Jazz

Double vinyl LP pressing. Bitches Brew is a studio album by jazz musician, composer, and bandleader Miles Davis, originally released on March 30, 1970. It marked his continuing experimentation with electric instruments that he had previously featured on the critically acclaimed In a Silent Way (1969). With these instruments, such as the electric piano and guitar, Davis rejected traditional jazz rhythms in favor of loose, rock-influenced arrangements based on improvisation. In subsequent years, Bitches Brew gained recognition as one of jazz's greatest albums and a progenitor of the jazz rock genre, as well as a major influence on rock and funk musicians.

Tracks

• - Disc 1 -
• 1 Pharaoh's Dance (Album Version)
• - Disc 2 -
• 1 Bitches Brew (Album Version)
• - Disc 3 -
• 1 Spanish Key
• 2 John McLaughlin (Album Version)
• - Disc 4 -
• 1 Miles Runs the Voodoo Down
• 2 Sanctuary (Album Version)

180 gram VINYL AUDIOPHILE PRESSING.

• 1 In a Sentimental Mood
• 2 Take the Coltrane
• 3 Big Nick
• 4 Stevie
• 5 My Little Brown Book
• 6 Angelica
• 7 The Feeling of Jazz
• 8 I Got It Bad and That Ain't Good

Gatefold 180-gram vinyl with bonus tracks! Art Blakey was present on both Thelonious Monk's first and last studio sessions, spanning a period of 24 years from the 1947 quintet and trio recordings to the last sets taped in London in 1971, when Blakey and Monk were touring with the groupcalled the "Giants of Jazz" (which also included Sonny Stitt, Dizzy Gillespie, Kai Winding and Al McKibbon). Although this album marks Monk's sole recording as a member of Art Blakey's celebrated Jazz Messengers, the pianist and drummer were very close friends who understood each other well on both a personal and musical level. In fact, With the exception of Johnny Griffi n's "Purple Shades," all of the compositions on this album are classic Thelonious Monk tunes.

• 1 Evidence
• 2 In Walked Bud
• 3 Blue Monk
• 4 Monk's Dream (*)
• 5 I Mean You
• 6 Rhythm-A-Ning
• 7 Purple Shades
• 8 Bye-Ya (*)

According to jazz lore, on the morning of January 19, 1957, esteemed alto saxophonist Art Pepper woke up to learn that he was booked for a session, just hours later, with Miles Davis’ highly respected rhythm section (pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones), where the landmark title, Art Pepper Meets the Rhythm Section, was recorded. Produced by Contemporary Records’ Lester Koenig and recorded by engineer Roy DuNann, Art Pepper Meets the Rhythm Section has been praised as “a diamond of recorded jazz history” by AllMusic. Housed in a tip-on jacket, this special mono edition features all-analog mastering from the original mono tapes by Bernie Grundman and is pressed on 180-gram black vinyl at QRP. As part of the Contemporary Records Acoustic Sounds Series, this release celebrates 70 years of the venerable jazz record label.

A Tribute to Jack Johnson Combines Electric Fusion, Slashing Rock, and Aggressive Funk: 1971 Miles Davis Set Features Guitarist John McLaughlin, Sounds Vibrant on Vinyl LP

Michael Henderson launches into an enormous boogie groove with Billy Cobham and John McLaughlin. Miles immediately leaves the control room to join in with them. He achieved exactly what he wanted for the soundtrack of the documentary devoted to the black boxer Jack Johnson by creating the effect of a train going at full speed (which he compared to the force of a boxer). That's how side A of the 1971 LP A Tribute To Jack Johnson begins. By chance, Herbie Hancock had arrived unexpectedly and started playing on a cheap keyboard that a sound engineer quickly connected. Later, Teo Macero taped McLaughlin's riff on "Sing A Simple Song" by Sly Stone. Side B begins with a bass riff inspired by James Brown's "Say It Loud" and ends with "Willie Nelson," a piece recorded in a previous session. An a cappella improvisation by Miles, arranged in a variety of ways by Macero, was featured as a leitmotif throughout; a phrase spoken by Brock Peters was superimposed as a coda. Columbia didn't believe in this album and hastily released it. Today it is a cult record and strong seller.

Musicians:
Miles Davis (trumpet)
John McLaughlin (guitar)
Herbie Hancock (keyboards)
Michael Henderson (bass)
Billy Cobham (drums)
Steve Grossman (saxophone)

1. Right Off
2. Yesternow

Double vinyl LP pressing. This newly discovered live-recording of a performance of the Love Supreme suite is a revelation. Recorded at The Penthouse in Seattle on October 2, 1965, this recording transports the listener to a prime seat for piece of musical history. While not studio-quality audio, the power of the performance shines through. This version is also of the full suite and features an expanded band that includes the same Classic Quartet and Pharoah Sanders in his first official gig as part of Coltrane's group.

Tracks

• - Side 1 -
• 1 A Love Supreme, Pt. I - Acknowledgement
• - Side 2 -
• 1 Interlude 1
• 2 A Love Supreme, Pt. II - Resolution
• 3 Interlude 2
• - Side 3 -
• 1 A Love Supreme, Pt. III - Pursuance
• - Side 4 -
• 1 Interlude 3
• 2 Interlude 4
• 3 A Love Supreme, Pt. IV - Psalm

Limited 180gm vinyl LP pressing. Guitarist Kenny Burrell debuted on Blue Note Records in 1956 and over the following 7 years made a series of excellent albums for the label that culminated with his masterwork Midnight Blue. Recorded in 1963, the album waded deep into the blues, conjuring an alluring late-night vibe with a profoundly soulful cast including tenor saxophonist Stanley Turrentine, bassist Major Holley, Jr., drummer Bill English, and Ray Barretto on congas. Burrell originals including "Chitlins con Carne," "Midnight Blue," "Saturday Night Blues," and the stunning solo guitar piece "Soul Lament" set the tone for this timeless classic adorned by one of the all-time great Reid Miles cover designs.

Musicians:
Kenny Burrell, guitar
Stanley Turrentine, tenor saxophone
Major Holley, Jr., bass
Bill English, drums
Ray Barretto, conga

Tracks

1. Chitlins Con Carne
2. Mule
3. Soul Lament
4. Midnight Blue
5. Wavy Gravy
6. Gee Baby Ain't I Good To You
7. Saturday Night Blues

One of the finest sets ever recorded by this quartet, back in print for the first time in 35 years. Remastered by Bernie Grundman and pressed on 180g limited edition opaque blue vinyl.

The Black Saint And The Sinner Lady (Verve Acoustic Sounds Series) [LP]

Described by Mingus himself as “ethnic folk-dance music,” The Black Saint & The Sinner Lady is a single song cycle rather than a traditional jazz album of separate tracks. The intricate arrangements and raw emotional swings of the piece make it a highlight of Mingus’ career, and one of the most compelling listens in jazz.

• - Disc 1 -
• 1 Solo Dancer (Stop! and Listen, Sinner Jim Whitney!)
• 2 Duet Solo Dancers (Heart's Beat and Shades in Physical Embraces)
• 3 Group Dancers ([Soul Fusion] Freewoman and Oh This Freedom's Slave Cries)
• - Disc 2 -
• 1 Trio and Group Dancers (Stop! Look! and Sing Songs of Revolutions!)
• 2 Single Solos and Group Dance (Saint and Sinner Join in Merriment on Battle Front)
• 3 Group and Solo Dance (Of Love, Pain, and Passioned Revolt, Then Farewell, My Beloved, 'Til It's Freedom Day)

Limited 180gm vinyl LP pressing. On February 7, 1960, tenor saxophonist Hank Mobley with pianist Wynton Kelly, bassist Paul Chambers, and drummer Art Blakey, laid down what would become his masterpiece: Soul Station. The crystalline six-song set was a showcase for Mobley's lyrical flow from the breezy opening take on Irving Berlin's "Remember" through bluesy originals like "Dig Dis", & the swinging up-tempo number "Split Feelin's." Soul Station endures as a jazz classic for the ages.

• 1 Remember
• 2 This I Dig of You
• 3 Dig Dis
• 4 Split Feelin's
• 5 Soul Station
• 6 If I Should Lose You