For this project recorded in November 4 & 9, 1959, at Fine Recording in New York City, Quincy Jones assembled a large, top-tier big band. "The Great Wide World of Quincy Jones" comes at a time when Jones was establishing himself as arranger/conductor and shows he as a bandleader capable of bringing together great soloists in fresh arrangements. The tracks strengths is how Quincy Jones uses to arranger with distinctive voice: the album blends the energy and improvisational drive of bebop with the lush, layered textures and power of a large ensemble. A kind of polished professionalism balanced with adventurous soloists. The album confirm that at that time Quincy Jones had not just technical skill in arranging and bandleading, but real artistic maturity. Released in 1959, a momentous year for jazz in general - considering the seminal albums by Miles Davis and Ornette Coleman - "The Great Wide World of Quincy Jones" fits perfectly into the evolution of modern jazz: swing, big band tradition, and bebop complement Jones's broad musical sensibility.

Elvin Jones - "Puttin' It Together (Bule Note Classic Vinyl Edition)". Elvin Jones' 1968 Blue Note debut Puttin' It Together marked the start of a new chapter in the master drummer's career following his 6 years with the seminal John Coltrane Quartet & Coltrane's death in 1967. The spare trio album found Jones engaged in a lively three-way dialogue with bassist Jimmy Garrison and multi-instrumentalist Joe Farrell. This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180 - gram vinyl at Optimal.

Quincy Jones - "Smackwater Jack". Limited 180gm vinyl LP pressing. A masterclass in genre-blending, Smackwater Jack finds Quincy Jones fusing jazz, soul, funk, and cinematic scoring into one electrifying package. With fresh interpretations of classics like "Theme from Ironside" and "Hikky-Burr," this album showcases Q's unparalleled ability to bridge the worlds of jazz and pop. Now available in a beautifully remastered 180g vinyl edition, this is a must-have for any audiophile and jazz aficionado.

Quincy Jones - "Body Heat". Funky, sensual, and ahead of it's time, Body Heat cemented Quincy Jones as a pioneer of sophisticated, groovedriven production. Featuring iconic tracks like "If I Ever Lose This Heaven" and the smoldering title track, this album laid the foundation for the sound of late '70s soul and R&B. With a bold mix of jazz, funk, and cinematic orchestration, this album brings the heat like never before. Featuring a killer line-up including Herbie Hancock, Dave Grusin, Billy Preston, Wah Wah Watson, Hubert Laws, Leon Ware, Bernard Purdie, Grady Tate, James Gadson, Minnie Riperton, Al Jarreau, Benard Ighner and Tom Bahler - only Q could put together something so outrageously stacked! Remastered on 180g vinyl.

Limited 180gm vinyl LP pressing. Step into the cosmic jazz-funk odyssey of Walking in Space, Quincy Jones' electrifying foray into fusion. The protean Quincy Jones returned to the recording studio as a leader, after a long stretch in Hollywood, with this triumphantly contemporary big band album. He re-established himself firmly with his big band jazz base while casting a keen eye on the pop scene and the world of electric instruments (even Ray Brown is caught playing superb electric bass here). Laid out is his uncanny ability to attract the biggest names in jazz as sidemen: such as Freddie Hubbard, Roland Kirk, Hubert Laws, J.J. Johnson, Kai Winding, Jimmy Cleveland, and Jerome Richardson. Featuring unforgettable renditions of "Dead End" and "Killer Joe," this album captures the groundbreaking energy that made this album a staple of the late '60s jazz scene.

Limited 180gm vinyl LP pressing. Quincy Jones delivers pure sonic magic on You've Got It Bad Girl, a lush, groove-heavy journey through jazz, R&B, and soul. Featuring soulful takes on hits like Stevie Wonder's "Superstition" and The Lovin' Spoonful's "Summer in the City," this album perfectly embodies the smooth yet funky production style that made Q a legend. This remastered 180g vinyl reissue brings every note and nuance to life, giving new depth to an essential '70s classic.

SHM-CD. Mellow Madness stands as a testament to Q's remarkable talent for creating a captivating, sonic tapestry through the intersections of jazz, soul and funk. This is top-tier 1970s soul jazz, while transcending it's time and continuing the polished, percolating soul direction of Body Heat. The album introduced the Brothers Johnson, co-writers on four tracks, who sprinkle their trademark vocal harmonies on the funkiest of grooves, while the Watts Prophets heralded a new music genre, blending spoken word and beats on "Beautiful Black Girl." A highlight may be Stevie Wonder's euphoric "My Cherie Amour," with vocals from Minnie Ripperton. Wah Wah Watson adds genius syncopation to "Tryin' to Find Out About You." The last cut on the album is beautiful jazz standard, "Bluesette," featuring a trombone jam and Toots Thielemans' virtuoso whistling. SHM-CD (Super High Material) format features more clarity, depth and definition of sound.

'The protean Quincy Jones returned to the recording studio as a leader after a long stretch in Hollywood with this triumphantly contemporary big band album. He re-established himself firmly with his big band jazz base while casting a keen eye on the pop scene and the world of electric instruments (even Ray Brown is caught playing superb electric bass here). Laid out is his uncanny ability to attract the biggest names in jazz as sidemen: such as Freddie Hubbard, Roland Kirk, Hubert Laws, J.J. Johnson, Kai Winding, Jimmy Cleveland, and Jerome Richardson. For jazz buffs, the long, dramatic title track from the then-raging musical Hair is a highlight; Hubbard positively sizzles on muted trumpet, and the brash Kirk blasts through the grooving rhythm section under heavy reverb. There's some in-the-pocket drumming from Bernard Perdie on two of the six tracks, Jones' classic, swaggering arrangement of Benny Golson's 'Killer Joe', and a rendition of Edwin Hawkins' freak hit 'Oh Happy Day' that bursts with wit and sheer joy. This is one of the great peaks of Creed Taylor's A&M period, and is a perfect blend of all the hippest currents that were cooking up in the scene at the time.

Quincy Jones -"Body Heat" Funky, sensual, and ahead of it's time, Body Heat cemented Quincy Jones as a pioneer of sophisticated, groove- driven production. Featuring iconic tracks like "If I Ever Lose This Heaven" and the smoldering title track, this album laid the foundation for the sound of late '70s soul and R&B. With a bold mix of jazz, funk, and cinematic orchestration, this album brings the heat like never before. Featuring a killer line-up including Herbie Hancock, Dave Grusin, Billy Preston, Wah Wah Watson, Hubert Laws, Leon Ware, Bernard Purdie, Grady Tate, James Gadson, Minnie Riperton, Al Jarreau, Benard Ighner and Tom Bahler - only Q could put together something so outrageously stacked! SHM-CD (Super High Material) format features more clarity, depth and definition of sound.

Nominated for 12 Grammy Awards, including a win for Jones for Producer of the Year, Quincy's 1981 album 'The Dude' was simply one of the tightest realizations of his talents: orchestration, arranging, sequencing, his ear for anticipating new sounds, and ability to assemble an knock-out team of musicians, writers and engineers. Quincy's work bridged, melded and fused genres in ways that others couldn't do and with it's multi-faceted moods and complex arrangements 'The Dude' is a unique composite of bebop, jazz, funk, pop balladry and dance, with shades of African syncopation, quiet storm, and nods to the then-nascent hip-hop scene. Rolling in the pocket with Jones was an elite band of musicians that included Herbie Hancock, Greg Phillinganes and Stevie Wonder on keys, Louis Johnson on bass, Jerry Hey on horn, Syreeta Wright and Michael Jackson providing background vocals, while star-making vocal performances come from Patti Austin and James Ingram.

SHM-CD. Disco was king in 1978, and Quincy bows low with the ebullient dance hit, "Stuff Like That. " Sounds. And Stuff Like That! Also has it's healthy quota of elegantly produced soul ballads while Quincy still treats us to something fresh in the jazz sphere with a gorgeous chart of Herbie Hancock's "Tell Me a Bedtime Story. " Hancock himself sits in on electric piano and violinist Harry Lookofsky overdubs one of Hancock's transcribed solos on 15 violins. With a murderers row of guest vocalists (Ashford & Simpson, Chaka Khan, Patti Austin, Gwen Guthrie, and Luther Vandross), a rhythm section featuring Steve Gadd, Michael Boddicker and Wah Wah Watson, and a horn section that included Snooky Young, Jimmy Cleveland, Hubert Laws, Jerome Richardson and Buddy Collette, plus killer solos from Tom Scott and Michael Brecker - not to mention that sax solo from George Young - are you kidding?! SHM-CD (Super High Material) format features more clarity, depth and definition of sound.

SHM-CD. Jones' gift for rich orchestrations and bossa nova's floating yet supple rhythms were bound to meet on record. With Quincy's sharp arrangements for big band, hot percussion and a breezy brass section, the album finds the perfect balance to make everything swing. Featuring musicians of the caliber of Clark Terry (trumpet, flugelhorn), Roland Kirk (flute), Phil Woods (alto sax), Jerome Richardson (flute), Paul Gonsalves (tenor sax) and Jim Hall (guitar), a baseline quality is assured. The authenticity of the album's South American heritage is reinforced by the presence of Lalo Schifrin as pianist and composer. One only has to listen to the sincere and elegant "Serenata" to realize this is not just meretricious bossa-craze cash-in, nor exotica ephemera. Almost every track here is a classic that you're bound to have heard somewhere, not least the now-ubiquitous, frequently sampled "Soul Bossa Nova." SHM-CD (Super High Material) format features more clarity, depth and definition of sound.

Quincy Jones -"This Is How I Feel About Jazz" - This Is How I Feel About Jazz was Quincy Jones' first full-length album as a bandleader after a recording debut with the 1955 split album, Jazz Abroad. Jones arranged and conducted three recording sessions during September 1956, each with a different line-up, from a nonet to a 15-piece big band. Musicians on the album include Charles Mingus, Art Farmer, Jimmy Cleveland, Phil Woods, Lucky Thompson, Hank Jones, Paul Chambers, Milt Jackson (referred to as 'Brother Soul' in Q's liner notes), Zoot Sims, Jerome Richardson, Charlie Persip, and Herbie Mann. SHM-CD (Super High Material) format features more clarity, depth and definition of sound.

SHM-CD. With a taut and punchy brass section, cool reeds and a finger-snapping groove, this is the sound of the modern, progressive big band at it's pinnacle, popping bebop. The band features largely the same personnel Jones had assembled for the Free and Easy dates, including saxophonists Phil Woods and Jerome Richardson, Buddy Catlett (bass), Patti Bown (piano), Melba Liston (trombone), Julius Watkins (horn), and Clark Terry (trumpet). Billy Byers, Thad Jones, Snooky Young, Freddie Hubbard and Oliver Nelson also feature. There's some Basie-esque arrangements here on tunes such as Benny Golson's "Little Karen," and Jones' original "Hard Sock Dance," a hard-swinging version of "Straight No Chaser," while Hubbard and Nelson distinguish themselves in the contemporary urban strut of Billy Byers' "Robot Portrait." There isn't a wasted moment here. SHM-CD (Super High Material) format features more clarity, depth and definition of sound.

QUINCY JONES BIG BAND BOSSA NOVA "Almost every track here is a small classic that you're bound to have heard somewhere, without realising what it was. "Manha de Carnaval", Luiz Bonfa's peerless melody, is another that surfaces constantly in movies and behind commercials. Likewise, Jobim's "One Note Samba", which varies the metre and changes the pace most effectively. Jones recognised that he had something that could change the metre and flavour of almost any piece. "On the Street Where You Live" loses it's slightly plonking sentimentality and turns into a celebration of community. "A Taste of Honey" acquires a new and exotic quality." Personnel: featuring Clark Terry (trumpet) Phil Woods (alto sax), Paul Gonsalves (tenor sax), Rahsaan Roland Kirk (Stritch, alto sax), Lalo Schifrin (piano), Jim Hall (guitar), Chris White (bass), Rudy Collins (drums), Jose Paula, Carlos "Bala" Gomez, Jack Del Rio (percussion), Quincy Jones (conductor). Recorded in New York, August 13 & September 4-12, 1962.

Vinyl LP pressing. Recorded for Impulse in 1967, a session originally intended to be a trio date morphed into an 11 ½-minute duet on "Summertime" between drummer Jones and bassist Davis when the guitarist did not appear. The following day, saxophonist Frank Foster and pianist Billy Greene joined in to round out the rest of the cuts including "Elvin's Guitar Blues," which features Jones' only recorded guitar performance. Verve By Request Series features 180-gram vinyl, pressed at Third Man in Detroit.

Vinyl LP pressing. The Magnificent Thad Jones is widely regarded as the greatest small group recording of the trumpeter and composer's career. Following his Blue Note debut Detroit - New York Junction in March 1956, Jones returned to the studio in July to record this supremely swinging date with Billy Mitchell on tenor saxophone, Barry Harris on piano, Percy Heath on bass, and Max Roach on drums. The album opens with an iconic performance of "April In Paris," a reprise of the famous version featuring Jones that the Count Basie Orchestra had cut the previous year, complete with the trumpeter's sly "Pop Goes The Weasel" quote. Other highlights of the set include two Jones originals-the laid-back "Billie-Doo" and lightly swinging "Thedia"-as well as the stunning ballad "If Someone Had Told Me."

2024 release. Visions is a vibrant and joyous 12-song set that finds Jones singing about feeling free, wanting to dance, making it right, and acceptance of what life brings. It's the yang to the yin that was Pick Me Up Off The Floor, Jones' last album of new original songs which was released early in the pandemic lockdown of 2020 and foreshadowed many of the dark emotions of that period. CD Softpak with 12-page booklet.

Norah Jones - "Visions" / [LP] / Visions is a vibrant and joyous 12-song set that finds Jones singing about feeling free, wanting to dance, making it right, and acceptance of what life brings. It's the yang to the yin that was Pick Me Up Off The Floor, Jones' last album of new original songs which was released early in the pandemic lockdown of 2020 and foreshadowed many of the dark emotions of that period.

Elvin Jones, one of the true great drummers in jazz, recorded this album in 1971 after having led his own band for several years following his immortal work with the John Coltrane Quartet. This unique recording has a spacious feel with plenty of room for the players to work out the melodic compositions created by the members of the group. At times the recording creates an almost cinematic space, yet always propelling forward into unexpected territory. No pandering to contemporary tastes at this date or following the trends of the time, this is simply a great example of mature musicians given the freedom to create their own vision and place in time. Saxophonists Frank Foster and Dave Liebman instruments intertwine in a spellbinding way with opportunities to showcase Jones' incredible virtuosity as a drummer. An album that reveals itself to the listener slowly with new delights every time it's removed from the jacket. 313 Series Detroit has long held a shared respect with New York; a similar outlook on authenticity. Tough to describe, but you know it when you see it. Third Man Records and Blue Note Records share this respect and also a commitment to integrity regarding the musical legacies they support that extends to the collaboration happening on the 313 Series partnership. The five unique albums from the Blue Note catalog chosen for limited edition re-release by Blue Note Records President and Detroiter Don Was represent the best of the Motor City; innovative sounds, incredible playing and that inexplicable something you know is real. For an undertaking like this you have to walk the extra mile. The original tapes were sent to Third Man's Detroit mastering and pressing facility where their extensive all analog re-mastering process ensured that the albums delivered live up to the tradition they are part of. The Third Man Records team's commitment to audio purity means no corners can be cut; sound and mastering engineer Warren Defever's goal being to provide the closest possible approximation of the magic found on the original master's tape brought to your living room. From the lacquers cut in the studio on the Neumann VMS-70 Cutting Lathe to the 180 gram vinyl pressed across the hall, every step of the process is tested in the facilities against exacting standards. That's the Detroit way and the reason why the musical legacy from the 313 area code remains beloved around the world. Elvin Jones - drums Gene Perla - bass Frank Foster - tenor saxophone, alto flute Dave Liebman - tenor saxophone, soprano saxophone Recorded at Van Gelder Studio - Englewood Cliffs, NJ 1971 by Rudy Van Gelder LISTEN: https://youtu. Be/LNai73NQVQ8 Tracklist: A1: P. P. Phoenix A2: For All The Other Times A3: Slumber B1: Three Card Molly B2: Cecilia Is Love

It would be difficult to overstate the importance of the Jones brothers Thad, Hank and Elvin on the world of jazz. Between the three of them, their performances can be heard on literally thousands of recordings, including some of the most legendary sessions ever recorded with some of the greatest artists. Post-War Detroit was really taking notes on the new sounds of jazz coming into favor and the group of former Detroiters included on this album include some of it's most virtuosic students. Thad Jones, (although he was technically from nearby Pontiac, MI) on trumpet, Kenny Burrell on guitar, Tommy Flanagan on piano and Billy Mitchell on saxophone. Jones' first for Blue Note from 1956 stands as a fantastic sounding announcement that the Detroiters had landed in New York and were about to take off. Including legendary players Shadow Wilson on Drums and Oscar Pettiford on Bass; Detroit - New York Junction, a long sought after rarity and a true testament to the importance of Detroit on the evolution of jazz music through Blue Note Records. 313 Series Detroit has long held a shared respect with New York; a similar outlook on authenticity. Tough to describe, but you know it when you see it. Third Man Records and Blue Note Records share this respect and also a commitment to integrity regarding the musical legacies they support that extends to the collaboration happening on the 313 Series partnership. The five unique albums from the Blue Note catalog chosen for limited edition re-release by Blue Note Records President and Detroiter Don Was represent the best of the Motor City; innovative sounds, incredible playing and that inexplicable something you know is real. For an undertaking like this you have to walk the extra mile. The original tapes were sent to Third Man's Detroit mastering and pressing facility where their extensive all analog re-mastering process ensured that the albums delivered live up to the tradition they are part of. The Third Man Records team's commitment to audio purity means no corners can be cut; sound and mastering engineer Warren Defever's goal being to provide the closest possible approximation of the magic found on the original master's tape brought to your living room. From the lacquers cut in the studio on the Neumann VMS-70 Cutting Lathe to the 180 gram vinyl pressed across the hall, every step of the process is tested in the facilities against exacting standards. That's the Detroit way and the reason why the musical legacy from the 313 area code remains beloved around the world. Thad Jones - Trumpet Oscar Pettiford - Bass Kenny Burrell - Guitar Shadow Wilson - Drums Tommy Flanagan - Piano Billy Mitchell - Tenor Saxophone Recorded at Audio Video Studios - New York, NY 1956 by Alfred Lion and Rudy Van Gelder LISTEN: https://youtu. Be/gap0VDZze0Q Tracklist: A1: Blue Room A2 Tarriff A3: Little Girl Blue B1: Scratch B2: Zec

Little Broken Hearts [Deluxe Edition 3 LP] - Norah Jones defied expectations with her 5th studio album Little Broken Hearts, a striking collaboration with Danger Mouse that arrived a decade after her debut Come Away With Me, prompting SPIN to call it "the 2nd essential record of Norah Jones' career." Deluxe Edition features an expanded 31-track set curated by Jones with rare bonus tracks, alternate versions, remixes, and a previously unreleased live version of the album recorded for Austin City Limits in 2012.

Norah Jones -"Little Broken Hearts" - Norah Jones defied expectations with her 5th studio album Little Broken Hearts, a striking collaboration with the producer Danger Mouse that arrived a decade after her debut Come Away With Me, prompting SPIN to call it "the second essential record of Norah Jones' career." Highlights include "Good Morning," the single "Happy Pills" and the high-energy groove of "Say Goodbye." Now available on a single vinyl disc

Norah Jones - "Little Broken Hearts" - Norah Jones defied expectations with her 5th studio album Little Broken Hearts, a striking collaboration with Danger Mouse that arrived a decade after her debut Come Away With Me, prompting SPIN to call it "the 2nd essential record of Norah Jones' career." Deluxe Edition features an expanded 31-track set curated by Jones with rare bonus tracks, alternate versions, remixes, and a previously unreleased live version of the album recorded for Austin City Limits in 2012.