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1449079143

RARE AND PREVIOUSLY UNISSUED NAT KING COLE
Stardust: The Rare Television Performances

In late 1956, at a time when Cole was arguably the most successful entertainer on the planet, he began a 13-month run as host of his own NBC television show, The Nat King Cole Show. This new collection from Real Gone Music includes more than two dozen of the rarest and choicest performances from The Nat King Cole Show, coupled with nearly 30 minutes of additional music from a 1963 appearance on Australian television.

While bits and pieces of his performances from the show have surfaced on various bootlegs, Stardust—The Rare Television Performances represents the first legitimate and comprehensive collection of this material.

Appearing in this 2-disc set are many songs that Cole never recorded commercially or even sang again in public, with arrangements by such giants as Nelson Riddle, Billy May and Gordon Jenkins… and when he does sing one of his hits, they often scarcely resemble the studio recordings.

Remastered and with comprehensive Liner Notes by Cole expert Jordan Taylor including rare photos from the Cole Estate!

For more details follow this link:

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1448905626

NEW RELEASE!!
JOHN COLTRANE – A LOVE SUPREME
THE COMPLETE MASTERS - 2CD & 3CD BOX EDITIONS
An extraordinary document of and Extraordinary Recording!

A Love Supreme is one of the most popular albums in the last 60 years of jazz, selling the kind of numbers usually reserved for pop.
If Miles Davis' Kind of Blue is the most frequently bought first jazz album for those curious about the genre, A Love Supreme is easily number two. But though they were released just seven years apart, there's a world of difference between the two records, and the success of A Love Supreme is trickier to explain.

For all its structural daring, Kind of Blue also functions as an ambient record, with slower tempos and late-night ambiance. A Love Supreme is harder to get a handle on. Though conventionally beautiful in many ways, for many marks the exact point beyond which jazz becomes too experimental.

THE 2 CD VERSION (The new and previously unreleased part!)
It's possible to hear on this newly presented 2CD set how the album might have gone even further. Although they had the music in the can from the first day (the music on A Love Supreme was recorded on a single day, December 9, 1964), Coltrane wanted to try something else.

So on December 10, he called the young tenor saxophonist Archie Shepp, and a second bassist, Art Davis to play with his quartet. The six musicians then ran through two versions of A Love Supremes’ opening "Acknowledgment", so that Coltrane could explore what the music might sound like with another horn and additional low-end rhythm.

The different versions in the second CD do what any good collection of outtakes will demonstrate. These versions clearly show where Coltrane was going, and taken as a whole, they constitute a separate musical statement all their own.

THE 3 CD VERSION
Contains the live version of the suite recorded in France five months after the album's release. Five months in '60s Coltrane time was like a decade in the career of other jazz musicians, and he was already imbuing the A Love Supreme material with an extra intensity.

However, fantastic as it might be, the truth is that this live concert date of the suite was all included in the "Deluxe Edition" issued in 2002 as well as other previous editions.

This makes the 3CD edition worthwhile for those who do not have the Antibes concert in any other previous edition yet.

For full details on both records please visit our webpage:

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1448905476

JOHN COLTRANE – A LOVE SUPREME
THE COMPLETE MASTERS - 2CD & 3CD BOX EDITIONS
An extraordinary document of and Extraordinary Recording!

A Love Supreme is one of the most popular albums in the last 60 years of jazz, selling the kind of numbers usually reserved for pop.
If Miles Davis' Kind of Blue is the most frequently bought first jazz album for those curious about the genre, A Love Supreme is easily number two. But though they were released just seven years apart, there's a world of difference between the two records, and the success of A Love Supreme is trickier to explain.

For all its structural daring, Kind of Blue also functions as an ambient record, with slower tempos and late-night ambiance. A Love Supreme is harder to get a handle on. Though conventionally beautiful in many ways, for many marks the exact point beyond which jazz becomes too experimental.

THE 2 CD VERSION (The new and previously unreleased part!)
It's possible to hear on this newly presented 2CD set how the album might have gone even further. Although they had the music in the can from the first day (the music on A Love Supreme was recorded on a single day, December 9, 1964), Coltrane wanted to try something else.

So on December 10, he called the young tenor saxophonist Archie Shepp, and a second bassist, Art Davis to play with his quartet. The six musicians then ran through two versions of A Love Supremes’ opening "Acknowledgment", so that Coltrane could explore what the music might sound like with another horn and additional low-end rhythm.

The different versions in the second CD do what any good collection of outtakes will demonstrate. These versions clearly show where Coltrane was going, and taken as a whole, they constitute a separate musical statement all their own.

THE 3 CD VERSION
Contains the live version of the suite recorded in France five months after the album's release. Five months in '60s Coltrane time was like a decade in the career of other jazz musicians, and he was already imbuing the A Love Supreme material with an extra intensity.

However, fantastic as it might be, the truth is that this live concert date of the suite was all included in the "Deluxe Edition" issued in 2002 as well as other previous editions.

This makes the 3CD edition worthwhile for those who do not have the Antibes concert in any other previous edition yet.

For full details on both records please visit our webpage:

Click here

1448633517

COMPLETE REMASTERED CAM JAZZ BOX SETS
THE BLACK SAINT & SOUL NOTE COLLECTION
Available now!

For the Black Saint and its associated Soul Note record label, the last half of the 80s formed its golden period, when from 1984 to 1989 it won the Down Beat critics poll for "Best Label" and "Best Producer" and established itself as the Blue Note of its time, a label whose mark and reputation alone assured the listener that the music would be adventurous, exciting jazz of the highest order.
Black Saint/Soul Note carried its momentum into the '90s, welcoming innovation and traditionalism in equal measure, while dealing with a changing marketplace that saw CD sales overtake vinyl along with a general decline in the demand for jazz music.

Nowadays, the reputation of the Black Saint/Soul Note catalog is impeccable and its pedigree is rivaled by few others in the history of jazz.

These new batch of box sets puts again the works of Roscoe Mitchell, Archie Shepp, Kenny Wheeler, Ran Blake, Max Roach and Charles Mingus back available to all of us…

The albums have been remastered and are fairly spacious and clean sounding. Each album is housed in a cardboard replica of the original release, and everything fits inside a substantial lidded box. There's no additional tracks as these are the original albums.

This is yet another hit in the great Box-Set series that's been released by the Black Saint/Soul Note label.

Bring them on!!!


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1448471690

Harry Allen, the American master of melodic, swinging tenor saxophone, has released two great albums on the Danish label Stunt Records.

The new “Something About Jobim”, a beautiful new record and, in our humble opinion, one of the best releases of the year, Allen teams up with Joyce touring trio.

All of the songs here except one were composed by the great Antonio Carlos Jobim, but you won't find the usual selection of standard classics. Instead, Allen compiled songs not-so-often heard by the Brazilian master, but which are nevertheless brilliant and deserve a second try. And here they are given subtle and enthusiastic interpretations by Allen and his group, integrated by Helio Alves on piano, Rodolfo Stroeter on bass, Tutty Moreno on drums, and Joyce on guitar and vocals.
The only non-Jobim tune is, in fact, an homage to Jobim written by non other than Gerry Mulligan. A CD to treasure!

On “Quitely There” he teams up with Lundgren, a Swedish pianist of infinite subtlety, with which he makes a good partnership. They think alike and clearly enjoy each other’s playing as they immerse themselves in these nine songs by Johnny Mandel.

Some of them, like the theme from M*A*S*H, are not obvious jazz material, but Mandel, like his contemporary Henry Mancini, has always been a jazzman at heart and it shows. Two numbers especially, Emily and The Shining Sea, evoke really inspired performances.

Bassist Hans Backenroth and drummer Kristian Leth complete the quartet, applying an appropriately light touch.

You can listen to samples of both albums on our website.


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1448468255

Happy Birthday to Paul Desmond, born in San Francisco, CA on November 25, 1924!!!

Paul Desmond is widely recognized for his genius as a melodic improviser and as the benchmark of cool jazz sax players. In an era that worshipped the frenetic, bebop style of Charlie Parker, Paul Desmond found his own sound, a tone that he claimed imitated a "dry martini." It was a sound that made him a favourite with critics and fans alike, and won him jazz poll after jazz poll. He and Art Pepper were virtually the only alto players of their generation not directly influenced by Charlie Parker.

Best known for the Dave Brubeck Quartet and for composing that group's greatest hit, the gigantic "Take Five", some of his best work however was done in a quartet he fronted with Jim Hall on guitar and the Modern Jazz Quartet drummer Connie Kay. They recorded 50 tunes from 1959 to 1965 including classics like "I Get a Kick Out of You", "East of the Sun", and "Take Ten".

Desmond also recorded two albums with Gerry Mulligan, and three with Chet Baker. In his last years he led his so-called "Canadian Quartet" with Ed Bickert on guitar, Don Thompson on bass, and Jerry Fuller on drums.

In a business where booze and drugs abound, his drinking was legendary, but it was three packs a day that caught up with him in May 1977. Much to his own amusement his liver was fine, "Pristine, one of the great livers of our time. Awash in Dewars and full of health” he joked.

He was a modest, retiring man, known to his friends for his wit and charm. His friends tell of his last weeks, when an old friend, jazz legend Charles Mingus, appeared at his apartment draped in a swirling black cape and a matching Spanish cowboy hat. He stood in silent vigil at Desmond's bedside. Then slowly, Desmond awoke. Looking up, he searched his memory, trying to make sense of the image looming before him. Finally it clicked -- the hooded harvester from Ingmar Bergman's The Seventh Seal. "Okay, set up the chess board." And he grinned.

Almost 40 years after his death from cancer, his music still sells, is still played, and still moves people. As Jim Hall said “he would have been a really great old man. I could see him about 70-75 years old -- he would have been terrific just to talk to and hang out with.”


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1447264109

ATTENTION TO THIS RELEASE - JUST RECEIVED!!!!!

WES MONTGOMERY – ONE NIGHT IN INDY (LP)
With EDDIE HIGGINGS TRIO

Never before released 1959 recordings of Wes Montgomery live in Indianapolis with legendary Chicago pianist Eddie Higgins. While the drummer of Eddie Higgins Trio on this session is known to be Walter Perkins, who played with Ahmad Jamal before Vernell Fournier joined the trio, the bassist has remained unidentified.

The label’s producer Zev Feldman, who has a brilliant record at unearthing lost or previously unreleased gems (for which we, jazz fans and aficionados, will be eternally in debt!), has gone to great lengths to identify this bassist without luck.

A CD version of this music will come out in January… and who knows, perhaps by that time someone has found out who the bassist is!! Let us know if you do!!

Limited edition – Hand numbered pressing (2500 copies) make this a jewel and a serious ‘must have’ for any Wes Montgomery fans… even more considering how little there’s out there for Wes!!!


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1447255920

TWO GREAT ALBUMS OF THE BILL EVANS TRIO
WITH EDDIE GOMEZ & MARTY MORELL
Both, with all tracks previously unreleased, documenting a crucial period of growth for Evans.

For seven years—between 1968 and 1975—Marty Morell played drums in the Bill Evans Trio alongside bassist Eddie Gomez.

During these years, Evans' playing style shifted dramatically from poetic and lyrical to pained and energetic. The pianist matured rapidly musically and emotionally, and you can see the physical change on these album covers, transitioning from business-suited Mad Man to bearded Mountain Man.


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1446660233

BOTH COMPLETE MASTERS FROM THE ICONIC ALBUM
TOGETHER ON THE SAME DE-LUXE FOLD OPEN 2-LP PACKAGE !

2-LP FOLD OPEN VINYL EDITION

In the late 1950s, it was common for big labels to record performances simultaneously in mono and stereo, and then release both versions at the same time, with different reference numbers.

This was explained at the time by the fact that Stereo was still a very recent innovation, and not everyone had sound systems capable of reproducing the new technology.

The stereo albums, thus, were slightly more expensive than their mono counterparts. Over time, the mono versions were condemned to oblivion, and only recently some music fans began to value these long forgotten masters, which capture classic performances from a different aural point of view.

On the present release, both versions of this masterpiece can be compared.


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1446567627

STAN GETZ – KENNY BARRON
PEOPLE TIME – THE COMPLETE RECORDINGS

If the 2 disc set of People Time had been a moving and fitting tribute to one of jazz's greatest tenor sax players, then this 7 disc version box set relegates that to a mere starter before the main course. Seven sets recorded over four days toward the end of Stan's life as it documents all the live recordings made on March 3, 4, 5 & 6, 1991 at the Café Montmartre, Copenhagen, Denmark.

The 2 CD album previously released generally took the best performances, but there are lots of gems that didn't make the cut which are included here. There are lots of repeat performances, but this is JAZZ - there's substantial variation in mood, tempo and playing across each take.

It’s unclear whether or not Stan Getz knew he was dying. Kenny Barron said he talked to Getz a couple of months after these recordings about a summer tour that was to begin in July. It’s clear, however, that the saxophonist was very sick; he often had to pause to catch his breath and conquer his pain between tunes, and he cancelled the eighth show of the four-day run for health reasons.

It’s also clear that the process of distillation in his music had proceeded even further since the July 1987 Montmatre dates were he no longer did seem to be exploring for the right notes by sending out search parties in all directions; he went directly to the right phrase at the right time. The sharp focus at that earlier dates was reinforced by the forward push from drummer Victor Lewis, a master of the cymbals; bassist Rufus Reid, a master of melody; and pianist Kenny Barron, a master of turning single-note lines into harmony.
Getz’s lines had grown even cleaner and leaner, sculpted by pauses into thin phrases of pure lyricism.

This expanded release is clearly not a vault-opening stunt to sell previously unissued music, but an opportunity to hear the high level at which Getz and Barron played throughout their duo engagement. This is simply a brilliant farewell recording by a masterful jazzman.


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1446203664

ERROLL GARNER
CONCERT BY THE SEA – Finally... a COMPLETE EDITION!!

Concert by the Sea is certainly one of the biggest albums in jazz history, selling over 225,000 copies in the first year after its 1956 release and turning into such a steady seller over the next few years, it reportedly brought Columbia Records a million dollars by 1958, a nice sum at any time but astronomical in the late '50s.

It should've turned Erroll Garner into a full-fledged superstar and, in a way, it did, because it was a reliable catalog item and earned him plenty of fans, including Johnny Carson, who frequently invited the pianist onto The Tonight Show.

Instead, Concert by the Sea turned into a pinnacle, with Garner and manager Martha Glaser sliding into contractual battles with Columbia that hampered his long-term growth.

But one always suspected that Garner’s trio played more music that day than the 41 minutes committed to record. Now, finally, 60 years after that historic concert, we get what is purported to be the concert in its entirety, along with improved fidelity via a new mastering.

Everybody should have a copy of this album. It should be compulsory for everyone to play at least one Erroll Garner track every day of their life.
There would be a lot more happy faces around.


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1446198076

CHARLIE HADEN – KEITH JARRETT
JASMINE & LAST DANCE
Two contemporary masterworks!

When beauty is so truthful to its essence it suddenly reaches wider audiences. Regardless taste, personal condition, nationalities, religion or whatever might come to your mind. It simply permeates into your soul.

These two albums came about in the aftermath of Keith Jarrett and Charlie Haden playing together during Ramblin' Boy, a documentary film about Haden. The duo, which hadn't played together in over 30 years, got along famously and decided to do some further recording in Jarrett's Cavelight home studio without an end result in mind.

The tapes sat, although were discussed often, for three years before a decision was made to release some of them. Jasmine is a collection of love songs; most are standards played by two stellar improvisers.

Picking out highlights on these 17 tracks, two hour-long set is very difficult because the dry warmth of these performances is multiplied by deeply intuitive listening and the near symbiotic, telepathic nature of the playing. The entire proceeding flows seamlessly.

Both albums are, ultimately, jazz distilled to its most essential; they not only express emotion and beauty, but you discover them in every moment of the musicians’ performance. Last Dance is a necessary addendum to Jasmine; both flesh out the confident, mature, amiable, and eloquent speech in the canonical language these two jazz masters share.


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1446054459

THE HISTORIC VANGUARD JAZZ ORCHESTRA
OverTime: The Music of Bob Brookmeyer

If it’s not already evident, maintaining a band presidency for forty-nine years is a pretty impressive feat, especially when the band is a 16 member jazz ensemble that came about during a racially tense America in the ‘60s.

The Vanguard Jazz Orchestra has welcomed several top named professionals in the industry and undergone a succession of directors, but they’ve consistently produced lively, intricate jazz performances throughout their existence.

They currently post up in New York City performing the historically reputable Village Vanguard, where they’ve been a weekly headline for decades. The VJO have successively preserved the initiative of big band music against all popularity odds allowing their talent to transcend listeners back and forth through time.

Their latest work Overtime was a collection of Bob Brookmeyer’s compositions as tribute to his life’s work and his passing in 2011. Under the current directory John Mosca, the ensemble spent some much needed time in the studio producing an album that explored the compositional maturity of Brookmeyer.

The album consists of four magnificent new arrangements written to highlight the band’s soloists, three previously unheard statements Brookmeyer wrote for Mel Lewis’ Orchestra in
the early 1980s and a Grammy Award-winning arrangement of “Skylark” featuring Dick Oatts.


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1446053237

CANNONBALL ADDERLEY SEXTET
One of the best historical releases this year so far!

One of the great alto saxophonists, Cannonball Adderley had an exuberant and happy sound that communicated immediately to listeners. His intelligent presentation of his music (often explaining what he and his musicians were going to play) helped make him one of the most popular of all jazzmen.

During its Riverside years (1959-1963), the Adderley Quintet primarily played soulful renditions of hard bop and Cannonball really excelled in the straight-ahead settings.

However during 1962-1963, Yusef Lateef made the group a sextet, adding a bit of an edge on tenor, flute, and unusually for a jazz wind player, oboe, and pianist Joe Zawinul, who would become an important new member as this group would be Zawinul's springboard to prominence in the jazz world.

These recordings belong to their tour of Japan, full of high quality music with his last formation before the collapse of Riverside and his signing for Capitol were his music became gradually more commercial.

A double album, with a well documented 12 page booklet sums it up to make this a bit of a catch for its price!


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1445591528

Music From the Films of Woody Allen.
Beautiful compelling music!!

Compilations are always a difficult thing to evaluate. Some are too general; others are of a mixed quality…. However, this compilation presents some of the finest original Jazz and popular music performances featured in the soundtracks of Woody Allen's films.

Screenwriter, director, actor, author, playwright, comedian, and jazz musician (on the clarinet), Allen has also played a fundamental role in expanding jazz culture by showcasing historical recordings from the genre in the soundtracks to his movies.

This 3 CD box-set (with 60 tracks in total) concentrates on this jazz and popular music legacy, and presents the exact historical recordings used by Allen in 30 of his films. It comes with a comprehensive booklet and packed in a beautiful digipak edition.

It should appeal on many levels; to jazz lovers who will find the selection to their liking, to film lovers who associate the tunes with Woody Allen's films and to anyone whom appreciate that jazz which was the popular music before rock came up.

We like it so much that we have absolutely no doubts to recommend it to anyone!!


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1445589616

JAZZ AT THE PAWNSHOP
Is this the best jazz recording of the 20th Century?

On December 6 and 7, 1976, in a small jazz club called Stampen, akaThe Pawn Shop, in Stockholm's Old Town, Swedish sound engineer Gert Palmcrantz recorded a group of leading Scandinavian jazzmen live, trying to get "the tight, harmonious sound of the records of my childhood." Conditions were less than ideal. A full house, a great deal of background noise, no rehearsals, no sound checks. The musicians just started playing with no one knowing what would be next on the agenda until reedman Arne Domnerus called it.

The result has often been hailed as the best live jazz recording ever and has become a cult album for Hi-Fi lovers. On top of that the music is an absolutely glorious mix that seamlessly knits Ellington with Armstrong, melancholic Swedish folk songs with bop, and two takes of African High Life thrown in for good measure.

You hear the chink of glasses, the chime of the bell to acknowledge a tip, the burr of conversation. It all fits; that intimate club atmosphere that sparks jazz at its best. You feel as though you're there. Which is Palmcrantz's triumph, and why Jazz at the Pawnshop is likely to continue to fascinate both jazz and audio fans for a good many years to come.

The Box Set edition is the icing on the cake: a special three-CD 30th anniversary edition of Jazz at the Pawnshop, with hybrid disks that play on ordinary CD, Stereo SACD and Surround SACD systems. It comes with previously unreleased material, a booklet in which a charmingly modest Palmcrantz very amusingly tells just how he did it. Plus a DVD, featuring interviews with Erstrand and Riedel, recorded in Stampen, with English subtitles.

Also, available as well on a 180 Gram double LP edition.


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1445350031

The Hard Bop Legacy Of Bee Hive Records.
Stunningly Fantastic!!

Jim Neumann was a 14-year-old science buff and self-proclaimed "baseball fanatic" growing up in Chicago, Illinois, when a neighbor who played guitar had him listen to a recording of Johnny Smith's "Moonlight in Vermont." It was the first jazz record Jim had ever heard, and he was hooked. "Nothing was better than that," he says. "I gave up baseball quick."

About 30 years after bebop began in New York, Jim and Susan Neumann knew that this form of jazz and its artists had stories to tell still. So in 1977 they took action and started Bee Hive Records in their Illinois home. They set out to find great musicians and simply give them space to record whatever they desired.

From 1977 to 1985 Bee Hive Records gained a reputation for releasing great music with a superb sound quality. The mid-70s there was a revival of traditional acoustic strains. It sprung out myriad of independent labels that were dedicated to traditional artists. Bee Hive stood out among this group. The Neumanns neither did sign widely familiar names such as Count Basie or Oscar Peterson nor explored other idioms within jazz as (occasionally) Muse or Innner City did. Bee Hive retained a direct bebop and hard bob focus in a time were jazz-rock, free jazz, avant-garde and fusion staked a claim on the Billboard pop charts.

Nick Brignola, Sal Nistico, Curtis Fuller, Dizzy Reece, Clifford Jordan, Johnny Hartman, Sal Salvador, Ronnie Mathews, Roland Hanna, Dick Katz, Junior Mance, Arnett Cobb made up 16 LPs for Bee Hive. All are included in this collection. Furthermore, the 17th LP which is a limited edition album entitled The Bee Hive Sessions, Unissued Tunes, Volume One which included previously unissued pieces from various album sessions has been also included spread into their respective sessions.

Johnny Hartman's album Once in Every Life (next-to-last album as he made a record for Audiophile 12 days later) gathered universal critical acclaim and a Grammy nomination. Clint Eastwood used four of its songs for his film Bridges of Madison County. But Eastwood’s soundtrack recording, released on his Malpaso imprint of Warner Brothers, is distorted. Hartman’s songs are reproduced a half tone off, which slows them down.

This album had never been reissued on CD until this Bee Hive collection, which incidentally, now, it is in the right speed at which ace engineer Ben Rizzi recorded the sessions.


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1444227192

Vinicius de Moraes – La Fusa

New editions of 2 of the greatest albums in Brazilian music and, arguably, the most legendary because all that surrounded the recordings, with Maria Creuza, Toquinho and Maria Bethania. Available in LP and double CD editions.

In August 1970, Vinicius de Moraes along a very young Toquinho and singer from Bahia Maria Creuza played in cafe La Fusa, in Buenos Aires, a series of concerts which flooded the small venue (with a capacity of around 100 people).

Due to this success and with the collaboration of Alfredo Radoszynski, a pioneer of independent music in South America, it was decided to record that music. However, due to the technical limitations of the time to record live at La Fusa, they decided to record them in a studio in the States.

During two days in which the setting of La Fusa was recreated in the studio with tables, friends, "whisky and beautiful women" (as Vicinius puts it in the lines notes of the cd), Vinicius, sings, talks with the guests, tells jokes and anecdotes and presents the musicians.

This music frames a peak in Brazilian popular music. The founders of Bossa Nova like Joao Gilberto, Jobim, Baden Powell, or Vinicius himself were at the pinnacle of their creativity at the same time that a new generation of musicians like Chico Buarque, Caetano Veloso or Toquinho among some of them were starting to find their own place.

It is moving to hear what, nowadays, are classics of the XX century like "A Felicidade" in the voice of its own creator, the fresh and expressive voice of Maria Creuza whom in songs like "Tomara" or "Eu Sei Que Vou Te Amar" makes her own key songs of the duo Jobim-Vinicius, or her memorable duo with Vinicius on "Samba". Toquinho leads with his guitar masterfully the small orchestra and shyly sings along in some cases in an occasional trio recorded for eternity.

This was not a planned recording, released on an independent label and, after more than 40 years on, still sounds fresh, great and admirable. You might listen to this record for the first time… but it will not be the last!


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1444219275

TONY BENNETT - NEW RELEASES!!!

Two comprehensive albums with the complete sessions recorded by the great Tony Bennett with Frank DeVol and Ralph Burns orchestras.

The Complete Frank DeVol Sessions, which is a double CD edition, contains the complete LPs of Long Ago & Far Away (Columbia CL1186), To My Wonderful One (Columbia CL1429) and Alone Together (Columbia CS8262) plus the other seven songs recorded during those sessions that were only issued as singles.


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The Complete Ralph Burns Sessions contains 2 Lps on a single CD. My Heart Sings (Columbia CS8458) and Hometown, My Town (Columbia CS8107). This edition include 4 tracks that complete the Bennett-Burns collaborations of the period (1958-61)


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Among the members of these orchestras we can find Herbie Mann, Larry Bunker, Bucky Pizzarelli, Zoot Sims, Eddie Costa, Al Cohn and Urbie Green.

1443534554

ALL RECORDINGS FROM THE LEGENDARY 1960 TOUR
OF THE MILES DAVIS QUINTET

In 1960 the fabulous Miles Davis Quintet played the last tour with John Coltrane and re-shaped into a new one, momentarily, with Sonny Stitt. Coltrane’s departure not only had an liberating effect in his own music but, arguably, affected Miles playing as well.

Before even starting the tour, John Coltrane had already presented his resignation. Davis could find no suitable replacement for him, so Trane agreed to make one final trip.

Coltrane, however, was in stark transition. His career had reached full adulthood, and was adjusting to a new set of powers. You can hear the seeds of where he’s heading in these recordings, pushing the saxophone and its context to its limits. Already in his head he was hearing a very different accompaniment from what Wynton Kelly and Jimmy Cobb were giving him.

Once he left, Miles's play changed. Perhaps he was always looking for "Coltrane" to provide that contrast, and he never found "him" in the succession of tenor players that he used in the years to follow (Wayne Shorter probably came the closest). His play changed because he had to provide the musical contrast in the group. In the second part of the tour, Miles himself has to be that musical contrast to Sonny Stitt. Stitt's playing at times is bland when he is on tenor. Thus, you hear the Miles Davis that is more assertive, stratospheric, and much busier in his use of notes.


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1442414882

SECOND HAND VINYL!

A large collection of second hand LPs. American, Japanese and European pressings. Collector's editions.

Check it out here:

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1442412583

STEVE COLEMAN’S MUSIC LIVE IN PARIS
20th ANNIVERSARY COLLECTOR’S EDITION 4 CD BOX SET

A 2014 MacArthur Foundation "genius grant" recipient and one of the most influential saxophonists and composers in modern music, Steve Coleman is the originator of the creative perspective on composition and expression famously called M-Base. Coleman innovative work and towering influence makes him an heir-apparent to Coltrane’s legacy.
This new collector’s edition box set contains a series of concerts captured at the Hot Brass Paris in five memorable evenings in 1995.
It comes wrapped up in a beautiful digipack packaging containing 3CD Deluxe completely remastered AND extra CD of previously unreleased material. Includes a 24 page booklet with original texts, many rare photos and a new liner notes by Steve Coleman himself!


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1442403484

XANADU MASTER EDITION SERIES

3 new albums available from the Xanadu Reissues collection. 3 more indispensable albums .
Long-out-of-print recordings these are a significant piece on these musicians discographies but specially speaking on Joe Farrell’s recorded legacy.
If you weren’t around to witness his brilliance back in the day, sample it for the first time on this potent Elemental Music reissue batch.


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