Giblet Gravy, released in 1968 on Verve Records, documents guitarist George Benson during his early period with the label. Produced by Esmond Edwards and featuring arrangements by Tom McIntosh, the sessions draw on a range of jazz and studio musicians, including pianist Herbie Hancock, bassists Ron Carter and Bob Cranshaw, drummer Billy Cobham, percussionist Johnny Pacheco, and baritone saxophonist Pepper Adams, alongside a brass and rhythm section assembled for selected tracks. Across these varied settings, Benson's fluid articulation, blues-inflected phrasing, and rhythmic dexterity remain the music's central focus. The repertoire blends contemporary popular material, standards, and original compositions, illustrating the stylistic breadth that would inform his later crossover success while remaining grounded in the late-1960s jazz ensemble format. The Verve Vault series is always mastered from analog tapes and pressed on 180g vinyl at Optimal.

Bay Area guitarist George Cotsirilos returns to the intimate language of solo nylon-string guitar on "In the Wee Hours," illuminating beloved standards and two original compositions with patience and depth. Recorded largely in unedited first takes over several years, his seventh recording on OA2 unfolds with the quiet authority and refined lyricism that have defined Cotsirilos's career-from his celebrated quartet release Refuge to earlier trio and solo recordings praised for their fluidity and swing. Here, classics such as "Come Sunday," "Haunted Heart," and the title ballad are rendered with a meticulous touch and subtle dynamic shadings that reveal the hidden architecture of each melody. Alternating between exquisite instruments by Jos' Ram¡rez and Alberto Morales, Cotsirilos draws out warm, singing tones that blur the line between jazz phrasing and classical resonance. "- an impeccable sense of timing especially in revealing the hidden rhythms of complex melodies. His approach to harmony is whimsical, but patently beautiful at all times." - All About Jazz " - an unerring sense of swing and melody. His solos, while displaying accuracy and technique, are filled with soul." Vintage Guitar Magazine

George Benson's 1976 classic album Breezin' redefined what jazz guitar could sound like. Effortless, melodic, and irresistibly smooth, Breezin' became the soundtrack to an era and the album that launched Benson into crossover superstardom. With timeless hits such as 'This Masquerade' and the sunlit title track, Breezin', Benson's 15th album, bridges the worlds of jazz, pop, and R&B with rare grace. It not only was a Billboard Jazz Albums chart-topper but also went to No. 1 on the pop and R&B charts. It was certified triple platinum-selling, making it one of the best-selling jazz albums of all time. The record took home Grammy Awards for Best Pop Instrumental Performance and Record of the Year for 'This Masquerade,' while earning multiple nominations, including for Album and Song of the Year - an unprecedented feat for a jazz guitarist. Now, this classic shines brighter than ever. Mastered at 45 RPM by Matthew Lutthans at The Mastering Lab and pressed on flat, ultra-quiet vinyl by Quality Record Pressings, this edition reveals new layers of warmth, depth, and presence in Benson's silky tone and fellow rhythm and bass guitarist Phil Upchurch's signature groove. Breezin' isn't just a smooth jazz cornerstone - it's one of the most impeccably crafted and influential albums of it's time. For collectors, audiophiles, and anyone who loves music that feels like pure sunlight, this definitive 45 RPM reissue is essential listening. Part of the Acoustic Sounds 40 Series Releasing 40 titles to celebrate the 40th anniversary of Acoustic Sounds! Mastered by Matthew Lutthans at The Mastering Lab from the original master tape 180-gram 45 RPM double LP pressed at Quality Record Pressings Housed in a Stoughton Printing tip-on gatefold jacket Tracklist: LP 1 Side A 1. Breezin' LP 1 Side B 1. This Masquerade 2. Six To Four LP 2 Side A 1. Affirmation LP 2 Side B 1. So This Is Love? 2. Lady

LIMITED EDITION. George Szell's reputation as a perfectionist is legendary, and these recordings, taped between 1949 and 1970, offer a vivid portrait of a conductor whose clarity, discipline and structural command set new standards in orchestral performance. The New York Times praised his 'uncompromising precision and taut rhythmic control' and critics have long admired the 'incisive, diamond-cut playing' he drew from orchestras, yet also the elegance and lyricism that balanced his rigour. These recordings, described by Gramophone as 'models of orchestral refinement and integrity' bring together Szell's complete legacy for Decca, Philips and Deutsche Grammophon, preserving performances that still set benchmarks of style and authority. Besides purely symphonic repertoire, including Beethoven's Fifth Symphony, Dvorak's Eighth and Brahms's Third Symphonies, a fiery account of the incidental music for the composer's Egmont, and luminous versions of Rosamunde (Schubert) and A Midsummer Night's Dream (Mendelssohn) the set also includes concerto recordings with Clifford Curzon (Mozart, Brahms and Tchaikovsky) and his sole recording for Deutsche Grammophon, Dvorak's Cello Concerto with Pierre Fournier. Included by way of bonus is a 30-minute rehearsal extract for the recording of Handel's Water Music - never before published. Even while involved with the Cleveland Orchestra (from 1947 until his death in 1970) Szell continued to work with the great European ensembles in London, Amsterdam and Vienna even after taking up the post in Cleveland. Their mutual respect and affinity is evident throughout this set. Szell may have earned his reputation as a podium autocrat, but he knew how to get the best out of orchestras, who valued the fact that he never wasted a word or a gesture. The 1962 account of Brahms's First Concerto with Clifford Curzon was acclaimed as a definitive recording on it's first release, and has hardly been toppled from that peak since. Also made with the LSO, the Handel collection is more of a period piece, featuring Hamilton Harty's reorchestrations of the Water Music and Fireworks Music, but Szell's Romantic-era phrasing holds it's own charm. A fascinating new essay by Tully Potter surveys the life and career of a conductor who never settled for anything less than perfection. The booklet includes rare session photographs.

George Coleman's resume is the stuff of legend. He cut his jazz teeth alongside some giants of the art form, joining Max Roach's ensemble in the 1950s, the Miles Davis Quintet, along with the bands of Herbie Hancock, Chet Baker and Elvin Jones. Mention must also be made of his work as a leader, which has inspired literally generations of saxophonists. Even with such an all-inclusive career, Coleman is still full of surprises and here on his new recording he gives his audience something they've never heard from him before - his first recording backed by a string orchestra. If you're into jazz history, you know this kind of project has some serious roots. Think Charlie Parker's "With Strings," or Stan Getz's "Focus"-albums where sax players let their lyrical side shine through lush orchestral arrangements. Coleman Hawkins did it. Ben Webster, too. Now, George Coleman joins the club, and it was certainly worth the wait. So why strings, and why now? Because Coleman is still growing. Still reaching. He's telling you a story he's been holding onto for years. This project isn't just another notch in his belt-it's a gift, plain and simple. An autumnal gem from a living legend, it gives us all a new way to hear George Coleman-still pushing boundaries, still playing from the heart.

Japanese pressing. 60 masterpieces from the prestigious American jazz label CTI Records (including sub-labels KUDU and SALVATION) are now being released all at once. All titles come with a luxurious booklet that reprints the liner notes from the original Japanese LP releases. King. 2025.

Japanese pressing. 60 masterpieces from the prestigious American jazz label CTI Records (including sub-labels KUDU and SALVATION) are now being released all at once. All titles come with a luxurious booklet that reprints the liner notes from the original Japanese LP releases. King. 2025.

Japanese pressing. 60 masterpieces from the prestigious American jazz label CTI Records (including sub-labels KUDU and SALVATION) are now being released all at once. All titles come with a luxurious booklet that reprints the liner notes from the original Japanese LP releases. King. 2025.

Japanese pressing. 60 masterpieces from the prestigious American jazz label CTI Records (including sub-labels KUDU and SALVATION) are now being released all at once. All titles come with a luxurious booklet that reprints the liner notes from the original Japanese LP releases. King. 2025.

Japanese pressing. 60 masterpieces from the prestigious American jazz label CTI Records (including sub-labels KUDU and SALVATION) are now being released all at once. All titles come with a luxurious booklet that reprints the liner notes from the original Japanese LP releases. King. 2025.

Japanese pressing. 60 masterpieces from the prestigious American jazz label CTI Records (including sub-labels KUDU and SALVATION) are now being released all at once. All titles come with a luxurious booklet that reprints the liner notes from the original Japanese LP releases. King. 2025.

Jazz legend George Cables celebrates his 80th birthday with a stunning new recording, showcasing the timeless artistry that has defined his illustrious career. Known for his flawless technique and unparalleled musicianship, he has established himself as a towering figure in the jazz world. With icons like Art Pepper, Dexter Gordon and Freddie Hubbard he solidified his reputation as one of the most versatile and sought-after pianists of his generation. This album does not just honor his storied past but, with tunes both old and new, it captures the essence of a musician who has not only shaped jazz history but continues to influence it's evolution. The recording features jazz standards by legends like Cole Porter, Duke Ellington, and Horace Silver, as well as a tribute to the next generation of jazz talent with a piece by Arcoiris Sandoval, an exciting female pianist making waves in the jazz scene today. Throughout, Cables bridges the past and future of jazz, crafting an album that is a must-listen for any jazz aficionado. Join in celebrating this milestone and the remarkable contributions of a true jazz giant.

Vinyl LP pressing. 2024 release. Vintage George Benson vocals float over an orchestral reimagining of beloved American Standards & Soul Classics in this incredible collaboration with renowned composer and conductor, Robert Farnon. The brand new 10-track collection, once thought to be lost to history, was recently discovered in Benson's personal vaults and remastered to their original glory. With this new release, Benson also marks a musical return to the Warner Family - where he recorded such classic hits as "On Broadway" and "Breezin".

2024 release. Vintage George Benson vocals float over an orchestral reimagining of beloved American Standards & Soul Classics in this incredible collaboration with renowned composer and conductor, Robert Farnon. The brand new 10-track collection, once thought to be lost to history, was recently discovered in Benson's personal vaults and remastered to their original glory. With this new release, Benson also marks a musical return to the Warner Family - where he recorded such classic hits as "On Broadway" and "Breezin".

George Freeman has been part of jazz for nearly a century. Brother of Von and uncle of Chico Freeman, he's worked with the greats, such as Charlie Parker and Ben Webster. Appearing on the recording is legendary organist Joey DeFrancesco, going into the studio just a couple of months before his untimely death. DeFrancesco admired Freeman's work on a Jimmy McGriff LP so it is quite touching that the two were able to collaborate here. Also featured on 4 tracks is bass phenom Christian McBride stoking up some swinging performances with Freeman. Drummers Lewis Nash and Carl Allen provide propulsive rhythms throughout. It must be said, however, that the pulsing heart of the band is Freeman himself, who plays with integrity and enthusiasm and who continues to bring an impressive lifetime of experience to his work.

George Szell's commitment to musical truth made him an intimidating figure - even among the other formidable conductors of the 20th century. His uncompromising quest for perfection drew performances of exalted quality from soloists and orchestras. In particular, his long tenure as the Cleveland Orchestra's music director (1946-1970) established it firmly as one of the world's great ensembles. This recording of Franz Schubert's masterwork, the "Great" Ninth Symphony, is one of the highlights of the discography Szell and the Cleveland Orchestra made for EMI. It is proposed here in the 2019 remastering done by Warner Japan.

The 5th album in the Smalls Living Masters series finds tenor titan George Coleman in the company of pianist Spike Wilner, bassist Peter Washington and drummer Joe Farnsworth in the intimate confines of Smalls Jazz Club. In the words of George Coleman "this record is a tribute to our great city and all of our great fans." Coleman is on fire and sound better than ever!

Limited 180gm vinyl LP pressing. Extension was the last of three unique Blue Note sessions led by the singular saxophonist George Braith in the early 1960s. The album was rooted in soul jazz - with Grant Green (guitar), Billy Gardner (organ), and Clarence Johnston (drums) - but Braith's adventurous spirit led the music into unexpected realms on memorable originals like "Nut City." Blue Note Classic Vinyl Series is all-analog, mastered by Kevin Gray from the original master tapes.

Three CD set. First-of-it's-kind anthology of the Elektra and Warner Brothers recordings by the multi- talented award-winning musician, producer, songwriter and vocalist George Duke, spanning his 15 years from 1985-2000. A 45-track, 3CD set of musical gems, drawing from George's three Elektra albums, Thief In The Night, George Duke and Night After Night and his six Warner Brothers albums, Snapshot, The Muir Woods Suite, Illusions, Is Love Enough?, After Hours and Cool. Plus a non-album b-side, 'Guilty (Part 2)' making it's worldwide CD debut. This set includes handpicked cuts that reflect George Duke's multi-faceted mastery in Jazz, Funk, Soul and Pop and includes five US R&B charted singles and confirms his place as a staple artist in the world of Smooth Jazz. This sumptuous collection, created by SoulMusic. Com founder David Nathan with invaluable project support from renowned US music journalist A Scott Galloway, features extensive notes by acclaimed UK writer Charles Waring with 2022 quotes from musicians Paul Jackson Jr, Byron Miller and Everette Harp who all worked with George for many years.

George Cables should be declared a National Treasure. As a pianist he is surely second-to-none on today's jazz scene. Listen only to "A Valentine for You" on Cables' current offering to hear what a jaw-dropping beauty of tone he can produce from the pile of wood and metal we call a piano, and how much critical mass is behind every sonorous voicing of his chords. As a musician he possesses endless imagination and creativity, shown by his strikingly new takes on tunes we thought we knew, particularly the title track, "Too Close for Comfort," which retains little trace of it's pop song origin. As a composer he has quietly amassed a catalog of works of extremely wide range and extraordinary quality, such as his compositions on this new release, "Circle of Love," "This is My Song," "Klimo" and the aforementioned "A Valentine for You." And finally, the album's cover photo perfectly captures George Cables the man - full of boundless energy, a love of his instrument and the music he makes on it and an impish sense of humor, evidenced by his titling the record Too Close for Comfort during a pandemic where social distancing has become the order of the day. The artist Edward Hopper said, "Great art is the outward expression of an inner life of the artist, and this inner life will result in his personal vision of the world." That would explain why the world according to George Cables is such a wonderful place to be.

Limited colored vinyl LP pressing. Classic Grammy winning album that contains 2 sought after classics: 'This Masquerad'e and 'Breezin'. Classic Grammy winning album that contains 2 sought after classics: This Masquerade and Breezin'. On blue/badge vinyl. George Benson is simply one of the greatest guitarists in jazz history, but he is also an amazingly versatile musician, and that frustrates to no end critics who would paint him into a narrow bop box. He can play in just about any style - from swing to bop to R&B to pop - with supreme taste, a beautiful rounded tone, terrific speed, a marvelous sense of logic in building solos, and, always, an unquenchable urge to swing. His inspirations may have been Charlie Christian and Wes Montgomery - and he can do dead-on impressions of both - but his style is completely his own. Not only can he play lead brilliantly, he is also one of the best rhythm guitarists around, supportive to soloists and a dangerous swinger, particularly in a soul-jazz format. Yet Benson can also sing in a lush, soulful tenor with mannerisms similar to those of Stevie Wonder and Donny Hathaway, and it is his voice that has proved to be more marketable to the public than his guitar. Benson is the guitar-playing equivalent of Nat King Cole - a fantastic pianist whose smooth way with a pop vocal eventually eclipsed his instrumental prowess in the marketplace - but unlike Cole, Benson has been granted enough time after his fling with the pop charts to reaffirm his jazz guitar credentials, which he still does at his concerts.

One of jazz's most powerful tenor saxophonists is heard at his freewheeling, unfettered best on The George Coleman Quintet in Baltimore, a hitherto unheard live recording from the Famous Ballroom in Baltimore, Maryland in 1971. It's a hard swinging and free wheeling, a style George Coleman was known for!

Bassist-composer-singer Brandi Disterheft's fifth album, Surfboard (October 30, 2020), is her most accomplished yet. Joined by two iconic octogenarian masters - virtuoso tenor saxophonist George Coleman and the definitive Brazilian drummer Portinho - and world-class pianist Klaus Mueller, Disterheft authoritatively and organically guides the flow on a varied program that reflects her capacious interests. Her kinetic, harmonically erudite basslines anchor ensemble interpretations of choice tunes culled from the blues, mainstem jazz, and the Great Brazilian and American Songbooks. She sings those Songbook numbers, and her own evocative lyrics, with an instantly recognizable voice that conveys vulnerability and emotional intelligence. And she matches the high bar set by her partners on a series of creative solos.

Flautist Brandon Patrick George describes his debut album as a dialogue between the past and the future. It is indeed quite a leap in time from Johann Sebastian Bach (1685-1750) to the Finnish composer Kalevi Aho, born in 1949 – yet he has included works for solo flute by both composers on this recording. There are also two important chamber works for a flute and piano duo which represent milestones in the repertoire: a sonata by Sergei Prokofiev (1891-1953) and a sonatina by Pierre Boulez (1925-2016) – and so this release represents a walk through musical history spanning 300 years. Brandon Patrick George is the flutist of the Grammy®-nominated Imani Winds, and has performed with many of the world’s leading ensembles including the Los Angeles Philharmonic, Pittsburgh Symphony Orchestra, Orpheus Chamber Orchestra, and the International Contemporary Ensemble (ICE).

REVIEW:

What strikes the listener on this debut release by Brandon Patrick George is the chances he takes. Until the final Flute Sonata, Op. 94, of Prokofiev, George plays perilously virtuosic works, with every detail of his playing exposed by hyper-clear sound. George chooses an intelligent program that begins with the Bach's Flute Partita in A minor, BWV 1013. George's crisp, sharp-edged performance is masterly. The pieces by Pierre Boulez and Kalevi Aho not only extend the virtuoso challenges but tie into the implied Baroque counterpoint of Bach's Partita. Only with the Prokofiev Flute Sonata does the music relax, and George with it. It's an exceptionally well-structured program, flawlessly executed.

- James Manheim, AllMusic.com

George Cables has been the pianist of choice for saxophonists Dexter Gordon and Art Pepper; Pepper called him his favorite pianist. Cables also recorded a lot with jazz stars Joe Henderson, Freddie Hubbard, Bobby Hutcherson and Frank Morgan. On Cables' own new trio album, he is so fluent in the ways of the keyboard, song structure and harmony, so aware of his available options at every second, the compositions themselves seem as if they are being made up on the spot. But not all of the trio's decisions are made in the moment. As a structural feature, he loves yoking together his left hand and Essiet Essiet's bass, to give the music an extra-fortified low end. They play in tight unison so often, those doubled bass lines have become the trio's signature. Fused piano and bass have such a distinct color, when they merge it's almost like another instrument making an appearance. The trio polishes it's music to a high gloss, which is so unassumingly good, you could miss just how good it is. It gives good taste a good name.

With a tally of more than ninety commissioned works for band, Matthew George and the Minnesota-based University of St. Thomas Symphonic Wind Ensemble are blazing the trail in spurring new works for the medium. The Other Side is the seventh installment on their ongoing UST Symphonic Wind Ensemble Commissioning Series. This golden volume has something for everyone: symphonic Romanticism, allusions to Surrealism and Abstract Art, and virtuosic solos performance, not to mention the unlikely pairing of a rock group with wind band. The music of Spanish composer Luis Serrano Alarcon bookends the album, starting with his B-Side Concerto. A rock/jazz fusion band and the symphonic wind ensemble tackle and support each other over the course of three sections in a concerto that Vivaldi could never have imagined. Nigel Clarke's Mysteries of the Horizon was inspired by the artwork of Rene Magritte, and the four movements are named after some of his most popular paintings. The performance features the virtuosic cornet soloist, also from Belgium, Harmen Vanhoorne, whom the composer had in mind while writing this dazzling work. Another British composer and another work inspired by art follow; this time Kit Turnbull and Wassily Kandinsky respectively. The title, Everything starts from a dot, is a direct quote from Kandinsky when answering a question about how he goes about starting a painting. Staying with Russia for the final work on the album, Serrano Alarcon's Second Symphony for Wind Orchestra pays tribute to the era of Russian Romantic symphonic composers. The emotional content of the music matches the powerful forces of the symphonic wind ensemble.