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The Monty Alexander Trio Live! At The Montreux Festival 180g LP (Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;180 Gram Pressing! Analogue Remastering (AAA)! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt; & lt;strong & gt;Michael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 28/100! & lt;/strong & gt; & lt;/p & gt; & lt;p & gt;Montreux Alexander, performing live at the famed festival by Lake Geneva. This 1976 album captures the time in Alexander's young career when he began to be compared to musical giants such as Oscar Peterson. & lt;/p & gt; & lt;p & gt;Alexander's playing combines proficiency with the feel of the Caribbean and a touch of gospel. & lt;/p & gt; & lt;blockquote cite= & quot;www.allmusic.com & quot; & gt; Pianist Monty Alexander did some of his finest recordings for the MPS label. This live trio set with bassist John Clayton and drummer Jeff Hamilton... features Alexander playing his usual repertoire of the period with blues, standards ('Satin Doll,' 'Work Song' and 'Battle Hymn of the Republic') and a version of 'Feelings' that uplifts the song a bit... His soulful approach to the generally familiar melodies makes them sound fresh and swinging. & lt;footer & gt; -Scott Yanow, AllMusic.com & lt;/footer & gt; & lt;/blockquote & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;180g audiophile pressing & lt;/li & gt; & lt;li & gt;Analogue remastering (AAA) & lt;/li & gt; & lt;li & gt;Liner notes include remastering info & amp; a picture of the original master tape box & lt;/li & gt; & lt;li & gt;Pressed at Optimal Media Gmbh in Germany & lt;/li & gt; & lt;!--More features go here in & lt;li & gt; tags-- & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;musicians & quot; & gt; & lt;h3 & gt;Musicians & lt;/h3 & gt; & lt;table & gt; & lt;tr & gt; & lt;th & gt;Monty Alexander & lt;/th & gt; & lt;td & gt;piano & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;John Clayton & lt;/th & gt; & lt;td & gt;bass & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Jeff Hamilton & lt;/th & gt; & lt;td & gt;drums & lt;/td & gt; & lt;/tr & gt; & lt;!--More musician rows go here-- & gt; & lt;/table & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;h4 & gt;Side One: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Nite Mist Blues & lt;/li & gt; & lt;li & gt;Feelings & lt;/li & gt; & lt;li & gt;Satin Doll & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side Two: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Work Song & lt;/li & gt; & lt;li & gt;Drown In My Own Tears & lt;/li & gt; & lt;li & gt;Battle Hymn Of The Republic & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;

The Oscar Peterson Trio Walking The Line 180g LP (Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;180g Audiophile Pressing! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt;The partnership between Hans Georg Brunner-Schwer and Oscar Peterson grew after the legendary Exclusively For My Friends recordings. Nine albums followed that remarkable recording. & lt;/p & gt; & lt;p & gt;Walking The Line came about during the middle of this period of their work. An added bonus to this vinyl release is Hubertus Mall's fantastic drawing of Peterson on the cover. & lt;/p & gt; & lt;p & gt;Peterson is joined by bassist Georg Mraz and drummer Ray Price for this release which is bookended by two Cole Porter classics & quot;I Love You & quot; and & quot;All Of You. & quot; Each of the tracks in between is a masterpiece in its own right, especially the irresistible version of & quot;Rock Of Ages. & quot; & lt;/p & gt; & lt;blockquote cite= & quot;www.allmusic.com & quot; & gt; Oscar Peterson's series of recordings for Hans Georg Brunner-Schwer during the 1960s and early '70s are one of many high points in his long career. With George 'Jiri' Mraz on bass and Ray Price on drums, Peterson's flashy romp through 'I Love You' (complete with a humorous detour into the opera 'Pagliacci') and mid-tempo walk through & quot;'All of You' salute Cole Porter in style on Walking the Line. 'Rock of Ages' isn't the old hymn but a lively, gospel-inflected Peterson original that will easily get any congregation swinging and swaying to the music. His mastery of the ballad form is heard in his sensitive interpretation of 'Once Upon a Summertime,' which showcases Mraz's gorgeous tone, as Price sits out this one. & lt;footer & gt; -Ken Dryden, AllMusic.com & lt;/footer & gt; & lt;/blockquote & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;180g Vinyl & lt;/li & gt; & lt;li & gt;Audiophile analog remastering & lt;/li & gt; & lt;li & gt;Liner notes, remastering information & amp; a picture of the original master tape box inside & lt;/li & gt; & lt;li & gt;Gatefold jacket & lt;/li & gt; & lt;li & gt;Made in Germany by Optimal Media GmbH & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;musicians & quot; & gt; & lt;h3 & gt;Musicians & lt;/h3 & gt; & lt;table & gt; & lt;tr & gt; & lt;th & gt;Oscar Peterson & lt;/th & gt; & lt;td & gt;piano & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;George Mraz & lt;/th & gt; & lt;td & gt;bass & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Ray Price & lt;/th & gt; & lt;td & gt;drums & lt;/td & gt; & lt;/tr & gt; & lt;/table & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;h4 & gt;Side 1: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;I Love You & lt;/li & gt; & lt;li & gt;Rock Of Ages & lt;/li & gt; & lt;li & gt;Once Upon A Summertime & lt;/li & gt; & lt;li & gt;Just Friends & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side 2: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Teach Me Tonight & lt;/li & gt; & lt;li & gt;The Windmills Of Your Mind & lt;/li & gt; & lt;li & gt;I Didn't Know What Time It Was & lt;/li & gt; & lt;li & gt;All Of You & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;

Mark Murphy Midnight Mood 180g LP (Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;180 Gram Pressing! Analogue Remastering (AAA)! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt;When he died at the age of 83 in October 2015, the local papers were restrained in their obituaries. For many jazz fans and cognoscenti, singer Mark Murphy was vastly underrated; they are right, as his prolific six-decade-long artistic career attests: during that career Murphy exhibited an inventive stylistic range that covered blues to bebop on through to modern jazz. His 1967 MPS recording lands in the middle of his & quot;European decade & quot;, and it is one of the most beautiful, striking documents of his skills. & quot;Midnight Mood & quot; is characterized by the sophisticated dialogue between voice and eight musicians from the Kenny Clarke-Francy Boland-Big band, but it begins a cappella: Murphy welcomes us with Duke Ellington's & quot;Jump For Joy & quot; as he walks the vocal tightrope without a net, at the sametime offering us a taste of his unorthodox scat singing. With & quot;I Don't Want Nothin' & quot; the ensemble offers us a swinging, bluesy, mischievous miniature, while Murphy's voice on & quot;Why And How & quot; shifts towards a noticeably darker tinge, surrounded by short penetrating solo interludes from the band. & quot;Alone Together & quot; reveals a masterpiece of phrasing over syncopated piano play; & quot;You Fascinate Me So & quot; emphasizes Murphy's romantic ardor. & quot;Hopeless & quot; unfolds with overwhelming intensity & amp;#224; la Sinatra, and & quot;Sconsolato & quot; is served with a casual Hispanic flair. With subtly nuanced tenderness on & quot;My Ship & quot; and & quot;I Get Along ... & quot;, Murphy evokes a depths-of-night ambience in dialogue with the keys, while & quot;Just Give Me Time & quot; reflects a dark sensuality that swaggers between Swing and Bossa. & lt;/p & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;180g audiophile pressing & lt;/li & gt; & lt;li & gt;Analogue remastering (AAA) & lt;/li & gt; & lt;li & gt;Liner notes include remastering info & amp; a picture of the original master tape box & lt;/li & gt; & lt;li & gt;Made in Germany & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;musicians & quot; & gt; & lt;h3 & gt;Musicians & lt;/h3 & gt; & lt;table & gt; & lt;tr & gt; & lt;th & gt;Mark Murphy & lt;/th & gt; & lt;td & gt;vocals & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Jimmy Deuchar & lt;/th & gt; & lt;td & gt;trumpet & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Ake Persson & lt;/th & gt; & lt;td & gt;trombone & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Derek Humble & lt;/th & gt; & lt;td & gt;alto saxophone & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Ronnie Scott & lt;/th & gt; & lt;td & gt;tenor saxophone & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Sahib Shihab & lt;/th & gt; & lt;td & gt;baritone saxophone, flute & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Francy Boland & lt;/th & gt; & lt;td & gt;piano & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Jimmy Woode & lt;/th & gt; & lt;td & gt;bass & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Kenny Clarke & lt;/th & gt; & lt;td & gt;drums & lt;/td & gt; & lt;/tr & gt; & lt;!--More musician rows go here-- & gt; & lt;/table & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;h4 & gt;Side One: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Jump For Joy & lt;/li & gt; & lt;li & gt;I Don't Want Nothin' & lt;/li & gt; & lt;li & gt;Why And How & lt;/li & gt; & lt;li & gt;Alone Together & lt;/li & gt; & lt;li & gt;You Fascinate Me So & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side Two: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Hopeless & lt;/li & gt; & lt;li & gt;Sconsolato & lt;/li & gt; & lt;li & gt;My Ship & lt;/li & gt; & lt;li & gt;Just Give Me Time & lt;/li & gt; & lt;li & gt;I Get Along Without You Very Well & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;

Oscar Peterson Exclusively For My Friends 180g 6LP Box Set (Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;180g Virgin Vinyl 6LP Box Set! & lt;br & gt; Pure Analog Mastering! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt; & lt;strong & gt;Michael Fremer Rated 10/11 Music, 10/11 Sonics! & lt;/strong & gt; & lt;/p & gt; & lt;p & gt;MPS was a mecca for Oscar Peterson, George Duke, the Singers Unlimited, and a host of talented young European discoveries. Situated in Villingen, in Germany's Black Forest region, for some two decades MPS Records and studios wrote pioneering jazz history through its high-level recording technique and unmistakable aesthetic. Today the & quot;most perfect sound made in the Black Forest & quot; continues to light up the ears of analogue fans worldwide. A historical sketch. & lt;/p & gt; & lt;p & gt;The label's actual birth was in 1968, but it had a colorful prelude that entails the famous initials HGBS. As co-owner of the electronics manufacturer SABA, Industrialist Hans Georg Brunner-Schwer (HGBS) was not only an ardent audio engineer; he was also an amateur pianist who was crazy about music. In 1958 he built a recording studio above the living room in his villa. It contained the most sophisticated audio equipment available at that time. When Oscar Peterson came to Zurich to perform a concert in 1961, Brunner-Schwer lured Peterson to his villa, and the first house concert in the Black Forest. The Canadian was so impressed by HGBS's recording of the concert ( & quot;I never heard myself like this before... & quot;), that he decided to come back every year for a another living room session. Meanwhile, starting in 1963 HGBS began to produce records under the label name SABA. The recordings included pianists Wolfgang Dauner and Horst Jankowski. George Duke also appeared as guest for the first time in 1966. When Brunner-Schwer left SABA in 1968, he founded MPS (Musik Produktion Schwarzwald (Black Forest)) Records. The Peterson recordings were the first release under the new name - this became possible since Peterson had finished his contract with Verve. It was the beginning of an illustrious catalog which contained over 500 releases by 1982. & lt;/p & gt; & lt;p & gt;MPS evolved a vault of recordings filled with treasures from virtually every musical direction. The recording no longer took place solely in Villingen; there were now New York studio sessions and live recordings at the Berlin Jazz Festival. Close teamwork with such masterful sound engineers as Willi Fruth and Rolph Donner guaranteed that the demand for a high-quality sound-aesthetic would be met, and many new talents were brought into the MPS fold through the mediations of the reigning high priest of jazz, Joachim-Ernst Berendt, who was working at the nearby S & amp;#252;dwestfunk (Southwest Broadcasting) station. & lt;/p & gt; & lt;p & gt;Exclusively For My Friends is generally regarded as the heart of every Oscar Peterson collection. Peterson even raved that the MPS recordings, mainly due to the intimate atmosphere of inclusion in Hans Georg Brunner-Schwer's living room and its perfection and sensitivity as a sound engineer and producer, brought out Peterson's best. & lt;/p & gt; & lt;p & gt;The resulting 1963-1968 private concert recordings are the impressive result of the long friendship between the exceptional Canadian pianist and the Black Forest label owners. The recordings serve to document Peterson's exquisite playing style in high profile trios as well as Brunner-Schwer's keenness to create best possible sound characteristics. The AAA pressing of the complete audiophile edition is carried out on 180-gram virgin-vinyl. The sound of the original master-tapes was carefully optimized in a pure analogue mastering process to free them from their traces of aging. As a result MPS succeeds in meeting the highest audiophile standard found today. & lt;/p & gt; & lt;p & gt;180-gram individual pressings include Action, Girl Talk, The Way I Really Play, My Favorite Instrument, Mellow Mood and Travelin' On. & lt;/p & gt; & lt;blockquote cite= & quot;quote source & quot; & gt; What's most appealing here is that you get the spontaneity and excitement of a 'live' performance minus the nightclub chatter. When the songs end, you hear but a few hands clapping...Peterson passed away December 23, 2007 at age 82. Had he lived a few years longer he probably would have enjoyed listening to this box set in his 'hi-fi room filled with all the latest stereo equipment.' He can't but happily you can. & lt;footer & gt; -Michael Fremer, Analog Planet, Music 10/11, Sound 10/11 & lt;/footer & gt; & lt;/blockquote & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;6LP Deluxe Box Set & lt;/li & gt; & lt;li & gt;180g Virgin Vinyl & lt;/li & gt; & lt;li & gt;Pure Analog Mastering Process & lt;/li & gt; & lt;li & gt;Removal of all traces of aging from original MPS tapes & lt;/li & gt; & lt;li & gt;Meticulous analog optimizing of the tapes & lt;/li & gt; & lt;li & gt;Faithfulness to the original recording & lt;/li & gt; & lt;li & gt;Analog lacquer cutting from the remastered tapes & lt;/li & gt; & lt;li & gt;Records in first edition style of MPS & lt;/li & gt; & lt;li & gt;Adaptation of the original gatefolds & lt;/li & gt; & lt;li & gt;Including all additional pages and accompanying texts & lt;/li & gt; & lt;li & gt;Vinyl labels modeled from the originals & lt;/li & gt; & lt;li & gt;Gatefolds with glossy varnish finish & lt;/li & gt; & lt;li & gt;Slipcase with debossed text & lt;/li & gt; & lt;li & gt;Made in Germany & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;musicians & quot; & gt; & lt;h3 & gt;Musicians & lt;/h3 & gt; & lt;table & gt; & lt;tr & gt; & lt;th & gt;Oscar Peterson & lt;/th & gt; & lt;td & gt;piano (all) & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Ray Brown & lt;/th & gt; & lt;td & gt;bass (Action, Girl Talk) & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Ed Thigpen & lt;/th & gt; & lt;td & gt;drums & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Sam Jones & lt;/th & gt; & lt;td & gt;bass (Girl Talk, The Way I Really Play, Mellow Mood, Travelin' On) & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Louis Hayes & lt;/th & gt; & lt;td & gt;drums (Girl Talk) & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Bobby Durham & lt;/th & gt; & lt;td & gt;drums (Girl Talk, The Way I Really Play, Mellow Mood, Travelin' On) & lt;/td & gt; & lt;/tr & gt; & lt;!--More musician rows go here-- & gt; & lt;/table & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;h4 & gt;Vol. I - Action & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;At Long Last Love & lt;/li & gt; & lt;li & gt;Easy Walker & lt;/li & gt; & lt;li & gt;Tin Tin Deo & lt;/li & gt; & lt;li & gt;I've Got a Crush On You & lt;/li & gt; & lt;li & gt;Foggy Day & lt;/li & gt; & lt;li & gt;Like Someone In Love & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Vol. II - Girl Talk & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;On A Clear Day & lt;/li & gt; & lt;li & gt;I'm In the Mood For Love & lt;/li & gt; & lt;li & gt;Girl Talk & lt;/li & gt; & lt;li & gt;Medley: Concentrate On You/Moon River & lt;/li & gt; & lt;li & gt;Robbins Nest & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Vol. III - The Way I Really Play & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Waltzing Is Hip & lt;/li & gt; & lt;li & gt;Satin Doll & lt;/li & gt; & lt;li & gt;Love Is Here To Stay & lt;/li & gt; & lt;li & gt;Sandy's Blues & lt;/li & gt; & lt;li & gt;Alice In Wonderland & lt;/li & gt; & lt;li & gt;Noreen's Nocturne & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Vol. IV - My Favorite Instrument (solo) & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Someone To Watch Over Me & lt;/li & gt; & lt;li & gt;Perdido & lt;/li & gt; & lt;li & gt;Body And Soul & lt;/li & gt; & lt;li & gt;Who Can I Turn To & lt;/li & gt; & lt;li & gt;Bye, Bye Blackbird & lt;/li & gt; & lt;li & gt;I Should Care & lt;/li & gt; & lt;li & gt;Lulu's Back In Town & lt;/li & gt; & lt;li & gt;Little Girl Blue & lt;/li & gt; & lt;li & gt;Take The & quot;A & quot; Train & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Vol. V - Mellow Mood & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;In A Mellotone & lt;/li & gt; & lt;li & gt;Nica's Dream & lt;/li & gt; & lt;li & gt;Green Dolphin Street & lt;/li & gt; & lt;li & gt;Summertime & lt;/li & gt; & lt;li & gt;Sometimes I'm Happy & lt;/li & gt; & lt;li & gt;Who Can I Turn To & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Vol. VI - Travelin' On & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Travelin' On & lt;/li & gt; & lt;li & gt;Emily & lt;/li & gt; & lt;li & gt;Quiet Nights & lt;/li & gt; & lt;li & gt;Sax No End & lt;/li & gt; & lt;li & gt;When Lights Are Low & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;

Friedrich Gulda Message From G Numbered Limited Edition 180g 6LP Box Set (Vinyl)

& lt;b & gt; & lt;font color= & quot;#FF0000 & quot; & gt;Numbered Limited Edition 180g Vinyl 6LP Box Set! & amp;nbsp; Analogue Remastering (AAA)! & lt;br & gt; Pressed at Optimal Media GmbH in Germany! & amp;nbsp; Pure Analogue Transfer to the Lacquer Master! & lt;/font & gt; & lt;/b & gt; & lt;br & gt; & lt;br & gt; Pianist Friedrich Gulda, along with Ursula Anders on drums, performs compositional works by Bach, Mozart and Debussy and more. & lt;br & gt; & lt;br & gt; The album entitled Message from G that was released in 1979 on the MPS label embodies more than any other the visionary creativity of the composer and pianist Friedrich Gulda. On the album, he traces the paths of the great masters, Bach, Mozart and Debussy, whose works he plays – works which then provide him with the most diverse of inspirations for his own compositions – long before classical music opened up to other influences. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;My aim in remastering “Message from G” was not to change anything in the recordings of the three concerts of 1978; not to adapt them to today’s listening habits or to modify them; on the contrary, the aim was to capture that special beauty of musicality and tone and to achieve a sound as close to the original recordings as possible. To that end, the master tape was comprehensively reworked: on the one hand by careful selection and the finest calibration of the tape equipment and the subsequent signal chain, and on the other hand by making very sensitive adjustments to the frequency range and the amplitude level. The theoretical basis for this was, among other things, an original vinyl disc that I used frequently for comparison purposes. We worked exclusively with analogue technology to produce the re-release. Despite an intensive search, the original master tapes of LP 1, B-side – “For Rico”, “Italian Concerto”, “Aria” (Version 1) and LP 3, B-side “Sonata in B flat major”, “Aria” (Version 2) – were not to be found either in the MPS Archives in Villingen as backup copies or in the original tape archives and must therefore be considered as lost. & quot; & lt;/b & gt; - Producer's Comment: Christoph Stickel & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • Numbered, Limited Edition & lt;br & gt; • Analogue remastering (AAA) & lt;br & gt; • 6LP Box Set & lt;br & gt; • 180g Virgin Vinyl & lt;br & gt; • Pressed at Optimal Media GmbH in Germany & lt;br & gt; • True to the Original configuration: Records in original edition style of MPS adaptation of the original LP, vinyl labels modeled from the originals & lt;br & gt; • Removal of all traces of aging from the original MPS tapes, meticulous analog optimizing of the tapes. Strict adherence to the sound aesthetics of the era & lt;br & gt; • Pure analogue transfer to the lacquer master & lt;br & gt; • Liner notes include remastering info & amp; pictures of the original master tape boxes & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Friedrich Gulda, piano & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; First Concert: & lt;/b & gt; & lt;br & gt; 1. Chromatic Fantasy And Fugue (Bach) & lt;br & gt; 2. Arabic-Gipsyish Fantasy (Gulda) & lt;br & gt; 3. Prelude And Fugue from the Well-Tempered Clavier, Part II, in D minor (Bach) & lt;br & gt; 4. For Rico (Gulda) & lt;br & gt; 5. Italian Concerto (Bach) & lt;br & gt; 6. Aria - Version I (Gulda) & lt;br & gt; 7. Introduction And Dance (Gulda) & lt;br & gt; 8. For Paul (Gulda) & lt;br & gt; 9. Variations (Gulda) & lt;br & gt; 10. Prelude And Fugue (Gulda) & lt;br & gt; 11. Variations on & quot;Light My Fire & quot; (Gulda) & lt;br & gt; & lt;b & gt;Second Concert: & lt;/b & gt; & lt;br & gt; 12. Blues for Joe Venuti (Gulda) & lt;br & gt; 13. Fantasy in D minor (Mozart) & lt;br & gt; 14. Fantasy in C minor (Mozart) & lt;br & gt; 15. Sonata in B-flat Major & lt;br & gt; 16. Aria - Version II (Gulda) & lt;br & gt; 17. Selbstgesprach im Kasgraben (Gulda) & lt;br & gt; 18. Les sons et les parfums tournent dans l'air du soir (Debussy) & lt;br & gt; 19. Ondine (Debussy) & lt;br & gt; 20. La terrasse des audiences du claire du lune (Debussy) & lt;br & gt; 21. Brouillards (Debussy) & lt;br & gt; 22. Poem (Pauer, Gulda, Anders, Kiwus, Fuchs) & lt;br & gt; & lt;b & gt;Third Concert: & lt;br & gt; Besuch vom alten G (Gulda / Goeth / Anders) & lt;/b & gt; & lt;br & gt; 23. Part I & lt;br & gt; 24. Part I (cont.) & lt;br & gt; 25. Part II & lt;br & gt; 26. Part II (conclusion)

The Dizzy Gillespie Reunion Big Band 20th And 30th Anniversary 180g LP (Vinyl)

& lt;b & gt; & lt;font color= & quot;#FF0000 & quot; & gt;Limited Edition 180g Virgin Vinyl! Analogue Remastering (AAA)! & lt;/font & gt; & lt;/b & gt; & lt;br & gt; & lt;br & gt; Highlights radiate through the history of the Berlin Jazz Days, and November 7, 1968 was a particularly memorable one. On that evening Dizzy Gillespie visited the city on the Spree river; that alone would be enough for every jazz fan to jump for joy, since by that time the incomparable trumpeter was one of the few remaining constants in modern jazz. And he hadn’t brought just any orchestra with him – Dizzie’s combo included outstanding soloists from every phase of his career: saxophonist Cecil Payne and trombonist Ted Kelly from the '40s colleague Curtis Fuller out of Dizzie’s '50s groups, and from the younger generation representing the '60s Gillespie protégé trumpeter Jimmy Owens. These are only a few of the creative heads in Dizzie’s star-studded “Reunion Big Band”. Put together by Gillespie’s long-time musical companion Gil Fuller, the band only needed a few days’ rehearsals before they were breathing as one and ready to conduct their triumphant European tour. They strut their stuff in six pieces, from the exuberant, animalistic energy of “Things To Come” through Paul West’s swinging bass work on “One Bass Hit” on to “Frisco”, pianist Mike Longo’s composition with its chromatic ostinato resounding like a gangster movie soundtrack. From the Latin-saturated “Con Alma” with Dizzy dancing through the piece, through to the precisely arranged “Things Are There”, a wild chase that, after a series of excellent solos, ends in Candy Finch’s drumming fireworks. Dizzy Gillespie commented back then that it was his best big band of the last 20 years. After listening to the music you’ll have to agree. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g audiophile pressing & lt;br & gt; • Analogue remastering (AAA) & lt;br & gt; • Liner notes include remastering info & amp; a picture of the original master tape box & lt;br & gt; • Adapted original cover artwork & lt;br & gt; • Gatefold Jacket & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side A: & lt;/b & gt; & lt;br & gt; 1. Things To Come & lt;br & gt; 2. One Bass Hit & lt;br & gt; 3. Frisco & lt;br & gt; & lt;b & gt;Side B: & lt;/b & gt; & lt;br & gt; 4. Con Alma & lt;br & gt; 5. The Things Are Here & lt;br & gt; 6. Theme - Birks Works

Clark Terry Clark After Dark The Ballad Artistry Of Clark Terry 180g LP (Vinyl)

& lt;b & gt; & lt;font color= & quot;#FF0000 & quot; & gt;Limited Edition 180g Virgin Vinyl! Analogue Remastering (AAA)! & lt;/font & gt; & lt;/b & gt; & lt;br & gt; & lt;br & gt; Trumpeter Clark Terry legitimized the flugelhorn as a front-line instrument in jazz. Possessing a golden-warm, crystal-pure sound and prodigious technique, he worked with the Ellington and Basie Bands as well as most of the major players of the last 50 years, participating in over 900 recordings. Terry was also an important mentor to the likes of the young Miles Davis, Pat Metheny, and Quincy Jones. In 2010 he received a Grammy for life-time achievement. & lt;br & gt; & lt;br & gt; This amazing album finds Terry backed by a 50-piece orchestra featuring the cream of London’s session musicians, including 28 strings. The album contains 12 classic ballads. For instance: Nature Boy with its richly woven orchestral tapestry of lush, dark harmonies, and Willow Weep For Me with the brassy-blue big band sound backing Terry’s wide-ranging solo, the flowing warmth and depth of November Song, the melancholy of Yesterdays, and the foreboding of Angel Eyes, transformed into an easy double-time swing punctuated by a lush horn and string arrangement before Terry returns with a somber statement of love lost. It’s a great album for late-night romancing, or simply lay back in your armchair and enjoy the artistry of one of the most coherent, beautiful sounding players jazz has to offer. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g audiophile pressing & lt;br & gt; • Analogue remastering (AAA) & lt;br & gt; • Liner notes include remastering info & amp; a picture of the original master tape box & lt;br & gt; • Adapted original cover artwork & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Clark Terry, flugelhorn & lt;br & gt; Orchestra assembled by Nat Peck & lt;br & gt; Peter Herbolzheimer, conductor & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side 1: & lt;/b & gt; & lt;br & gt; 1. Misty & lt;br & gt; 2. Nature Boy & lt;br & gt; 3. Georgia On My Mind & lt;br & gt; 4. November Song & lt;br & gt; 5. Clark After Dark & lt;br & gt; & lt;b & gt;Side 2: & lt;/b & gt; & lt;br & gt; 6. Willow Weep For Me & lt;br & gt; 7. Yesterdays & lt;br & gt; 8. Emily & lt;br & gt; 9. Angel Eyes & lt;br & gt; 10. Girl Talk

The Singers Unlimited Christmas 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Limited Edition 180g Virgin Vinyl! Analogue Remastering (AAA)! & lt;br & gt; Remastered from the Original Master Tapes! & lt;/font & gt; & lt;/b & gt; & lt;br & gt; & lt;br & gt; Tired of the same old Christmas carols sung the same old way? Then the Singers Unlimited’s 1971 MPS album “Christmas” is the perfect stocking stuffer. Leader Gene Puerling’s advanced harmonic concepts influenced Take Six, Manhattan Transfer, and Brian Wilson. Legendary jazz singer Jon Hendricks compared Puerling to pioneering saxophonist Charlie Parker, exclaiming & quot;Gene broadened the harmonies, like Bird did with bebop.” Arguably the best-known of the 15 albums Singers Unlimited recorded for MPS, “Christmas” contains such classics as “Deck the Halls”, “Silent Night”, and “It Came Upon a Midnight Clear”, arranged in Puerling’s signature style. The a capella quartet modulates between the traditional and the jazz-inflected modern, at times exuberant, at times reflective. Seven originals were penned by jazz trumpeter Alfred Burt. First intended as Christmas cards for friends and family with lyrics by Burt’s Episcopalian pastor-father, the compositions have since become distinctive season standards. & lt;br & gt; & lt;br & gt; Sounding as clean and pure as a child’s breath on a cold winter morning, “Christmas” is a holiday gift that is a joy to listen to at any time of the year. & lt;br & gt; & lt;br & gt; Formed in 1971, The Singers Unlimited were a four-part jazz vocal group whose members included Gene Puerling, Len Dresslar (also known as the Jolly Green Giant voice in commercials), Bonnie Herman, and Don Shelton. Originally formed to record for US commercials in the USA, they were persuaded to enter the recording studio to record a series of albums with their best known release ultimate being their Christmas album which combined the familiar holiday chesnuts with the jazzy bop of the group’s vocals along with musical guests. & lt;br & gt; & lt;br & gt; Remastered from the original master tapes. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g audiophile pressing & lt;br & gt; • Analogue remastering (AAA) & lt;br & gt; • Remastered from original master tapes & lt;br & gt; • Liner notes include remastering info & amp; a picture of the original master tape box & lt;br & gt; • Adapted original cover artwork & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; The Singers Unlimited: & lt;br & gt; Len Dresslar & lt;br & gt; Bonnie Herman & lt;br & gt; Don Shelton & lt;br & gt; Gene Puerling (leader) & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side 1: & lt;/b & gt; & lt;br & gt; 1. Deck The Halls & lt;br & gt; 2. Ah Bleak & amp; Chill The Wintry Wind & lt;br & gt; 3. Bright, Bright The Holly Berries & lt;br & gt; 4. Jesu Parvule & lt;br & gt; 5. Caroling, Caroling & lt;br & gt; 6. What Are The Signs & lt;br & gt; 7. Night Bethlehem & lt;br & gt; 8. While Be My Sheep & lt;br & gt; 9. It Came Upon A Midnight Clear & lt;br & gt; & lt;b & gt;Side 2: & lt;/b & gt; & lt;br & gt; 10. Silent Night & lt;br & gt; 11. Joy To The World & lt;br & gt; 12. Wassail Song & lt;br & gt; 13. Carol Of The Russian Children & lt;br & gt; 14. Good King Wenceslas & lt;br & gt; 15. Coventry Carol & lt;br & gt; 16. Oh Come All Ye Faithful & lt;br & gt; 17. Have Yourself A Merry Little Christmas

The Kenny Clarke Francy Boland Big Band All Smiles 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180 Gram Pressing! Analogue Remastering (AAA)! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Without ever making concessions to the trend of the moment, the Kenny Clarke–Francy Boland Big Band was the embodiment of the timeless art of the jazz orchestra. Its play was proof positive that a jazz big band compiled of top-flite musicians from both sides of the Atlantic could take off and soar. Regarded as the most important big band outside of the US, this bi-continental orchestra recorded over two dozen albums, close to a third of these under the SABA and MPS labels. Recorded in May, 1968, “All Smiles” was one of the Band’s highpoints. The album exhibits a style that became synonymous with this US-European enterprise: it not only swung – it was the perfect vehicle for Boland’s sophisticated modern arrangements. Trumpeters Benny Bailey and Idrees Sulieman, saxophonists Johnny Griffin and Ronnie Scott, as well as special guest vibraphonist Dave Pike are some of the jazz giants among the soloists in this 17-man combo who turn out some masterly short portraits. From the fleet-footed waltz “I’m All Smiles” to the bluesy party piece, “By Strauss” and the sensuous theme from “Gloria”, the journey continues on through to the furious John Phillip Souza finale, “High School Cadets”. Preferring varicolored intricacy over massive walls of sound, The Kenny Clarke/Francy Boland Big Band stood up against the constant flow of momentary fads, remaining true to the inventive tradition of the great big bands. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g Audiophile pressing & lt;br & gt; • Analogue remastering (AAA) & lt;br & gt; • Gatefold & lt;br & gt; • Liner notes, remastering information and a picture of the original master tape box inside & lt;br & gt; • Made in Germany & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Kenny Clarke, drums, co-leader & lt;br & gt; Francy Boland, piano, co-leader & lt;br & gt; Benny Bailey, trumpet & lt;br & gt; Idrees Sulieman, trumpet & lt;br & gt; Jimmy Deuchar, trumpet & lt;br & gt; Sonny Grey, trumpet & lt;br & gt; Ake Persson, trombone & lt;br & gt; Nat Peck, trombone & lt;br & gt; Erik van Lier, trombone & lt;br & gt; Derek Humble, alto saxophone & lt;br & gt; Johnny Griffin, tenor saxophone & lt;br & gt; Ronnie Scott, tenor saxophone & lt;br & gt; Tony Coe, tenor saxophone & lt;br & gt; Sahib Shihab, baritone saxophone & lt;br & gt; Jimmy Woode, bass & lt;br & gt; Kenny Clare, drums & lt;br & gt; Dave Pike, vibes & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side I: & lt;/b & gt; & lt;br & gt; 1. Let's Face The Music And Dance & lt;br & gt; 2. I'm All Smiles & lt;br & gt; 3. You Stepped Out Of A Dream & lt;br & gt; 4. I'm Glad There Is You & lt;br & gt; 5. Get Out Of Town & lt;br & gt; & lt;b & gt;Side II: & lt;/b & gt; & lt;br & gt; 1. By Strauss & lt;br & gt; 2. When Your Lover Has Gone & lt;br & gt; 3. Gloria & lt;br & gt; 4. Sweet And Lovely & lt;br & gt; 5. High School Cadets

Don Ellis Soaring 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180 Gram Pressing! Analogue Remastering (AAA)! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Classical, Avant-garde, East Indian and Balkan metric concepts, big band jazz – Don Ellis brought it all together with his own orchestra; as early as the 1966 Monterey Jazz Festival, Ellis and band were putting the public’s expectations to the test. Over the years Ellis expanded and refined the band’s fantastic expressive abilities by, for instance, the integration of a string quartet into the group, or inviting the Bulgarian pianist Milcho Leviev as special guest. In 1973, trumpeter Ellis and orchestra recorded two albums for MPS. This first album is titled & quot;Soaring & quot;; the scintillating music created by 22 musicians, including a 12-piece horn section, three percussionists, and a string quartet provides a shimmering, translucent texture captured in a Hollywood studio at the zenith of the band’s abilities. On the first composition, & quot;Whiplash & quot;, Ellis demonstrates how his band could accommodate funk to 7-beat time signature. & quot;Sladka Pitka & quot; is a showcase for insanely complex time signatures, and when it comes to & quot;The Devil Made Me Write This Piece & quot; with its layering of samba, legato strings, and chromatic lines, the devil is indeed in the details. With & quot;Go Back Home & quot;, tenor saxophonist Sam Falzone gifted the band with an instrumental hit, and & quot;Invincible & quot; is characterized by dramatic, lyrical paintings in sound. Ellis allows for some tender moments on & quot;Images Of Maria & quot; and & quot;Nicole & quot;, whereas Czech composer Aleksej Fried’s & quot;Sidonie & quot; celebrates an exuberant festival of uneven rhythms. No question – on & quot;Soaring & quot;Don Ellis gave the concept of big band jazz a completely new meaning. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g Audiophile pressing & lt;br & gt; • Analogue remastering (AAA) & lt;br & gt; • Liner notes, remastering information and a picture of the original master tape box inside & lt;br & gt; • Made in Germany & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Don Ellis, trumpet, electric trumpet, fluegelhorn, drums & lt;br & gt; Fred Selden, alto sax, flute, soprano sax, piccolo, alto flute & lt;br & gt; Vince Denham, alto sax, tenor sax, soprano sax, flute, piccolo & lt;br & gt; Sam Falzone, tenor sax, clarinet, flute & lt;br & gt; Gary Herbig, baritone sax, soprano sax, clarinet, flute, oboe & lt;br & gt; Gil Rathel, trumpet, fluegelhorn & lt;br & gt; Bruce Mackay, trumpet, fluegelhorn & lt;br & gt; Jack Caudill, trumpet, fluegelhorn & lt;br & gt; Sidney Muldrow, french horn & lt;br & gt; Mike Jamieson, trombone & lt;br & gt; Ken Sawhill, bas trombone & lt;br & gt; Doug Bixby, tuba & lt;br & gt; Jay Graydon, guitar, bag & lt;br & gt; Milcho Leviev, piano, Fender-Rhodes piano, organ, clavinet & lt;br & gt; Dave McDaniel, bass & lt;br & gt; Ralph Humprey, drums & lt;br & gt; Ron Dunn, drums, percussion & lt;br & gt; Lee Pastora, conga & lt;br & gt; Joel Quivey, electric violin & lt;br & gt; Earle Corry, electric violin & lt;br & gt; Renita Koven, electric viola & lt;br & gt; Pat Kudzia, electric cello & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side I: & lt;/b & gt; & lt;br & gt; 1. Whiplash & lt;br & gt; 2. Sladka Pitka & lt;br & gt; 3. The Devil Made Me Write This Piece & lt;br & gt; 4. Go Back Home & lt;br & gt; & lt;b & gt;Side II: & lt;/b & gt; & lt;br & gt; 1. Invincible & lt;br & gt; 2. Image Of Maria & lt;br & gt; 3. Sidonie & lt;br & gt; 4. Nicole

Baden Powell Live in Berlin 180g 3LP (Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;Extraordinary Live Recording On 3LP! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt;In April 2000, an extraordinary event commemorating the 500th anniversary of the discovery of Brazil featured the great master of Brazilian guitar, Baden Powell. This was to be his last concert in Germany. The stage had been prepared for the man, who like no other, understood how to blend Afro-American and European music together. Within the framework of the Brasil 500 festival, the stage in Berlin was set as he made his appearance, in his obligatory white suit, making it the highlight of the festival. His beautifully clear and stylish performance ensured that the fully packed hall was held mesmerized for over two hours. & lt;/p & gt; & lt;p & gt;In his lifetime, he recorded 60 albums and composed over 100 songs incorporating various styles such as Samba, Jazz and Baroque elements into his music. He also part founded the & quot;Bossa Nova. & quot; He was closely affiliated to Europe where he experienced even more success than in his homeland. This aspect flowed into the linking stories told that night and as he moved from song to song served to evidence the fact that he was one of the world's greatest acoustic guitarists. Unforgettable was his & quot;Samba triste & quot;. He is quoted as saying in one of his songs, & quot;to write a really beautiful Samba, you need a little sadness. & quot; Anybody who was lucky enough to have been there that night will never forget it. Baden Powell passed way shortly after in September 2000. & lt;/p & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;180g 3LP & lt;/li & gt; & lt;li & gt;Made in Germany by optimal media GmbH & lt;/li & gt; & lt;!--More features go here in & lt;li & gt; tags-- & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;h4 & gt;Side A: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Vento vadio instrumental & lt;/li & gt; & lt;li & gt;Samba do Avi & amp;#227;o & lt;/li & gt; & lt;li & gt;Naquele tempo ch & amp;#244;ro & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side B: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Abaet & amp;#233; & lt;/li & gt; & lt;li & gt;Manh & amp;#227; de carnaval & lt;/li & gt; & lt;li & gt;Samba triste & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side C: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Gar & amp;#244;ta de ipanema & lt;/li & gt; & lt;li & gt;Varia & amp;#231; & amp;#245;es sobre asa branca & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side D: & lt;/h4 & gt; & lt;li & gt;Chega de Saudade & lt;/li & gt; & lt;li & gt;Medley Bolinha De papel falseta / Primeira vez & lt;/li & gt; & lt;li & gt;Samba em prel & amp;#250;dio & lt;/li & gt; & lt;li & gt;Tocata 147 & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side E: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Berimbau & lt;/li & gt; & lt;li & gt;Samba de ben & amp;#231; & amp;#227;o & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side F: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Medley n & amp;#234;ga do cabelo duro / Samba da minha terra & lt;/li & gt; & lt;li & gt;Marcha escocesa instrumental & lt;/li & gt; & lt;!--More tracks go here in & lt;li & gt; tags-- & gt; & lt;/ol & gt; & lt;/section & gt;

John Taylor Trio Decipher 180g LP (Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;180 Gram Pressing! Analogue Remastering (AAA)! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt; & quot;...one of contemporary jazz's great performers... & quot; so reads the prestigious Guardian newspaper's assessment of English pianist John Taylor. As house pianist at London's legendary Ronny Scott's jazz club, Taylor accompanied many of the icons of jazz, and in so doing honed his individual style into what became one of the most important voices on the European jazz scene. The gigs and recordings of his own groups, his long-time association with trumpeter Kenny Wheeler, his many ECM trio recordings with Peter Erskine and Palle Danielsonn and groups lead by the likes of Jan Garbarek and John Surman established Taylor's importance. Taylor's 1973 MPS trio album Decipher features two top players, bassist Chris Laurence and drummer Tony Levin, who perfectly compliment Taylor's wide-ranging style on an album that offers the listener a delicious taste of his compositions. The virtuoso sprint of Cipher melds into the varying tempos and emotions of Wait For Me, whereas Leaping is a pointillist abstract exchange between the three. The emotive jazz waltz Speak to Me plays some magical slight-of-hand with the time, and Song For a Child sings out as a soft-spoken ballad. White Magic powers through as a hard-swinging elixir for all that ails. Taylor's second album as leader presents a master composer/player at full maturity - what a joy that this music is available once again. & lt;/p & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;180g Audiophile pressing & lt;/li & gt; & lt;li & gt;Analogue remastering (AAA) & lt;/li & gt; & lt;li & gt;Liner notes, remastering information and a picture of the original master tape box inside & lt;/li & gt; & lt;li & gt;Gatefold jacket & lt;/li & gt; & lt;li & gt;Made in Germany & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;musicians & quot; & gt; & lt;h3 & gt;Musicians & lt;/h3 & gt; & lt;table & gt; & lt;tr & gt; & lt;th & gt;John Taylor & lt;/th & gt; & lt;td & gt;piano & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Chris Laurence & lt;/th & gt; & lt;td & gt;bass & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Tony Levin & lt;/th & gt; & lt;td & gt;drums & lt;/td & gt; & lt;/tr & gt; & lt;/table & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;h4 & gt;Side A: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Cipher / Wait For Me & lt;/li & gt; & lt;li & gt;Leaping & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side B: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Speak To Me & lt;/li & gt; & lt;li & gt;Song For A Child & lt;/li & gt; & lt;li & gt;White Magic & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;

The Count Basie Orchestra High Voltage 180g LP (Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;180g Vinyl LP! & lt;br & gt; Audiophile Analogue Remastering! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt;When in January, 1970 Count Basie entered the studio with his 17-piece big band to record High Voltage, he ushered in the last full decade as bandleader of his Orchestra. The Orchestra had left its imprint on the sixties by recording with the likes of Frank Sinatra and Ella Fitzgerald. There would be more great albums with star vocalists in the '70s but the band's purely instrumental works, which had begun in 1965, would also continue. Back then Basie had engaged acclaimed Cuban composer/arranger Chico O'Farrill to arrange the music for such concept albums as Basie Meets Bond and Basie's Beatle Bag, transforming them into crossover gems. & lt;/p & gt; & lt;p & gt;On High Voltage, arranger Chico O'Farrill demonstrates his affinity to Basie's big band sound, this time with a repertoire of standards. For this album, Basie specifically chose pieces the band had never recorded in their more than 30-year existence. This is saying something, since the band covers such an impressive span of jazz history, from the beginning of the swing era to the bop-influenced bands of the '50s on through to the present album. The Count's new drummer Harold Jones propels Fred Fisher's & quot;Chicago & quot; with a tremendous drive. The Rogers and Hart classic & quot;Have You Met Miss Jones & quot; features beguilingly dense deep-register horn lines and an almost languorous piano, and Eric Dixon's tasty flute solo spices up & quot;The Lady Is A Tramp. & quot; & lt;/p & gt; & lt;p & gt;With its smoky sophistication, Eddie Lockjaw Davis's Tenor dominates & quot;Bewitched, & quot; whereas guest trumpeter Joe Newman's muted tongue-in-cheek solo highlights & quot;Day In Day Out. & quot; Of course, Basie himself also steps forward: for instance, on the Fats Waller-like intro to & quot;I'm Getting Sentimental Over You, & quot; and with the playful grace notes on & quot;If I Were A Bell. & quot; Reminiscent of the Las Vegas shows the band performed with Frank Sinatra, & quot;Get Me To The Church On Time & quot; is also a masterful dialogue between the horn sections. & lt;/p & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;180g Vinyl & lt;/li & gt; & lt;li & gt;Audiophile analog remastering & lt;/li & gt; & lt;li & gt;Liner notes, remastering information & amp; a picture of the original master tape box inside & lt;/li & gt; & lt;li & gt;Gatefold jacket & lt;/li & gt; & lt;li & gt;Made in Germany by Optimal Media GmbH & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;h4 & gt;Side 1: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Chicago & lt;/li & gt; & lt;li & gt;Have You Met Miss Jones & lt;/li & gt; & lt;li & gt;The Lady Is A Tramp & lt;/li & gt; & lt;li & gt;I'm Getting Sentimental Over You & lt;/li & gt; & lt;li & gt;Bewitched & lt;/li & gt; & lt;li & gt;Day In Day Out & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side 2: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Get Me To The Church On Time & lt;/li & gt; & lt;li & gt;When Sonny Gets Blue & lt;/li & gt; & lt;li & gt;On the Sunny Side Of The Street & lt;/li & gt; & lt;li & gt;Together & lt;/li & gt; & lt;li & gt;If I Were A Bell & lt;/li & gt; & lt;li & gt;I Didn't Know What Time It Was & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;

Bill Evans Symbiosis 180g LP (Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;Limited Edition 180g Virgin Vinyl! Analogue Remastering (AAA)! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt; & quot;Symbiosis & quot; - Ogerman's potent melding of contemporary classical and jazz with NY Philharmonic players, top jazz musicians, and the Bill Evans Trio. Classic Evans in an unusual setting. & lt;/p & gt; & lt;p & gt;Bill Evans was the leader of one of most influential trios in jazz history, and invaluable contributor to the model explorations on Miles Davis' Kind of Blue. Miles said it best: & quot;Bill had this quiet fire that I loved on piano. The way he approached it, the sound he got was like crystal notes or sparkling water cascading down from some clear waterfall. & quot; & lt;/p & gt; & lt;p & gt;Claus Ogerman is one of the most prolific 20th century arranger-composers, at home in every style (rock, pop, jazz, classical). & lt;/p & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;180g audiophile pressing & lt;/li & gt; & lt;li & gt;Analogue remastering (AAA) & lt;/li & gt; & lt;li & gt;Liner notes include remastering info & amp; a picture of the original master tape box & lt;/li & gt; & lt;li & gt;Adapted original cover artwork & lt;/li & gt; & lt;li & gt;Gatefold Jacket & lt;/li & gt; & lt;li & gt;Made in Germany & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;musicians & quot; & gt; & lt;h3 & gt;Musicians & lt;/h3 & gt; & lt;table & gt; & lt;tr & gt; & lt;th & gt;Bill Evans & lt;/th & gt; & lt;td & gt;Steinway, Fender-Rhodes piano & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Eddie Gomez & lt;/th & gt; & lt;td & gt;bass & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Marty Morell & lt;/th & gt; & lt;td & gt;drums & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Phil Woods & lt;/th & gt; & lt;td & gt;alto sax & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Jerry Dodgion & lt;/th & gt; & lt;td & gt;alto sax & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Walt Levinsky & lt;/th & gt; & lt;td & gt;alto sax & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Harvey Estrin & lt;/th & gt; & lt;td & gt;alto sax & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Marvin Stamm & lt;/th & gt; & lt;td & gt;trumpet & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Johnny Frosk & lt;/th & gt; & lt;td & gt;trumpet & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Bernie Glow & lt;/th & gt; & lt;td & gt;trumpet & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Marky Markowitz & lt;/th & gt; & lt;td & gt;trumpet & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Victor Paz & lt;/th & gt; & lt;td & gt;trumpet & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Mel Davis & lt;/th & gt; & lt;td & gt;trumpet & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Urbie Green & lt;/th & gt; & lt;td & gt;tenor trombone & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Paul Faulise & lt;/th & gt; & lt;td & gt;bass trombone & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Tommy Mitchell & lt;/th & gt; & lt;td & gt;bass trombone & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Don Butterfield & lt;/th & gt; & lt;td & gt;tuba & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Bill Slapin & lt;/th & gt; & lt;td & gt;flute & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Don Hammond & lt;/th & gt; & lt;td & gt;flute & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Hubert Laws & lt;/th & gt; & lt;td & gt;flute & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;George Marge & lt;/th & gt; & lt;td & gt;oboe & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Phil Bodner & lt;/th & gt; & lt;td & gt;oboe & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Danny Bank & lt;/th & gt; & lt;td & gt;clarinet, bass clarinet & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Ron Janelly & lt;/th & gt; & lt;td & gt;clarinet, bass clarinet & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Wally Kane & lt;/th & gt; & lt;td & gt;bassoon & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Donald MacCourt & lt;/th & gt; & lt;td & gt;contra bassoon & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Brooks Tillotson & lt;/th & gt; & lt;td & gt;French horn & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;James Buffington & lt;/th & gt; & lt;td & gt;French horn & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Earl Chapin & lt;/th & gt; & lt;td & gt;French horn & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Ray Alonge & lt;/th & gt; & lt;td & gt;French horn & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Al Richmond & lt;/th & gt; & lt;td & gt;French horn & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Pete Gordon & lt;/th & gt; & lt;td & gt;French horn & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;George Devens & lt;/th & gt; & lt;td & gt;percussion & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Dave Carey & lt;/th & gt; & lt;td & gt;percussion & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Doug Allen & lt;/th & gt; & lt;td & gt;percussion & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Ralph McDonald & lt;/th & gt; & lt;td & gt;conga & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;David Nadien & lt;/th & gt; & lt;td & gt;concert master & lt;/td & gt; & lt;/tr & gt; & lt;/table & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;h4 & gt;Side 1: & lt;/h4 & gt; & lt;h5 & gt;1st Movement (Moderato, various tempi) & lt;/h5 & gt; & lt;ol & gt; & lt;li & gt;a) & lt;/li & gt; & lt;li & gt;b) & lt;/li & gt; & lt;li & gt;c) & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side 2: & lt;/h4 & gt; & lt;h5 & gt;2nd Movement (Largo - Andante - Maestoso - Largo) & lt;/h5 & gt; & lt;ol & gt; & lt;li & gt;a) & lt;/li & gt; & lt;li & gt;b) & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;

Volker Kriegel Spectrum 180g LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180 Gram Pressing! Analogue Remastering (AAA)! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; In 1971, 27-year-old guitarist Volker Kriegel gifted MPS one of his most amazing recordings ever - the second one under his own name, while at the same time playing a parallel role as guitarist with the popular group the Dave Pike Set. In this quintet lineup, Kriegel’s amazing qualities fan out into the areas of jazz-rock, lyrical folk and free jazz. There are the familiar sitar-Indie-rock tones, familiar to listeners through Kriegel's play with Dave Pike: & quot;Zoom & quot; opens the album with an electrified jolt, and it’s not just because of Kriegel’s overpowering trance-like solos – Peter Trunk’s grooving bass lines and Cees See’s driving percussion also have their say. & quot;So Long For Now & quot;, delights with its relaxed blues-rock feel which finds Trunk and drummer Peter Baumeister in intimate dialogue as they hook up with Kriegel’s silky-smooth, flowing lines and John Taylor’s smoldering Electra-piano play. The savvy rondo & quot;More About D & quot; and & quot;Instant Judgment & quot; thrillingly showcase the group’s seamless integration of lyrical, swinging passages with freely cascading sounds. And then out of the blue there appears & quot;Suspicious Child, Growing Up & quot;. Bluesy, folk-hued, and easy-going, its off-handedness is outdone only by the dreamy ballad & quot;Ach Kina & quot;. In the finale, Kriegel and his cohorts once again focus on the whole “Spectrum” in a fantastic, dancing interplay of smoldering keys, stratospheric cello lines, a complexity of percussion rhythms and virtuoso guitar play adorned with soulful whimsy. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g Audiophile pressing & lt;br & gt; • Analogue remastering (AAA) & lt;br & gt; • Gatefold jacket & lt;br & gt; • Liner notes, remastering information and a picture of the original master tape box inside & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Peter Trunk, bass, electric bass, cello & lt;br & gt; Peter Baumeister, drums, percussion & lt;br & gt; John Taylor, electric piano & lt;br & gt; Volker Kriegel, guitar, sitar, & lt;br & gt; Cees See, percussion & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side A: & lt;/b & gt; & lt;br & gt; 1. Zoom & lt;br & gt; 2. So Long, For Now & lt;br & gt; 3. More About D & lt;br & gt; & lt;b & gt;Side B: & lt;/b & gt; & lt;br & gt; 1. Suspicious Child, Growing Up & lt;br & gt; 2. Instant Judgement & lt;br & gt; 3. Ach Kina & lt;br & gt; 4. Strings Revisited

George Duke Faces In Reflection 180g LP (Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;180g Pressing! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt;In many ways, this trio recording is a milestone in the career of this young Californian. Duke unveils more of his early experiments with the ARP synthesizer, as well as a new creativity on such more conventional keyboards, as the Wurlitzer, Fender Rhodes, and the clavinet. As a result, Faces in Reflection is characterized by a wide variety of tonal hues. & lt;/p & gt; & lt;p & gt;The journey moves from the explosive & quot;The Opening & quot; on to the tender-tinged & quot;Capricorn, & quot; which Duke had snatched from the Cannonball Adderley repertoire. Adderley had been the second major player he had worked with during that early period; Frank Zappa was the first. Two impressionistic solo intermezzi segue into the funky fusion escapade & quot;Psychocomatic Dung, & quot; with superb interplay between drummer & quot;Ndugu & quot; and bassist John Heard. & lt;/p & gt; & lt;p & gt;The title piece's secretive synth lines are the moments of calm before Duke's passionate love affair with Brazil on the B side. The most surprising excursion on this side is the vibrant and rhythmically intricate adaptation of Milton Nascimentos's & quot;Maria Tr & amp;#234;s Filhos & quot;, counterbalanced by the synth laboratory of & quot;North Beach & quot;. Duke himself cherished the recordings; he stated that, & quot;This was the first LP that really said what I wanted to say. & quot; & lt;/p & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;180g Vinyl LP & lt;/li & gt; & lt;li & gt;Audiophile Analogue Remastering & lt;/li & gt; & lt;li & gt;Liner Notes & lt;/li & gt; & lt;li & gt;Picture of the Original Master Tape Box & lt;/li & gt; & lt;li & gt;Made in Germany by optimal media GmbH & lt;/li & gt; & lt;!--More features go here in & lt;li & gt; tags-- & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;musicians & quot; & gt; & lt;h3 & gt;Musicians & lt;/h3 & gt; & lt;table & gt; & lt;tr & gt; & lt;th & gt;George Duke & lt;/th & gt; & lt;td & gt;keyboards & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Ndugu & lt;/th & gt; & lt;td & gt;drums & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;John Heard & lt;/th & gt; & lt;td & gt;bass & lt;/td & gt; & lt;/tr & gt; & lt;!--More musician rows go here-- & gt; & lt;/table & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;h4 & gt;Side A: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;The Opening & lt;/li & gt; & lt;li & gt;Capricorn & lt;/li & gt; & lt;li & gt;Piano Solo No. 1 + 2 & lt;/li & gt; & lt;li & gt;Psychocomatic Dung & lt;/li & gt; & lt;li & gt;Faces In Reflection No. 1 (instrumental) & lt;/li & gt; & lt;!--More tracks go here in & lt;li & gt; tags-- & gt; & lt;/ol & gt; & lt;h4 & gt;Side B: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Maria Tres Filhos & lt;/li & gt; & lt;li & gt;North Beach & lt;/li & gt; & lt;li & gt;Da Somba & lt;/li & gt; & lt;li & gt;Faces In Reflection No. 2 (vocal) & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;

George Duke Liberated Fantasies 180g LP (Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;180 Gram Pressing! Analogue Remastering (AAA)! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt;The closing album in this MPS set continues George Duke's tendency to couple his fusion world with accessible R & amp;B songs. Once again he shows a discernable vocal development. In & quot;Tryin' And Cryin' & quot; the Californian together with rock singer Napoleon Brock overlay multiple vocal tracks. On & quot;Seeing You & quot; Duke lays on a glaze of soulful tenderness, whereas & quot;What The... & quot; is 30 seconds of frivolous funning around. & quot;Back to Where We Never Left & quot; is a witty gem in which Duke bundles his pool of synthesizers into a united groove, whereas & quot;I C'n Hear That & quot; shows off synth and marimba tonal colors in dialogue, with the bass riffing on the bottom. & lt;/p & gt; & lt;p & gt;The album flows into the final bend carrying along the sonorous richness of Brazil. & quot;After the Love & quot; plays with the languorous erotic colors of the tropics, whereas all the band members are allowed to shine on the epic circa ten minute title track with its hot samba flair: the rhythm section with & quot;Ndugu & quot;, Al Johnson, and Airto Moreira's percussion arsenal, Daryl Stuermer with his rock interludes on guitar, and Duke himself with inspired virtuosity on all sorts of synths and keyboards. & lt;/p & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;180g Audiophile Pressing & lt;/li & gt; & lt;li & gt;Analogue Remastering (AAA) & lt;/li & gt; & lt;li & gt;Liner notes and a picture of the original master tape box & lt;/li & gt; & lt;li & gt;Made in Germany & lt;/li & gt; & lt;!--More features go here in & lt;li & gt; tags-- & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;musicians & quot; & gt; & lt;h3 & gt;Musicians & lt;/h3 & gt; & lt;table & gt; & lt;tr & gt; & lt;th & gt;George Duke & lt;/th & gt; & lt;td & gt;vocals, keyboards, synthesizers & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Embamba & lt;/th & gt; & lt;td & gt;bass & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Leon & quot;Ndugu & quot; Chancler & lt;/th & gt; & lt;td & gt;drums, 'Roto-Toms,' vocals on & quot;Liberated Fantasies & quot; & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Napoleon Murphy Brock & lt;/th & gt; & lt;td & gt;lead vocals on & quot;Tryin' & amp; Cryin', & quot; background vocals on & quot;Seeing You & quot; and & quot;Liberated Fantasies & quot; & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Janet Ferguson Hof & lt;/th & gt; & lt;td & gt;background vocals on & quot;Seeing You, & quot; voice of & quot;Amanda & quot; & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Bonnie Bowdon Amaro & lt;/th & gt; & lt;td & gt;vocals on & quot;After The Love & quot; and & quot;Liberated Fantasies & quot; & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;David Amaro & lt;/th & gt; & lt;td & gt;acoustic guitar on & quot;After The Love & quot; & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Daryl Stuermer & lt;/th & gt; & lt;td & gt;guitar on & quot;Tryin' & amp; Cryin' & quot; and & quot;Liberated Fantasies & quot; & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;George Johnson & lt;/th & gt; & lt;td & gt;guitar on & quot;Don't Be Shy & quot; & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Ruth K. Underwood & lt;/th & gt; & lt;td & gt;voice of riddle in & quot;What The... & quot; & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Rashid Duke & lt;/th & gt; & lt;td & gt;vocals on & quot;What The... & quot; & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Emil Richards & lt;/th & gt; & lt;td & gt;marimba on & quot;I C'n Hear That & quot; & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Airto & lt;/th & gt; & lt;td & gt;percussion on & quot;I C'n Hear That, & quot; & quot;After The Love & quot; and & quot;Liberated Fantasies & quot; & lt;/td & gt; & lt;/tr & gt; & lt;!--More musician rows go here-- & gt; & lt;/table & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;h4 & gt;Side One: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Don't Be Shy & lt;/li & gt; & lt;li & gt;Seeing You & lt;/li & gt; & lt;li & gt;Back To Where We Never Left & lt;/li & gt; & lt;li & gt;What The... & lt;/li & gt; & lt;li & gt;Tryin' & amp; Cryin' & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side Two: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;I C'n Hear That & lt;/li & gt; & lt;li & gt;After The Love & lt;/li & gt; & lt;li & gt;Tzina (excerpts from Act II Scene II) & lt;/li & gt; & lt;li & gt;Liberated Fantasies & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;

Ella Fitzgerald Sunshine of Your Love 180g LP (Vinyl)

& lt;header & gt; & lt;p & gt;Release Date To Be Announced pre-order your copy today! Orders with both pre-order and in stock items will have all in stock items shipped immediately! & lt;/p & gt; & lt;/header & gt; & lt;header & gt; & lt;p & gt; & lt;strong & gt;180 Gram Pressing! Analogue Remastering (AAA)! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt;In her extraordinary career, Ella Fitzgerald, the & quot;first lady of song, & quot; collaborated with the key figures of big band jazz - among others with Chick Webb and Dizzy Gillespie - won a total of 13 Grammys and was awarded the National Medal of Arts in 1987. Her distinctive interpretations of jazz standards can be found in countless American songbook albums. Ella's expanded repertoire, enthusiastic about the then burgeoning Bossa nova and pop, appeared principally on her albums from the late 1960s. As the founder of Verve, Norman Granz put together many of her live recordings in 1969 for an MPS album, so the album title was chosen as the Clapton classic & quot;Sunshine of Your Love & quot;. The album offers an impressive musical range of colors with compositions by John Lennon, Eric Clapton and Ant & amp;#244;nio Carlos Jobim on the one hand, and big band classics, such as & quot;Give Me the Simple Life & quot; and & quot;Old Devil Moon & quot; on the other. Rousingly interpreted by the Ernie Heckscher Big Band and the Tommy Flanagan Trio. & lt;/p & gt; & lt;p & gt;Captured on AAA tape, the euphoric evenings of the series of concerts from the San Francisco Fairmont Hotel become an analogous journey through time full of jazz nostalgia. & lt;/p & gt; & lt;blockquote cite= & quot;quote source & quot; & gt; She has been more famous, over a longer time span, than any other female singer. & lt;footer & gt; -Leonard Feather & lt;/footer & gt; & lt;/blockquote & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;180g Audiophile Pressing & lt;/li & gt; & lt;li & gt;Analogue remastering (AAA) & lt;/li & gt; & lt;li & gt;Made in Germany & lt;/li & gt; & lt;li & gt;Produced from original master tapes & lt;/li & gt; & lt;li & gt;No correction of sound dynamics: a reproduction of the original sound & lt;/li & gt; & lt;li & gt;Includes original liner notes & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;musicians & quot; & gt; & lt;h3 & gt;Musicians & lt;/h3 & gt; & lt;table & gt; & lt;tr & gt; & lt;th & gt;Ella Fitzgerald & lt;/th & gt; & lt;td & gt;vocals & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Tommy Flanagan & lt;/th & gt; & lt;td & gt;piano & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Ed Thigpen & lt;/th & gt; & lt;td & gt;drums & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Frank de la Rosa & lt;/th & gt; & lt;td & gt;bass & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Ernie Heckscher Big Band & lt;/th & gt; & lt;td & gt; & lt;/td & gt; & lt;/tr & gt; & lt;!--More musician rows go here-- & gt; & lt;/table & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;h4 & gt;Side I: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Hey Jude & lt;/li & gt; & lt;li & gt;Sunshine Of Your Love & lt;/li & gt; & lt;li & gt;This Girl's In Love With You & lt;/li & gt; & lt;li & gt;Watch What Happens & lt;/li & gt; & lt;li & gt;Alright, Okay, You Win & lt;/li & gt; & lt;li & gt;Give Me The Simple Life & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side II: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Useless Landscape & lt;/li & gt; & lt;li & gt;Old Devil Moon & lt;/li & gt; & lt;li & gt;Don'cha Go 'Way Mad & lt;/li & gt; & lt;li & gt;A House Is Not A Home & lt;/li & gt; & lt;li & gt;Trouble Is A Man & lt;/li & gt; & lt;li & gt;Love You Madly & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;

Baden Powell Tristeza on Guitar 180g LP (Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;180 Gram Pressing! Analogue Remastering (AAA)! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt;Brazilian guitar maestro Baden Powell's seminal years with producer Joachim-Ernst Berendt and MPS stretch from 1966 to 1975, with a total of two sets of three LPs. Tristeza On Guitar was the beginning of this nine-year collaboration. The repertoire is in no way characterized by sadness, as the title might cause one to believe. It embraces a sublime spectrum ranging from a ritual feel to exuberant carnival atmosphere on through to intimate songs with a singable quality. Baden clothes the title piece, the famous bittersweet samba from Haroldo Lobo and Niltinho, in a dance-like virtuoso succession of variations. He fashions the theme & quot;Manha De Carnaval & quot; from the movie Black Orpheus into a ritualistic celebration of pain. & lt;/p & gt; & lt;p & gt;The pieces dedicated to the gods of the Afro-Brazilian Candombl & amp;#233; religion ( & quot;Canto de Xang & amp;#244;, & quot; & quot;Canto de Ossanha & quot;) are central to the album. They originate from the & quot;Afro-sambas & quot; music cycle completed four years earlier; here they have flowered to perfection. Monk's & quot;Round Midnight & quot; takes on the colors of a balmy tropical evening; the studio's ingenious use of space helps create the appropriately mysterious atmosphere. And in the middle lies a valuable solo inlay: Bahian poet Dorival Caymmi's unadorned song & quot;Das Rosas & quot; transformed into a serenade on the strings. Today, over half a century later, one still succumbs to this fascinating & quot;gateway drug & quot; - the first MPS album of this Brazilian maestro. & lt;/p & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;180g audiophile pressing & lt;/li & gt; & lt;li & gt;Analogue remastering (AAA) & lt;/li & gt; & lt;li & gt;Gatefold jacket & lt;/li & gt; & lt;li & gt;Liner notes include remastering info & amp; a picture of the original master tape box & lt;/li & gt; & lt;li & gt;Pressed at Optimal Media Gmbh in Germany & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;musicians & quot; & gt; & lt;h3 & gt;Musicians & lt;/h3 & gt; & lt;table & gt; & lt;tr & gt; & lt;th & gt;Baden Powell & lt;/th & gt; & lt;td & gt;guitar/agogo/surdo & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Sergio & lt;/th & gt; & lt;td & gt;bass & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Milton Banana & lt;/th & gt; & lt;td & gt;drums & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Copinha & lt;/th & gt; & lt;td & gt;flute/agogo & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Alfredo Bessa & lt;/th & gt; & lt;td & gt;atabaque/guica & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Amauri Coelho Da Rosa & lt;/th & gt; & lt;td & gt;atabaque/pandeiro & lt;/td & gt; & lt;/tr & gt; & lt;/table & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;h4 & gt;Side I: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Tristeza & lt;/li & gt; & lt;li & gt;Canto De Xango & lt;/li & gt; & lt;li & gt;Round About Midnight & lt;/li & gt; & lt;li & gt;Sarava & lt;/li & gt; & lt;li & gt;Canto De Ossanha & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side II: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Manha De Carneval & lt;/li & gt; & lt;li & gt;Invencao Em 7 1/2 & lt;/li & gt; & lt;li & gt;Das Rosas & lt;/li & gt; & lt;li & gt;Som Do Carnaval & lt;/li & gt; & lt;li & gt;O Astronauta & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;

Freddie Hubbard The Hub Of Hubbard 180g LP (Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;180 Gram Pressing! Analogue Remastering (AAA)! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt;Ten years after trumpeter Freddie Hubbard's debut album Open Sesame hit the record stores, his career reached a crossroad. He had already achieved a great deal, including his participation in the groundbreaking free-jazz movement. From this crossroads, he launched his popular phase with CTI Records. & lt;/p & gt; & lt;p & gt;Hubbard recorded this album at the MPS studios in Germany while he was on break from his European Tour, which created an opportunity to see this musician alongside his all-star quintet in a non-performance setting. & lt;/p & gt; & lt;p & gt;The cornerstone of the album is the jazz standard & quot;Without A Song, & quot; which Hubbard and his gang turn into a 13-minute escapade while exuding talent, energy and enthusiasm. & lt;/p & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;180g Audiophile Pressing & lt;/li & gt; & lt;li & gt;Analogue remastering (AAA) & lt;/li & gt; & lt;li & gt;Liner notes include remastering info & amp; a picture of the original master tape box & lt;/li & gt; & lt;li & gt;Pressed at Optimal Media Gmbh in Germany & lt;/li & gt; & lt;li & gt;Gatefold jacket & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;musicians & quot; & gt; & lt;h3 & gt;Musicians & lt;/h3 & gt; & lt;table & gt; & lt;tr & gt; & lt;th & gt;Freddie Hubbard & lt;/th & gt; & lt;td & gt;trumpet & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Richard Davis & lt;/th & gt; & lt;td & gt;bass & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Eddie Daniels & lt;/th & gt; & lt;td & gt;tenor saxophone & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Roland Hanna & lt;/th & gt; & lt;td & gt;piano & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Louis Hayes & lt;/th & gt; & lt;td & gt;drums & lt;/td & gt; & lt;/tr & gt; & lt;/table & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;h4 & gt;Side 1: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Without A Song & lt;/li & gt; & lt;li & gt;Just One Of Those Things & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side 2: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Blues For Duane & lt;/li & gt; & lt;li & gt;The Things We Did Last Summer & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;

Joe Henderson Mirror, Mirror 180g LP (Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;180 Gram Pressing! Analogue Remastering (AAA)! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt;Joe Henderson became one of the most influential jazz musicians of the late 20th century after he became an overnight sensation as a member of Horace Silver's ensemble on the release of Silver's & quot;Song For My Father. & quot; & lt;/p & gt; & lt;p & gt;The great John Scofield once said about Henderson, & quot;Joe Henderson is the essence of jazz. He embodies all the elements that came together in his generation: the virtuosity of hard bop and the avant-garde. He can be harmonically abstract and yet keep to the roots. He is my inspiration. & quot; & lt;/p & gt; & lt;p & gt;All of the musicians on this release, which include jazz greats like Chick Corea and Ron Carter, prove equal talent in the art of improvisation. Each musician has their own space and each brilliantly fills it. & lt;/p & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;180g audiophile pressing & lt;/li & gt; & lt;li & gt;Analogue remastering (AAA) & lt;/li & gt; & lt;li & gt;Liner notes include remastering info & amp; a picture of the original master tape box & lt;/li & gt; & lt;li & gt;Pressed at Optimal Media Gmbh in Germany & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;musicians & quot; & gt; & lt;h3 & gt;Musicians & lt;/h3 & gt; & lt;table & gt; & lt;tr & gt; & lt;th & gt;Joe Henderson & lt;/th & gt; & lt;td & gt;saxophone & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Chick Corea & lt;/th & gt; & lt;td & gt;piano & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Ron Carter & lt;/th & gt; & lt;td & gt;bass & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Billy Higgins & lt;/th & gt; & lt;td & gt;drums & lt;/td & gt; & lt;/tr & gt; & lt;/table & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;h4 & gt;Side 1: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Mirror, Mirror & lt;/li & gt; & lt;li & gt;Candlelight & lt;/li & gt; & lt;li & gt;Keystone & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side 2: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Joe's Bolero & lt;/li & gt; & lt;li & gt;What's New & lt;/li & gt; & lt;li & gt;Blues For Liebestraum & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;