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The Bill Evans Trio Portrait In Jazz DMM 180g Import LP (Transparent Green Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Limited Edition 180g Transparent Green Vinyl LP! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Portrait in Jazz was Bill Evans’ third album as a leader, following New Jazz Conceptions (1956) and Everybody Digs Bill Evans (1958). It was also Evans' first LP with the talented bassist Scott LaFaro (although they had both participated on Tony Scott's LP Sung Heroes, recorded in October 1959, they played on separate tracks). Their superb chemistry is evident from the very first tune, and Evans was surely aware of that. As opposed to his previous albums, no solo piano selections were included here and the trio is heard throughout the whole LP. The Evans- LaFaro collaboration would reach a climax with their June 1961 club recordings at the Village Vanguard in New York. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;The first of two studio albums by the Bill Evans-Scott LaFaro-Paul Motian trio (both of which preceded their famous engagement at the Village Vanguard), this Portrait in Jazz reissue contains some wondrous interplay, particularly between pianist Evans and bassist LaFaro, on the two versions of 'Autumn Leaves.' Other than introducing Evans' 'Peri's Scope,' the music is comprised of standards, but the influential interpretations were far from routine or predictable at the time. LaFaro and Motian were nearly equal partners with the pianist in the ensembles and their versions of such tunes as 'Come Rain or Come Shine,' 'When I Fall in Love,' and 'Someday My Prince Will Come' (which preceded Miles Davis' famous recording by a couple years) are full of subtle and surprising creativity. A gem. & quot; & lt;/b & gt; - Scott Yanow, AllMusic & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g Vinyl & lt;br & gt; • Limited Edition Transparent Green Vinyl & lt;br & gt; • Direct Metal Master & lt;br & gt; • Import & lt;br & gt; • Made in the EU & lt;br & gt; • Bonus Track & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Bill Evans, piano & lt;br & gt; Scott LaFaro, bass & lt;br & gt; Paul Motian, drums & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side A: & lt;/b & gt; & lt;br & gt; 1. Come Rain Or Come Shine & lt;br & gt; 2. Autumn Leaves & lt;br & gt; 3. Witchcraft & lt;br & gt; 4. When I Fall In Love & lt;br & gt; 5. Peri's Scope & lt;br & gt; & lt;b & gt;Side B: & lt;/b & gt; & lt;br & gt; 1. What Is This Thing Called Love? & lt;br & gt; 2. Spring Is Here & lt;br & gt; 3. Someday My Prince WIll Come & lt;br & gt; 4. Blue In Green & lt;br & gt; 5. Blue In Green (alt tk)* & lt;br & gt; & lt;br & gt; *Bonus Track: From the same session, but not included on the original album & lt;br & gt; & lt;br & gt; New York, December 28, 1959
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The Bill Evans Trio Portrait In Jazz DMM 180g Import LP (Transparent Green Vinyl)
Miles Davis Kind Of Blue DMM 180g Import LP (Solid Blue Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Limited Edition 180g Solid Blue Vinyl LP! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; & lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Rolling Stone 500 Greatest Albums of All Time - Rated 12/500! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; 1959 Album on limited edition 180 gram solid blue vinyl, featuring the songs & quot;So What & quot;, & quot;Freddie Freeloader & quot;, & quot;Blue In Green & quot;, & quot;All Blues & quot; & amp; & quot;Flamenco Sketches & quot;. & lt;br & gt; & lt;br & gt; Kind of Blue is regarded by many critics as jazz's greatest record, Davis's masterpiece, and one of the best albums of all time. Its influence on music, including jazz, rock, and classical genres, has led writers to also deem it one of the most influential albums ever recorded. The album was one of fifty recordings chosen in 2002 by the Library of Congress to be added to the National Recording Registry, and in 2003 it was ranked number 12 on Rolling Stone magazine's list of the 500 greatest albums of all time. & lt;br & gt; & lt;br & gt; Kind of Blue was recorded on March 2 and April 22, 1959, at Columbia's 30th Street Studio in New York City, and released later that year on August 17 by Columbia Records. The album featured Davis's ensemble sextet, consisting of pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian & quot;Cannonball & quot; Adderley, together with pianist Wynton Kelly on one track. After the entry of Evans into the sextet, Davis followed up on the modal experimentations of Milestones (1958) by basing Kind of Blue entirely on modality, in contrast to his earlier work with the hard bop style of jazz. & lt;br & gt; & lt;br & gt; Though precise figures have been disputed, Kind of Blue has been described by many music writers not only as Davis's best-selling album, but as the best-selling jazz record of all time. On October 7, 2008, the Recording Industry Association of America (RIAA) certified it quadruple platinum, indicating sales of at least four million copies. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;This is a remarkable album. Using very simple but effective devices, Miles has constructed an album of extreme beauty and sensitivity. This is the soul of Miles Davis, and it's a beautiful soul. & quot; & lt;/b & gt; - Don De Michael, Down Beat - 5/5 & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;Kind of Blue isn't merely an artistic highlight for Miles Davis, it's an album that towers above its peers, a record generally considered as the definitive jazz album. To be reductive, it's the Citizen Kane of jazz -- an accepted work of greatness that's innovative and entertaining. That may not mean it's the greatest jazz album ever made, but it certainly is a universally acknowledged standard of excellence. Why does Kind of Blue posses such a mystique? Perhaps it's that this music never flaunts its genius. It lures listeners in with the slow, luxurious bassline and gentle piano chords of 'So What.' From that moment on, the record never really changes pace -- each tune has a similar relaxed feel, as the music flows easily. Yet Kind of Blue is more than easy listening. It's the pinnacle of modal jazz -- tonality and solos build from chords, not the overall key, giving the music a subtly shifting quality. All of this doesn't quite explain why seasoned jazz fans return to this record even after they've memorized every nuance. They return because this is an exceptional band - Miles, Coltrane, Bill Evans, Cannonball Adderly, Paul Chambers, Jimmy Cobb, and Wynton Kelly -- one of the greatest in history, playing at the peak of its power. As Evans said in the original liner notes for the record, the band did not play through any of these pieces prior to recording. Davis laid out the themes and chords before the tape rolled, and then the band improvised. The end results were wondrous, filled with performances that still crackle with vitality. Few albums of any genre manage to work on so many different levels, but Kind of Blue does. It can be played as background music, yet it amply rewards close listening. It is advanced music that is extraordinarily enjoyable. It may be a stretch to say that if you don't like Kind of Blue, you don't like jazz -- but it's hard to imagine it as anything other than a cornerstone of any jazz collection. & quot; & lt;/b & gt; - Stephen Thomas Erlewine, allmusic.com & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g Vinyl & lt;br & gt; • Limited Edition Solid Blue Vinyl & lt;br & gt; • Direct Metal Master & lt;br & gt; • Import & lt;br & gt; • Made in the EU & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Miles Davis, trumpet & lt;br & gt; Julian & quot;Cannonball & quot; Adderley, alto sax & lt;br & gt; John Coltrane, tenor sax & lt;br & gt; Bill Evans, piano (on all tracks except & quot;Freddie Freeloader & quot;) & lt;br & gt; Wynton Kelly, piano (on & quot;Freddie Freeloader & quot; only) & lt;br & gt; Paul Chambers, bass & lt;br & gt; Jimmy Cobb, drums & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side A: & lt;/b & gt; & lt;br & gt; 1. So What & lt;br & gt; 2. Freddie Freeloader & lt;br & gt; 3. Blue In Green & lt;br & gt; & lt;b & gt;Side B: & lt;/b & gt; & lt;br & gt; 1. All Blues & lt;br & gt; 2. Flamenco Sketches & lt;br & gt; & lt;br & gt; New York, Monday, March 2, 1959 (Side A) & amp; Wednesday, April 22, 1959 (Side B)
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Miles Davis Kind Of Blue DMM 180g Import LP (Solid Blue Vinyl)
Stan Getz & Charlie Byrd Jazz Samba DMM 180g Import LP (Yellow Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Limited Edition 180g Yellow Vinyl LP! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; While the 1953 Bud Shank/Laurindo Almeida recordings were the precursors of the bossa nova-jazz fusion, this 1962 Stan Getz LP would start the bossa nova craze. Producers were quick to exploit that craze in the first half of the '60s. Most of the famous jazzmen recorded an album, or at least a couple of tunes in the genre, with uneven results. The genre itself, however, and its fusion with jazz, didn't die out quickly. Instead, many modern contemporary jazzmen include bossa nova songs in their repertoire, and dozens of them have become authentic & quot;jazz & quot; standards, as vehicles for improvisations. This is certainly not due to the & quot;novelty & quot; of the rhythm, which certainly passed, but to the high quality of many of the genre's compositions. The album compiled here, now considered a true classic, continues to bring pleasure to a variety of listeners. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;Partly because of its Brazilian collaborators and partly because of 'The Girl From Ipanema', Getz/Gilberto is nearly always acknowledged as the Stan Getz bossa nova LP. But Jazz Samba is just as crucial and groundbreaking; after all, it came first, and in fact was the first full-fledged bossa nova album ever recorded by American jazz musicians. And it was just as commercially successful, topping the LP charts and producing its own pop chart hit single in 'Desafinado'. A revelatory classic. Absolutely essential for any jazz collection. & quot; & lt;/b & gt; - Steve Huey, AllMusic & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;These are beautifully turned little gems played by a pair of brilliant jazz musicians who seem very much in rapport. & quot; & lt;/b & gt; - John S. Wilson, Down Beat (Original Review) & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • 180g Vinyl & lt;br & gt; • Limited Edition Yellow Vinyl & lt;br & gt; • Direct Metal Master & lt;br & gt; • Import & lt;br & gt; • Made in the EU & lt;br & gt; • Bonus Track & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Stan Getz, tenor saxophone & lt;br & gt; Charlie Byrd, guitar soloist & lt;br & gt; Gene Byrd, guitar, bass & lt;br & gt; Keter Betts, bass & lt;br & gt; Buddy Deppenschmidt, percussion & lt;br & gt; Bill Reichenbach Sr., percussion & lt;br & gt; Bonus Track (B4): & lt;br & gt; Stan Getz (tenor sax) with Gary McFarland and his Orchestra & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side A: & lt;/b & gt; & lt;br & gt; 1. Desafinado & lt;br & gt; 2. Samba Dees Days & lt;br & gt; 3. O Pato (The Duck) & lt;br & gt; 4. Samba Triste & lt;br & gt; & lt;b & gt;Side B: & lt;/b & gt; & lt;br & gt; 1. Samba de Uma Nota So (One Note Samba) & lt;br & gt; 2. E Luxo So & lt;br & gt; 3. Baia & lt;br & gt; 4. Samba de Uma Nota So (One Note Samba)* [big band version] & lt;br & gt; & lt;br & gt; Pierce Hall, All Souls Unitarian Church, Washington, D.C., February 13, 1962. & lt;br & gt; & lt;br & gt; *Bonus Track: New York, August 27, 1962
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Stan Getz & Charlie Byrd Jazz Samba DMM 180g Import LP (Yellow Vinyl)
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