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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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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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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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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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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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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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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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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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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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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.



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

Check it out here:

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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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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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One can only be thankful for a bunch of such releases. In a time where the race for bringing out new releases never stops going forward it is to praise companies which look back to jewels which have been swallowed by such a race… and forgotten to an extent. The new lot of Concord reissues already available are no less than that. It comes to show as well that there are people out there who knows and cares for jazz and, very importantly, can manage these wonderful ‘hidden’ catalogues making them profitable (hopefully… and we pray for that so we see more of them)

Art Pepper – The Trip
Pepper never really fit the cool stereotype, however; he was too incendiary a soloist, more inclined to inject overt anger and passion into his playing than contemporaries like Getz or Mulligan. By the time these sides were made in 1976, any residual coolness had been displaced by hot emotionalism and an almost manic intensity. Pepper was rough, raw, and nakedly vulnerable. Every solo this late in his career was an adventure. Here he is joined by Herb Ellis, George Cables, David Williams and ex-Coltrane drummer Elvin Jones. His playing is first-rate. Given that he would not live many years longer after its recording, this one is a true gem.

Duke Ellington – The Pianist
Duke Ellington had so many talents (composer, arranger, bandleader, personality) that his skills as a pianist could easily be overlooked. Fortunately he did record a fair amount of trio albums through the years so there is plenty of evidence as to his unique style which was both modern and traditional at the same time. And these recordings from 1966 and 1970 shows an Ellington which shifts smoothly between styles and moods while always remaining himself.

Poncho Sanchez – Out Of Sight!
The legendary conguero may be known as one of the modern kings of all jazz that's Latin, but he's also an old-school soul junkie at heart, having grown up in southern California in the '60s; Sanchez evolves beautifully into a style of Latin soul that's truly compelling. Sanchez invites two legendary soul men to make things even more authentic. Sam Moore has a blast with the sassy "Hitch It to the Horse," while Ray Charles adds his whimsical touch to the salsified blues tune "Mary Ann. Surely James Brown can look down proud of one of the most unique tributes to him ever fashioned.

Zoot Sims – Suddenly It’s Spring
Zoot Sims was a remarkably consistent player throughout a career that started in the 1940s and lasted until his death in 1985. Although this quartet album was recorded in 1983, it sounds like it could have been recorded at any time during that period. The warm, expressive sound and melodic improvisations that made Zoot one of the top tenor sax players in jazz are clearly in evidence here. Pianist Jimmy Rowles often co-stars on the date with bassist George Mraz and drummer Akira Tana offering solid support.

Ray Brown All Stars – Don’t Forget The Blues
On this 1985 Concord release, bassist Ray Brown heads an all-star quintet featuring trombonist Al Grey, guitarist Ron Eschete, pianist Gene Harris, and drummer Grady Tate. For us at Jazz Messengers, Brown is, arguably, the best rhythmic bass player ever with a huge and comfortable sound. Ray Brown's bass was a welcome feature on bop-oriented sessions for over a half-century and this album is another proof of that.

Herb Ellis – Jazz/ Concord
The very first release by the Concord label recorded at Wally Hyder Studios, Los Angeles, July 29, 1973, was a quartet set featuring guitarists Herb Ellis and Joe Pass, bassist Ray Brown, and drummer Jake Hanna. Ellis and Pass (the latter was just beginning to be discovered) always made for a perfectly complementary team, constantly challenging each other. Definitely a very strong start for Concord and complemented by a second album, Seven, Comes Eleven, recorded the day after with the same lineup.

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Esclusively For My Friends (8CD Box Set)
A Mecca for Oscar Peterson ,MPS pioneered jazz history through its high-level recording technique and unmistakable aesthetic. Today the “most perfect sound made in the Black Forest” continues to light up the ears of analogue fans worldwide.

The legendary Oscar Peterson MPS recording sessions from the late 1960s are here presented in a sleek and beautiful BoxSet which includes exclusive unreleased and never heard material before!
It also contains a thick 60 page booklet including liner notes written by Leonard Feather, Gene Lees and Joachim Ernst Berendt, photos & interviews.

Oscar Peterson - Live in Cologne 1970
One knew where one stood with Oscar Peterson. A stylistically reliable factor, from whom
any jazz innovation seemed to bounce off like flotsam from a rock. This release from the vaults of WDR (Westdeutscher Rundfunk) shows his trio in true form with George Mraz and Ray Price just as it had been at the Gürzenich-concerts in 1961 (Jazzline N 77 004) and in 1963 (Jazzline N 77 018).

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Temas Brasileños
Temas Hispano-Americanos

The outstanding pianist from Spain, Tete Montoliu was born blind. He learned to read music in Braille when he was seven and developed impressive technique on piano. He was best-known for his interpretations of standards from the Great American Songbook and he was equally familiar with popular works by jazz greats.

In these releases, though, we find a different focus with self-explanatory titles. Out of these 3 we would like to stand out Boleros. This album is simply outstanding all the way. Montoliu's rendering of all the songs have its own distinct flavor as he displays his formidable technique throughout.

Edited in a mini-lp replica digipak and remastered with a 12 page booklet.

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A superior soloist, accompanist, and interpreter of ballads, Fred Hersch is one of our favorite pianists at Jazz Messengers. Here he comes with another beautiful performance on his new album 'Solo'... and there is no “but” lying in wait...

In fact, this music was recorded for archival purposes, without any intention to be released, and handed to Fred after his performance.

If it is released now is because, in Hersch's own words "[In this performance] I feel that I was 'in the zone' - a special place where everything is working - heart, mind and technique. There was no agenda to the evening rather than playing songs I love in a wonderful acoustic space on a fine instrument. It is very difficult to capture this feeling in the studio so when I listened back to this material, I knew I had something very rare, a first class recording.”

Not much else to say.

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Nick Brignola, inventive improvisations, huge sound, and powerful drive show that he was one of jazz's greatest baritone saxophonists and he comes out consistenly burning in all his albums for Reservoir Music.

He proves to be an underrated alto and soprano saxophonist as well, although baritone was clearly his strongest ax. Brignola had an uncanny ability to combine his muscular phrasing with a supreme sensitivity.

Assisted with the likes of pianist Kenny Barron, bassists Rufus Reid, Dave Holland or George Mraz, drummers Jack DeJohnette, Victor Lewis, Billy Hart or Dirk Berk (with which he shared a lifelong friendship), his albums and playing are nowadays greatly appreciated by jazz lovers at home and by the international jazz community at large.

Brignola never got the recognition that he deserved while alive, which is common with jazz musicians. But that doesn't mean that his work won't live forever in the form of recorded music.

Highly recommended for jazz fans and listeners who want to enjoy one of the most accomplished mainstream improvisers of his generation.

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A newly discovered live club date available for the first time in any format!

This recording is an excellent example of late-period Pepper, preserving an incredibly live atmosphere of a club, Fat Tuesday, that was unique, unpretentious and accessible.
The sound balance reproduces the four players to an acceptable standard.

This music is a solid reminder of the reasons for the altoist’s positive and lasting contribution, which is far and away more significant than the reputation he earned on the wrong side of the law.

Edited on a deluxe digipak format it comes with an impressive 40 page booklet including an Art Pepper interview with Brian Priestley and an interview of Laurie Pepper by Zev Feldman and more…!

Available from September!!

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