Dizzy Gillespie wrote his classic 'A Night in Tunisia' in 1942 when he was working with Benny Carter. Thirty-four years later the two recorded it together for this album and gave it one of it's most luminous performances. In this encounter, Carter, at 70, and Gillespie, at 60, were inspired to some of the best playing of what might be described as their later years if it weren't for the fact that, at this writing, both were going strong into the 1990s. Among the pieces are two less well-known masterpieces, Gillespie's 'Constantinople' and Carter's 'The Courtship.' Gillespie's superb bassist of the great 1947-48 big band, Al McKibbon, is in the rhythm section with Tommy Flanagan, Joe Pass, and Mickey Roker. 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. Sweet And Lovely (10:38) 2. Broadway 3. The Courtship Side 2 1. Constantinople 2. Nobody Knows The Trouble I've Seen 3. Night In Tunisia

Benny Carter meets Oscar Peterson - two older giants from the Verve jazz scene of the 50s, recording here in loose quintet format three decades later! The album's got a format that's similar to some of the easy-flowing Verve dates from years back - no surprise, given that Norman Granz produced the set - and there's plenty of room for Carter's amazing tone on the alto to stretch out over mellow rhythms from Joe Pass on guitar, Dave Young on bass, and Martin Drew on drums. Titles include 'Sweet Lorraine,' 'Just Friends,' 'Whispering,' 'Some Kind Of Blues,' and 'Baubles Bangles & Beads.' 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 an exceptional audiophile disc. Housed in a gatefold 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 a Stoughton Printing tip-on jacket Tracklist: Side 1 1. Just Friends 2. Sweet Lorraine 3. Baubles, Bangles And Beads Side 2 1. It's A Wonderful World 2. If I Had You 3. Whisperin' 4. Some Kind Of Blues

Betty Carter - "Out There with Betty Carter (Verve By Request Series)" [180gram Heavy LP] Originally released through Peacock Records in 1958 after her stint with the Lionel Hampton's band, Out There is a snapshot and early gem in Betty Carter's broad career. Supported by a quality cast including Benny Golson (tenor saxophone), Wynton Kelly (piano) and Kenny Dorham (trumpet) among others, Carter glides through standards such as "Something Wonderful" as well as her first-penned track "I Can't Help It," which would go on to become a performance staple. Verve By Request Series features 180-gram vinyl, pressed at Third Man in Detroit. Verve Label Group; Verve; Jazz; Catalog [180gram LP]

180-gram black vinyl. Released in 1982, "Heart and Soul" is a collaboration between bassist Ron Carter and pianist Cedar Walton, two jazz giants renowned for their impeccable musicianship. The album showcases their exceptional interplay and deep understanding of jazzstandards. Title track "Heart & Soul", "Frankie and Johnny", "Little Waltz" highlight their ability to communicate and improvise with sophistication and emotion. The album is a testament to the enduring appeal of jazz standards and the artistry of two master musicians.

Where? (Original Jazz Classics Series) Bass player Ron Carter's debut album Where? features Eric Dolphy (clarinet, sax, flute) and Mal Waldron (piano). The album was originally released in 1961 having been recorded at Rudy Van Gelder Studios in New Jersey. This new edition of the album is released as part of the Original Jazz Classics Series and is pressed on 180-gram vinyl at RTI with all-analog mastering from the original tapes by Kevin Gray at Cohearent Audio and presented in a Tip-On Jacket.

This 1960 album's inventive Richard Weiss arrangements combine with Carter's uniquely masterful - and modern - vocals for fresh takes on standards. Highlights include a lively run through "What A Little Moonlight Can Do", inspired scatting on "On The Alamo" and a beautifully tender take on "There's No You". The Verve By Request Series features 180-gram vinyl, pressed at Third Man in Detroit.

Limited 180gm vinyl LP pressing housed in a tip-on jacket. Released as part of the Acoustic Sounds Series celebrating 70 years of Contemporary Records, saxophonist Benny Carter's album, Jazz Giant, features performances by Andre Previn, Shelly Manne, Barney Kessel, Ben Webster, and more. Released in 1958 and recorded by legendary engineer Roy DuNann, this LP reissue features all-analog mastering from the original tapes by Bernie Grundman. Benny Carter - alto sax, trumpet / Barney Kessel - guitar / Shelly Manne - drums / Andre Previn - piano / Frank Rosolino - trombone / Jimmy Rowles - piano / Leroy Vinnegar - bass, vocals / Ben Webster - tenor sax

Audiophile LP Edition. 180 Gram Premium Virgin Vinyl- State Of The Art Pressing - Made In Germany Ron Carter and Richard Galliano decided to risk intercontinental collaboration for the second time after 1990, when they recorded their acclaimed album 'Panamanhattan' in Paris. Here the French accordion master, whose fingers fly over the keyboard with acrobatic ease and can make the instrument weep in melancholy or rejoice with joy. There the American bass wonder, whose deeply tuned strings enhance more than 2,500 (!) recordings and are among the cornerstones of the complete artistic works of Miles Davis, Eric Dolphy, Archie Shepp, Herbie Hancock, Aretha Franklin, Roberta Flack and Antonio Carlos Jobim. Two who have already gained hero status in their own worlds and can actually only lose when they transgress into each other's terrain. The two protagonists of the musical joint venture interact without fear of contact. Neither remains in his accustomed position. Like two intrepid mountaineers, they balance over a yawning abyss, perform daring maneuvers and clear the way for each other time and again. The longer the intimate wanderings of subtle nuances and sensitive, dancing elegance last, the greater the familiarity seems to be. 'Richard really seizes every rhythmic and harmonic chance,' the American marveled about his French partner. And he replies gallantly: 'Ron still looks so young, fresh and elegant like three decades ago. And he is still enthusiastic, straightforward and comes straight to the point.' An often thoughtlessly used image rarely fits better than on this very special evening: Ron Carter and Richard Galliano create a universal musical language, whose vocabulary consists of notes. Risk-free enjoyment.

The First 750 copies of this LP are numbered and autographed by Ron Carter. After those 750 are gone the LPs will not include this BONUS FEATURE. First Come-First Serve This special PBS soundtrack includes live recordings filmed at the Newport Jazz Festival for Ron's classic piece SOFT WINDS; a surprise bass duet session at The National Jazz Museum in Harlem with the enigmatic Christian McBride on WILLOW WEEP FOR ME; a session at the Blue Note with guitarist Bill Frisell on MY MAN'S GONE NOW; the first live performance of the two great bassists, Stanley Clarke and Ron playing BAG'S GROOVE, also at the Blue Note; and a joyful version of SWEET LORRAINE featuring Jon Batiste, released here for the first time. LP has a bonus song not on the CD, 'Nearly', featuring Ron Carter's touring band featuring Renee Rosnes, Jimmy Greene & Payton Crossley.

This special PBS soundtrack includes live recordings filmed at the Newport Jazz Festival for Ron's classic piece SOFT WINDS; a surprise bass duet session at The National Jazz Museum in Harlem with the enigmatic Christian McBride on WILLOW WEEP FOR ME; a session at the Blue Note with guitarist Bill Frisell on MY MAN'S GONE NOW; the first live performance of the two great bassists, Stanley Clarke and Ron playing BAG'S GROOVE, also at the Blue Note; and a joyful version of SWEET LORRAINE featuring Jon Batiste, released here for the first time.

For around seven decades, the clever and sympathetic double bass player from Ferndale, Michigan, has been considered one of the most important, most creative and brilliant representatives of his profession and as the most recorded bass player in jazz history with over 2,221 albums on which he has performed. With his philosophy of absolute professionalism and reliability, he rose to become a model for entire generations of jazz musicians. Ron recorded his first records with colleagues such as Eric Dolphy and Don Ellis in the early 1960s, projects that had a formative influence on modern jazz. Later, he made indelible achievements in the legendary quintet of Miles Davis, worked with Gil Evans, Cannonball Adderley, Freddie Hubbard, Quincy Jones, Roberta Flack, Antonios Carlos Jobim, Jim Hall, Herbie Hancock, and McCoy Tyner, in solo projects, with big bands and even in the field of hip hop. He gained tremendous esteem as a DISTINGUISHED PROFESSOR EMERITUS of music at the City College of New York and as a highly respected member on the faculty of the Juilliard School of Music. At any rate, no one dared to slither around on his chair or to clear his throat in Theaterstubchen. Music on tiptoes, during which your interior light is automatically dimmed, your heartbeat slows down, and notes float like feathers through the room. This wooden body in the center of the stage leads a life like no other from the guild in addition to the obligatory walking bass. Patient, thoughtful and with all his natural authority, it and his owner arranged things, created relationships and declared the course of the music with a few incisive tones. Malone and Vega passed the ball back and forth on the left and right. The guitarist contrasted the lyrical, dreamy piano of the youngest band member unobtrusively but highly effectively with blues inserts and bright, floating chord sequences. That's great, subtle art.

2019 release. A unique and powerful collaboration between the artist and poet Danny Simmons and legendary jazz bassist Ron Carter. This live recording from BRIC House in Brooklyn captured Simmons reading poetry from his collection of prose The Brown Beatnik Tomes with projections of his own striking Abstract Expressionist paintings providing the stage backdrop while Carter performed solo accompaniment along with instrumental interludes from his fleet trio.

Linn Records is thrilled to introduce soprano Rowan Pierce in what promises to be a sensational debut recording. The Cares of Lovers comprises songs from across Purcell's brief career from She loves and she confesses too, one of his very first published pieces (1683), to Sweeter than roses from his final months (1695). Although they all display the same matchless ingenuity and uncanny ability to set English words to music, a highlight includes Tell me, some pitying angel - a triumph of dramatic composition and the equal of any Italian cantata of the period. Since winning the President's Award at the Royal College of Music in 2017, Pierce has won acclaim for her performances at The Barbican, Royal Festival Hall and at the BBC Proms. Her performance in Purcell's The Fairy Queen, with the Academy of Ancient Music, won praise for her 'expressive' (Financial Times) and 'heart-piercing' (The Independent) singing. Richard Egarr and William Carter, two baroque music heavy-weights, join Pierce for this recording, made in Haarlem, Netherlands.

Ron Carter chose this line-up because this trio has been one of Carter's favorite band line-ups since the beginning of the new millennium. From the universe of limitless music, Ron Carter has returned home to the songs of the Great American Songbook and his own originals.

William Carter's exemplary musicianship is showcased to its fullest on this new recording of Bach's own transcriptions for the lute. Almost unplayable in parts, many musicians take certain liberties with the music so that it glows more naturally but William Carter's determined approach to authenticity sees the lutenist achieve the near impossible: playing the music as it was originally written. Carter very subtly enhances BWV 1001, originally for unaccompanied violin, in keeping with Bach's own perceived style, namely to only add "as much harmony as he found necessary". The final piece undergoes the most extensive reimaginging as Bach expertly transforms the Fifth Cello Suite into a "new" lute work: so successful is it that Carter considers it to be, interms of understanding the essential nature and expressive qualities of the lute, "the most perfect piece of lute music in existence".

A legend of progressive jazz, Stan Kenton led one of the most influential, innovative, and controversial jazz orchestras of the twentieth century. This album is a live recording from January 17, 1972, taken during the Stan Kenton Orchestra’s European tour. This release contains staples of the repertoire, including Rhapsody in Blue, Malaguena, Malaga, and Love Story.

Nicci Gilbert was the lead vocalist for the all female group “Brownstone” back in the 1990’s. The music was recorded in REAL HD-Audio at 96 kHz/24-bit PCM. Users can select from 3 different audio mixes. BD-ROM section contains pre-ripped audio files at 96/24 stereo, 320 kbps MP3 and 48 kHz/24-bit Headphones[xi]™ . Bonus material included.

After his storied stint with Ray Charles and years of solo LPs on Atlantic, Hank came to Kudu in the '70s. This funk-soul-jazz delight from '75 teams his sax with Bob James, Randy Brecker and Pepper Adams among others; the title Stevie Wonder tune joins Sho Is Funky; Groovy Junction; Jana, and more!

This CD features some of the most distinctive personalities in the contemporary New York scene including the legendary Daniel Carter (sax, trumpet) who has been a leading light in the avant-garde since the early 70s and has featured on well over 100 recordings. Claire DeBrunner is an accomplished bassoonist with a classical as well as jazz training, and is one of very few musicians to play the bassoon in improvisational music. Ken Silverman plays guitar and hand percussion, and bassist Tom Zlabinger is an ever present in the free jazz worlds of New York and Vienna. (Detailed bios: click 'artist profile' above). on this album the quartet aim to create a freely improvised chamber-music-like sound without drums, allowing for total rhythmic flexibility and sonic complexity. Although the music can become intense it's general tendency is towards the delicate, subtle and intimate. A warm sound for warm evenings.