantic Records! John Coltrane's watershed 1960 release featuring the iconic title track and 'Naima' One of the most influential jazz albums of all time! 180-gram 45 RPM double LP Mastered directly from the original master tape by Ryan K. Smith at Sterling Sound Pressed at Quality Record Pressings Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing Released in 1960, Giant Steps was a watershed album for John Coltrane, solidifying the saxophone legend's reputation as one of the most influential and innovative musicians in jazz history, as well as delivering jazz to an increasingly mainstream audience, while garnering significant critical acclaim. Although this was John Coltrane's debut for Atlantic, he was concurrently performing and recording with Miles Davis. Within the space of less than three weeks, Coltrane would complete his work with Davis and company on another genre-defining disc, Kind of Blue, before commencing his efforts on this one. Coltrane (tenor sax) is flanked here by essentially two different trios. Recording commenced in early May of 1959 with a pair of sessions that featured Tommy Flanagan (piano) and Art Taylor (drums), as well as Paul Chambers - who was the only bandmember other than Coltrane to have performed on every date. When recording resumed in December of that year, Wynton Kelly (piano) and Jimmy Cobb (drums) were instated - replicating the alternate non-Bill Evans lineup featured on 'Freddie the Freeloader' on Kind of Blue, sans Miles Davis of course. At the heart of these recordings, however, is the laser-beam focus of Coltrane's tenor solos. All seven pieces issued on the original Giant Steps are Coltrane compositions. He was, in essence, beginning to rewrite the jazz canon with material that would be centered on solos - enabling the solo to become infinitely more compelling. This would culminate in a frenetic performance style using melodic phrasing that noted jazz journalist Ira Gitler accurately dubbed 'sheets of sound.' The Giant Steps chord progression consists of a distinctive set of chords that create key centers a major third apart. Jazz musicians ever since have used it as a practice piece, it's difficult chord changes presenting a 'kind of ultimate harmonic challenge', and serving as a gateway into modern jazz improvisation. Several pieces on this album went on to become jazz standards, most prominently 'Naima' and 'Giant Steps.' The Penguin Guide to Jazz selected this album as part of it's suggested 'Core Collection' calling it 'Trane's first genuinely iconic record.' In 2003, the album was ranked No. 102 on Rolling Stone magazine's list of The 500 Greatest Albums of All Time, 103 in a 2012 revised list, and 232 in a 2020 revised list. Undeniable music perfection deserves definitive sound and top-notch packaging. This reissue was mastered directly from the original master tape by Ryan K. Smith at Sterling Sound and cut at 45 RPM. Pressed at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing. Overall, Giant Steps is not only a critical triumph but also a defining moment in John Coltrane's career. It's innovative compositions, masterful performances, and profound influence on jazz make it an essential entry in Coltrane's discography and a timeless masterpiece in the history of the genre. Tracklist: 0 Side 1 1 Giant Steps 2 Cousin Mary 3 4 Side 2 5 Countdown 6 Spiral 7 8 Side 3 9 Syeeda's Song Flute 10 11 Side D 12 Naima 13 Mr. P.C.

Despite various reissue formats over several decades, the seven original LPs contained in Thelonious Monk - The Riverside Tenor Sessions stood perfectly well on their own at the time of initial release and remain among the highest achievements of a truly golden age. Recorded and released between 1956 and 1961, these seven Monk combo albums were critical in Monk's emergence from a decade of ridicule and neglect to his status at the pinnacle of the jazz pantheon. The sextet sessions from which Quartet Plus Two At the Blackhawk sprung started out as a collaboration. The occasion was Monk's second visit to San Francisco. He took his current quartet - Monk on piano; Charlie House, tenor sax; John ore, bass; and Billy Higgins, drums. Plus he added two of the most impressive horn men available on the West Coast - trumpeter Joe Gordon, and tenor sax player Harold Land. This vibrant live performance took place at the famed San Francisco jazz club in 1960. While the entire album showcases the group's remarkable chemistry and improvisational prowess, several standout tracks exemplify the quintet's dynamic energy and innovative approach to jazz. 'Epistrophy,' the iconic Monk composition, is given new life in a live setting, with it's infectious rhythms and memorable melody captivating the audience from the first note. The album displays brilliantly and evocatively several different facets of Monk - his artistry, and his magic. The addition of Land's horn makes for a very soulful set. In addition to some of his best recorded piano performances and more than two dozen of his profoundly personal compositions, the albums in this reissue series provide an overview of the era's major tenor saxophonists, with contributions by Sonny Rollins, Coleman Hawkins, John Coltrane, Johnny Griffin, Charlie Rouse and Harold Land. Max Roach, Art Blakely, Roy Haynes and Thad Jones are among the other jazz immortals featured on the essential Brilliant Corners, Monk's Music: Thelonious Monk Septet, Thelonious Monk and John Coltrane, Thelonious in Action, Misterioso, 5 by Monk by 5 and Quartet Plus Two At The Blackhawk. Thelonious Monk - Quartet Plus Two At the Blackhawk One of seven standout Thelonious Monk albums from the Riverside Records catalog! Reissued on 180-gram vinyl by Analogue Productions! Mastered AAA by Kevin Gray from the original analog master tape Pressed at Quality Record Pressings Tracklist: Side 1 1. Let's Call This 2. Four in One 3. I'm Getting Sentimental Over You Side 2 1. San Francisco Holiday 2. 'Round Midnight 3. Epistrophy (closing theme)

The fourth and final album by one of the most influential groups in jazz history, the Bill Evans Trio album Waltz For Debby was originally released in 1962 as a companion to Sunday At The Village Vanguard. It captures the mesmerizing and intimate live performances of Evans and his trio at the Village Vanguard in New York City. The album showcases Evans' unique approach to jazz piano, characterized by delicate touch, introspective improvisation, and profound musicality. The title track, 'Waltz for Debby,' serves as the centerpiece of the album. It is a hauntingly beautiful composition penned by Evans himself as a tribute to his niece, Debby. The waltz unfolds with a graceful and melancholic melody, carried by Evans' masterful piano playing. Throughout the album, Evans and his trio venture into other classic jazz standards, including 'My Foolish Heart,' 'Detour Ahead,' and 'Milestones.' With each performance, they delve deep into the heart of the music, exploring it's nuances and improvising with a profound sense of lyricism. Evans' introspective style shines through, as he delicately navigates the harmonies, unveiling layers of emotion and introspection. The beauty of 'Waltz for Debby' lies not only in the musicianship but also in the intimate atmosphere it creates. The live recording captures the ambiance of the Village Vanguard, with the audience's presence adding an extra dimension to the music. The subtle clinks of glasses, the occasional applause, and the hushed whispers become a part of the experience, enhancing the authenticity and charm of the album. Now Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Pressings, is creating the definitive Waltz For Debby reissue: the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl with attention paid to every single detail of this one-of-a-kind reissue. Four glorious sides of 200-gram Clarity Vinyl from QRP, the world's best pressing plant. Cut at 45 RPM to reduce distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. UHQRs from Analogue Productions are the gold-standard in premium vinyl releases, with attention paied to every single detail. The proprietary vinyl compound enhances the sound quality, offering improved dynamics, detail, and tonal accuracy. The heavier vinyl minimizes resonance and warping, providing a stable and flat playing surface. And great care is taken to eliminate any surface noise or imperfections throughout the manufacturing process. Overall, UHQR Clarity Vinyl from Analogue Productions is a sought-after format among audiophiles and collectors who value the highest possible audio fidelity from their vinyl records. Waltz for Debby stands as a testament to Bill Evans' genius as a pianist and composer. It is a profound and evocative exploration of melody, harmony, and improvisation, revealing the depths of emotion and the artistry that Evans brought to his music. The album remains a beloved gem in the jazz canon, cherished by fans and musicians alike for it's timeless beauty and the lasting impact it has had on the genre. An All-Time Jazz Audiophile Masterpiece - Now on UHQR! 200-gram 45 RPM 2LP release limited to 5,000 copies Mastered by Kevin Gray at Cohearent Audio from the original analog tapes Set includes 8-page booklet with liner notes by renowned jazz critic Bob Blumenthal Pressed on Clarity Vinyl at Quality Record Pressings Purest possible pressing and most visually stunning presentation and packaging! One of the most classic jazz albums and live recordings, a regular on most best-of jazz lists! Tracks: Side 1 1. My Foolish Heart (4:56) 2. Waltz For Debby (6:54) Side 2 1. Detour Ahead (7:35) Side 3 1. My Romance (7:11) Side 4 1. Some Other Time (5:02) 2. Milestones (6:37)

Widely regarded as one of the greatest live jazz recordings of all time, Sunday At The Village Vanguard from the Bill Evans Trio, captures a remarkable performance by pianist Bill Evans, bassist Scott LaFaro, and drummer Paul Motian at the Village Vanguard jazz club in New York City on June 25, 1961. The album features a selection of jazz standards and original compositions, showcasing the exceptional musicianship and improvisational prowess of the trio. The interplay between Evans, LaFaro, and Motian is extraordinary, with each musician seamlessly complementing and responding to one another. The record showed how Evans had refined an approach to solo improvisation in which the pulse was not as obvious as it had been in swing and bop approaches. And his extraordinarily high standards required that each improvised melodic idea be extensively developed, resulting in more continuity and pacing than was common to any previous modern style. Now Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Pressings, is putting Sunday At The Village Vanguard where it belongs: the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl with attention paid to every single detail of this one-of-a-kind reissue. Four glorious sides of 200-gram Clarity Vinyl from QRP, the world's best pressing plant. Cut at 45 RPM to reduce distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. UHQRs from Analogue Productions are the gold-standard in premium vinyl releases, with attention paied to every single detail. The proprietary vinyl compound enhances the sound quality, offering improved dynamics, detail, and tonal accuracy. The heavier vinyl minimizes resonance and warping, providing a stable and flat playing surface. And great care is taken to eliminate any surface noise or imperfections throughout the manufacturing process. Overall, UHQR Clarity Vinyl from Analogue Productions is a sought-after format among audiophiles and collectors who value the highest possible audio fidelity from their vinyl records. One of the standout tracks on this album is the rendition of the jazz standard 'Gloria's Step.' Evans' delicate touch and lyrical piano playing shine through, while LaFaro's inventive and melodic bass lines add depth and richness to the sound. The trio's chemistry is evident as they navigate through intricate musical passages and engage in spontaneous musical conversations. Another notable track is 'Alice in Wonderland, ' an original composition by Evans. It highlights his unique approach to harmony and melody, characterized by introspection, elegance, and a delicate touch. The trio's interpretation of this piece is enchanting and showcases their ability to create a magical atmosphere through their collective musical expression. Sunday at the Village Vanguard is celebrated not only for it's exceptional music but also for it's exceptional sound quality. The recording captures the intimate ambiance of the Vanguard, allowing listeners to experience the energy and intimacy of a live jazz performance. The Bill Evans Trio's Sunday At The Village Vanguard on Analogue Productions' UHQR, the pinnacle of high-quality vinyl! The definitive version of one of the most classic jazz recordings of all time and a regular on most best-of jazz lists! 200-gram 45 RPM 2LP release limited to 5, 000 copies Mastered by Kevin Gray at Cohearent Audio from the original analog tapes Set includes 8-page booklet with liner notes by renowned jazz critic Bob Blumenthal Pressed on Clarity Vinyl at Quality Record Pressings Purest possible pressing and most visually stunning presentation and packaging! Tracks: Side 1 1. Gloria's Step (6:05) 2. My Man's Gone Now (6:21) Side 2 1. Solar (8:51) Side 3 1. Alice In Wonderland (8:32) Side 4 1. All Of You (8:20) 2. Jade Visions (3:46)

Revel in the sonic brilliance of Sounds Unheard Of! By Shelly Manne and Jack Marshall, a timeless jazz masterpiece available now from Analogue Productions - highest quality audiophile reissue! Shelly Manne, the drumming virtuoso, and Jack Marshall, the guitar genius, create an unparalleled musical experience on this classic released in 1962. 'On a dozen standards, Marshall's playing serves as interludes between the percussion displays of Manne; the liners give a full description of every device he hits... The sound is excellent for the period.' - Scott Yanow, AllMusic The Artists: Shelly Manne: A legendary jazz drummer known for his versatility and creativity. Manne was a prominent figure in the West Coast jazz scene and had an illustrious career that spanned various genres and collaborations. Jack Marshall: A talented guitarist, composer, and arranger, Marshall was also an influential figure in the music industry. He had a knack for blending different musical styles and was known for his work in both jazz and popular music. The Concept Sounds Unheard Of! #was conceived as an experimental project that aimed to push the boundaries of traditional jazz. The album's concept was to create a soundscape that featured unusual percussion instruments and unconventional arrangements, providing listeners with a fresh and unexpected auditory experience. The Music Sounds Unheard Of! #features a variety of tracks that showcase the duo's innovative approach to music. The compositions blend intricate rhythms, exotic percussion, and inventive guitar work. The album includes both original compositions and reinterpretations of standards, all executed with a distinctive flair. 180-gram vinyl Mastered by Bernie Grundman from the original analog master tape Pressed at Quality Record Pressings Stoughton Printing Old Style Tip-On gatefold jacket

Miles Davis's Kind of Blue was the number-one jazz album in history. It totaled five songs. There are four more songs from that same historic group, recorded in the same time period and at the same studio. And here they are. These songs deserve to stand on their own with artwork to highlight the quality of the music and that matches the time period of the recording. This is a rare opportunity to have a smash follow-up to what many consider the greatest jazz record ever! Through the years, these four remarkable performances - all from a single recording session in 1958 and all exemplary of the sound of Miles Davis' legend-loaded sextet of that year - have not been served well. They have been largely treated as add-ons for other compilations. Now, for the first time, Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., has deservedly given these tracks a stellar stand-alone release for jazz fans to savor! The once-in-a-generation lineup that recorded these tunes is the very same that would be immortalized for the enduring classic they would record almost a year later, Kind of Blue. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian 'Cannonball' Adderley. Undervalued since their recording, the tunes on this album reflect historial and musical significance. They offer early glimpses into the modal jazz that Kind of Blue would bring to the forefront. Using modes common in modern classical music, rather than the chords of popular songs, Miles had begun to experiment with the new approach on the Milestones recording sessions previously. Analogue Productions is proud to present Birth of the Blue in an exclusive first-of-it's-kind stand-alone release that reflects our reputation for meticulous production, capturing authentic sound with clarity, depth and fidelity that exceeds the audiophile standard. For this release, we started with the original 3-track recording session tapes that were mixed down to a brand-new 30 ips quarter-inch stereo master tape by senior mastering engineer Vic Anesini at Battery Studios. From that stereo master tape, Matthew Lutthans at The Mastering Lab mastered the album direct to DSD for this Hybrid Stereo SACD. Smash follow-up to what many consider the greatest jazz record ever! Four more songs from the pioneering ensemble that produced Miles Davis' Kind of Blue! Modal jazz precursor laid groundwork for future jazz innovation! Hybrid Stereo SACD Mastered by Matthew Lutthans at The Mastering Lab direct to DSD from a new 30 ips quarter-inch stereo master tape transferred from the original 3-track session tapes

Miles Davis's Kind of Blue was the number-one jazz album in history. It totaled five songs. There are four more songs from that same historic group, recorded in the same time period and at the same studio. And here they are. These songs deserve to stand on their own with artwork to highlight the quality of the music and that matches the time period of the recording. This is a rare opportunity to have a smash follow-up to what many consider the greatest jazz record ever! Through the years, these four remarkable performances - all from a single recording session in 1958 and all exemplary of the sound of Miles Davis' legend-loaded sextet of that year - have not been served well. They have been largely treated as add-ons for other compilations. Now, for the first time, Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Prssings, has deservedly given these tracks a stellar stand-alone release for jazz fans to savor! The once-in-a-generation lineup that recorded these tunes is the very same that would be immortalized for the enduring classic they would record almost a year later, Kind of Blue. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian 'Cannonball' Adderley. Undervalued since their recording, the tunes on this album reflect historial and musical significance. They offer early glimpses into the modal jazz that Kind of Blue would bring to the forefront. Using modes common in modern classical music, rather than the chords of popular songs, Miles had begun to experiment with the new approach on the Milestones recording sessions previously. Analogue Productions is proud to present Birth of the Blue in an exclusive first-of-it's-kind stand-alone release that reflects our reputation for meticulous production, capturing authentic sound with clarity, depth and fidelity that exceeds the audiophile standard.

Vibraphonist Milt Jackson and tenor saxophonist John Coltrane make for a surprisingly complementary team on this 1959 studio session, their only joint recording. AllMusic notes that with fine backup by pianist Hank Jones, bassist Paul Chambers, and drummer Connie Kay, Bags and Trane stretch out on two of Jackson's originals (including "The Late Late Blues") and three standards: a romping "Three Little Words," "The Night We Called It a Day," and the rapid "Be-Bop." The highlight of the set is the eponymous opening track, which just oozes late-night cool. This deluxe 180-gram 45 RPM 2LP reissue from Analogue Productions (Atlantic 75 Series) is a gem and will be a must-have for all jazz music fans.

Portraits of Duke Ellington is a 1975 album by jazz guitarist Joe Pass that pays tribute to the jazz legend Duke Ellington. The album was recorded just a month after Ellington's death and reached No. 37 on the Jazz Albums Chart. Featuring guitarist Joe Pass (just beginning to become famous), bassist Ray Brown, and drummer Bobby Durham, they are jamming on eight Ellington tunes and 'Caravan' (which was penned by one of Duke's key sidemen, Juan Tizol). AllMusic says 'The interplay between the three musicians is quite impressive, and Pass' mastery of the guitar is obvious (he didn't really need the other sidemen). Highlights include 'In a Mellow Tone,' 'Don't Get Around Much Anymore,' and 'I Got It Bad (And That Ain't Good).' Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape, and pressed at Quality Record Pressings for optimal sound quality, this Analogue Productions 180-gram reissue is a must-have for jazz fans. Housed in a single pocket Stoughton Printing tip-on jacket. 180-gram vinyl Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape Pressed at Quality Record Pressings Housed in Stoughton Printing tip-on jacket Tracklist: Side 1 1. Satin Doll 2. I Let A Song Go Out Of My Heart 3. Sophisticated Lady 4. I Got It Bad (And That Ain't Good) 5. In A Mellowtone Side 2 1. Solitude 2. Don't Get Around Much Anymore 3. Do Nothin' 'Till You Hear From ME 4. Caravan

The essence of Kansas City wafts from the tracks of this album. How could it not, with Count Basie and Joe Turner in charge? The essence, of course, is the blues, and every man in the band is a master of that most basic and most demanding of forms. Their resumes cover every jazz environ from the 12th Street clubs where Southwest swing matured to the Harlem hothouses that germinated bebop. The common language of the blues, and Basie's catalytic keyboard, bind them tightly together in support of Big Joe Turner, a shouter, a smooth talker, a testifier to the power, tenderness, despair, and joy of the blues and of life, which are the same. Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape. Pressed at Quality Record Pressings for superior sound quality, and housed in a Stoughton Printing tip-on single pocket jacket. 180-gram vinyl Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape Pressed at Quality Record Pressings Housed in a Stoughton Printing tip-on jacket Tracklist: Side 1 1. Honeydripper 2. Honey Hush 3. Cherry Red 4. Night Time Is The Right Time 5. Blues Around The Clock Side 2 1. Since I Fell For You 2. Flip, Flop And Fly 3. Wee Baby Blues 4. Good Mornin' Blues 5. Roll Em' Pete

The first album to hit the shelves after Giant Steps, Coltrane Jazz was recorded in November and December 1959, although one of the eight tracks ("Villiage Blues") was recorded in late 1960. On everything save the aforementioned "Village Blues," Coltrane used the Miles Davis rhythm section of pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb.

Dive into the timeless brilliance of Sonny Rollins' legendary album Way Out West like never before with the Analogue Productions UHQR edition! Meticulously pressed at Quality Record Pressings, this definitive audiophile version stands as a testament to one of jazz's most formidable talents. Way Out West, his classic 1957 album, received 5 Stars from Rolling Stone's prestigious Jazz Record Guide and has prompted Pitchfork to deem it, 'an album that looks like a novelty and sounds like transcendence.' How Way Out West shaped jazz * Masterful Trio: The album's infamous 3 a.m. recording sessions featured Rollins' sax strolling over the contributions of onetime Ella Fitzgerald bassist Ray Brown and iconic West Coast Jazz drummer Shelly Manne, neither of whom Rollins had ever played with. An open setting gives Rollins space to be harmonically inventive. Rollins' saxophone mastery shines brightly on every track! * Musical innovation: From the swinging 'I'm an Old Cowhand (From the Rio Grande),' written by Johnny Mercer and made famous by Bing Crosby - skillfully mixing country and jazz, to the haunting Rollins' original composition and title track 'Way Out West,' the album redefines jazz improvisation. * Frequently included in 'Best Saxophone Albums' and 'Best Jazz Trios' lists. AllMusic rates it 5/5 Stars! Sonny Rollins' groundbreaking album is a cornerstone of jazz history. The Ultimate Listening Experience * UHQR Vinyl: Immerse yourself in unparalleled sound quality with the Acoustic Sounds UHQR pressing, crafted for audiophiles who demand the best, with attention paid to every single detail of this one-of-a-kind reissue. * Precision craftsmanship: Four glorious sides of 200-gram Clarity Vinyl from Quality Record Pressings, the world's best pressing plant. Cut at 45 RPM to reduce distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. UHQRs from Analogue Productions are the gold-standard in premium vinyl releases. The proprietary vinyl compound enhances the sound quality, offering improved dynamics, detail, and tonal accuracy. The heavier vinyl minimizes resonance and warping, providing a stable and flat playing surface. And great care is taken to eliminate any surface noise or imperfections throughout the manufacturing process. Lastly, your record is housed in a Stoughton Printing Old Style tip-on gatefold heavyweight jacket with scuff-resistant matte finish. The record and supporting materials are contained in a deluxe textured clamshell box. Overall, UHQR Clarity Vinyl from Analogue Productions is a sought-after format among audiophiles and collectors who value the highest possible audio fidelity from their vinyl records. Own a Piece of Jazz History: Rediscover Way Out West in it's purest form and elevate your vinyl collection with this essential masterpiece. Limited edition - reserve yours today and experience jazz like never before! Sonny Rollins' groundbreaking album _ Now on UHQR! 200-gram 45 RPM 2LP release Numbered edition limited to 2,750 copies! Mastered AAA by Bernie Grundman from the original analog tapes Set includes deluxe 16-page booklet telling the history of Contemporary Records together with new album liner notes by John Koenig, son of the label founder Pressed on Clarity Vinyl at Quality Record Pressings Stoughton Printing Old Style tip-on gatefold heavyweight jacket with scuff-resistant matte finish Purest possible pressing and most visually stunning presentation and packaging! A classic of the genre, Rollins' first album for the Contemporary Records label! Tracklist: Side 1 1. I'm An Old Cowhand 2. Solitude Side 2 1. Come, Gone Side 3 1. Wagon Wheels Side 4 1. There Is No Greater Love 2. Way Out West

Step into the timeless jazz realm of saxophone great Art Pepper! Embark on a musical journey like no other with Pepper's iconic album Art Pepper Meets The Rhythm Section, now available in a breathtaking Ultra High Quality Record vinyl edition from Analogue Productions. The Perfect Trio: Pepper, Garland, Chambers, and Jones Imagine the magic when Art Pepper, the virtuoso of the alto saxophone, joins forces with the legendary rhythm section of Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums. This 1957 Contemporary Records label debut spotlights their synergy on classics such as 'You'd Be So Nice To Come Home To' and 'Waltz Me Blues,' sounding nothing short of sublime! For Pepper, known for his emotionally charged performances, Art Pepper Meets The Rhythm Section marked a career milestone. According to him, the album was recorded under enormous pressure, as he first learned of the recording session the morning he was due in the studio, and he had never met the other musicians, all of whom he greatly admired. His horn was also in less than exceptional condition. Still, the session produced results that Becky Byrkit, writing for AllMusic, deemed, 'a diamond of recorded jazz history.' Brian Morton and Richard Cook, writing for The Penguin Jazz Guide (10th ed.), described Meets The Rhythm Section as 'a poetic, burning date, with all four men playing above themselves... Between them, they'd delivered a masterpiece.' Meets The Rhythm Section also shares a storied link to the origins of Contemporary Records, founded in 1951 by Lester Koenig. For this UHQR edition of Meets The Rhythm Section we have an included a 16-page booklet that tells the history of Contemporary Records as well as offering new liner notes from John Koenig, Lester's son, known for his insightful jazz reviews. Why UHQR vinyl? * Craftsmanship: Analogue Productions' UHQR editions are crafted with the utmost precision and care, ensuring each note is faithfully reproduced with unparalleled clarity and warmth. Four glorious sides of 200-gram Clarity Vinyl from Quality Record Pressings, the world's best pressing plant. Cut at 45 RPM by Bernie Grundman to reduce distortion and frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. Lastly, your record is housed in a Stoughton Printing Old Style tip-on gatefold heavyweight jacket with scuff-resistant matte finish. The record and supporting materials are contained in a deluxe textured clamshell box. * Collectibility: UHQRs are more than records; they're sought-after pieces of art cherished by audiophiles and collectors worldwide for their exceptional sound quality and rarity. * Exclusivity: Limited to a select few, owning an UHQR edition is a testament to your passion for music and dedication to experiencing it in it's purest form. Rediscover the Magic Relive the brilliance of Art Pepper Meets The Rhythm Section with a vinyl pressing that honors it's legacy and elevates your listening experience to new heights. Whether you're a seasoned jazz aficionado or discovering the genre anew, this is a must-have addition to your collection. Secure your piece of jazz history, now! Art Pepper's Contemporary Records debut - Now on UHQR! 200-gram 45 RPM 2LP release Numbered edition limited to 2,750 copies! Mastered AAA by Bernie Grundman from the original analog tapes Set includes deluxe 16-page booklet telling the history of Contemporary Records together with new album liner notes by John Koenig, son of the label founder Pressed on Clarity Vinyl at Quality Record Pressings Stoughton Printing Old Style tip-on gatefold heavyweight jacket with scuff-resistant matte finish Purest possible pressing and most visually stunning presentation and packaging! Tracklist: Side 1 1. You'd Be So Nice To Come Home To 2. Red Pepper Blues Side 2 1. Imagination 2. Waltz Me Blues 3. Straight Life Side 3 1. Jazz Me Blues 2. Tin Tin Deo Side 4 1. Star Eyes 2. Birks Works