Eric Alexander Gentle Ballads II

audiophile Venus Records Hyper Magnum Sound 180g LP VHJD-193

made in Japan

new, sealed

• Eric Alexander - tenor sax
• Mike LeDonne - piano
• John Webber - bass
• Joe Farnsworth - drums

Recorded at The Studio in New York on March 22, 2006

Karrin Allyson Footprints

Concord Jazz Pure Audiophile 2x 180g LP PA-014

Half Speed Mastered by Stan Ricker

Limited Edition

new, still sealed

Bill Evans Trio Morning Glory

Record Store Day RSD 2022 Limited Numbered Edition

Resonance Records 2x 180g LP

new, factory sealed

Morning Glory, recorded at the Teatro Gran Rex on June 24, 1973, with Evans’ longest-tenured trio mates Eddie Gomez and Marty Morell, was produced with the full cooperation and approval of the Evans estate. It was prepared from the original tapes recorded by the late engineer Carlos Melero (whose 2008 reminiscences about the show is included).

 

Bill Evans in the dressing room of the Gran Rex Theater, Buenos Aires, Argentina, 1973. Photo by Tito Villalba

The 1974 performance heard on Morning Glory featured Evans’ longest-running rhythm section of bassist Gomez and drummer Morell, who had supported the pianist since 1968. The show, which was performed at 10 in the morning owing to its last-minute scheduling, was Evans’ first in the country. The date took place in an atmosphere of extreme tumult: The nation’s former leader Juan Perón had just re-entered the country after 18 years of European exile, and Argentina erupted.

Gomez recalls in the notes, “In that era, things were turbulent in the whole region. In Argentina, Juan Perón had just returned from exile, which caused violence in the streets. There was a lot of political turbulence and that turmoil added to the feeling that being in this theater at that time, it was as if you were in a ’40s movie. The tension was palpable.”

Morell adds, “We arrived in Buenos Aires a few days after Perón had returned…. On the drive from the airport to the hotel, you could see along all the roads everywhere, it was strewn with litter. Millions of people had come out to welcome Perón back. There was a lot of political activity at that time all over South America. That was a few months before the coup in Chile where Allende was overthrown and killed. There was unrest all over South America at that time, so it was a historical time to be there.”

Despite the heavy political weather, the concert – which was highlighted by a surprise performance of a bolero, “Esta tarde vi llover,” by the noted Latin American composer Armando Manzanero – was a triumph for Evans, as one can tell from the audible evidence on the recordings.

Argentinian professor Oscar Daniel Chilkowski, who attended the show, recalled to Parisi, “The audience applauded so passionately that he stayed and performed three encores. When the main part of the program ended, I found myself crying like many others in the audience. We were crying because we thought Bill Evans had come out for the last time for a bow. But we were all surprised and thrilled when he came out again and sat down to give us more.”

Charles Mingus The Lost Album From Ronnie Scott´s

Record Store Day RSD 2022 Limited Numbered Edition

Resonance Records 3x 180g LP

new, factory sealed

Blistering Live London Date by the Bassist-Composer’s 1972 Sextet, Originally Intended to be an Official Album Release

Deluxe Booklet features Interviews with Mingus, Alto Saxophonist Charles McPherson, and Writer Fran Lebowitz, An Overview by Jazz Historian Brian Priestley, Appreciations by Bassists Christian McBride, Eddie Gomez, and More!

Los Angeles — Resonance Records, the top U.S. independent label for previously unreleased jazz treasures, will issue The Lost Album from Ronnie Scott’s, a volcanic, never-before-heard 1972 club performance by bassist-composer Charles Mingus’ powerful sextet, as a three-LP Record Store Day offering on April 23 (one day after what would have been Mingus’ 100^th birthday).

The live set, comprising nearly two-and-a-half hours of music, was professionally recorded on eight-track tapes via a mobile recording truck on Aug. 14-15, 1972. However, the performance went unreleased, for Mingus – along with every other top jazz musician on the Columbia roster except for Miles Davis – was dropped by the label in the spring of 1973. The present release is completely authorized by Jazz Workshop, Inc., which controls Mingus’ music.

Resonance co-president Zev Feldman, who co-produced the Scott’s material for release with David Weiss, says, “This is a lost chapter in Mingus’s history, originally intended to be an official album release by Mingus that never materialized. Now, we’re thrilled to be able to bring this recording to light for the whole world to hear in all its musical and sonic glory. It’s especially exciting to be celebrating Mingus with this release in his centennial year.”

A statement in the Resonance collection from Jazz Workshop, Inc. says, “In Sue Mingus’s memoir, Tonight at Noon, she recalls receiving the extraordinary tapes [the band] had recorded; the reels remained in the Mingus vault, untouched until now. It is our honor, forty-nine years later, to present, with Resonance Records, this historic performance.”

In his knowledgeable overview of Mingus’s activities of the early ‘70s and his stand at Scott’s club, British jazz critic and historian Brian Priestley, who penned an authoritative 1983 biography of the musician, writes, “The magnificent music contained herein comes from a special period in the life of Charles Mingus, one in which he re-emerged from the depths of depression and inactivity, to be ultimately greeted with far wider acclaim than he had ever previously experienced.”

By the time Mingus’ band took the stage at saxophonist Scott’s celebrated London club, the great jazz man was experiencing a career renaissance: he had received a Guggenheim Foundation fellowship and seen his music adapted for choreographer Alvin Ailey’s The Mingus Dances in 1971, while 1972 saw the release of his potent autobiography Beneath the Underdog and his widely acclaimed big band album Let My Children Hear Music.

Though his group still featured the formidable saxophonists Bobby Jones (tenor) and Charles McPherson (alto), the sextet was in a state of flux, but the new members delivered on stage. Pianist Jaki Byard was succeeded by the relatively unknown John Foster, who showed off both his keyboard and vocal chops at Scott’s. Longtime drummer Danny Richmond, who had joined the pop band Mark-Almond, was replaced by the ingenious, powerful Detroit musician Roy Brooks, who demonstrated his invention the “breath-a-tone,” which allowed him to control the pitch of his kit while playing, and, on a couple of numbers, his abilities on the musical saw. The trumpet chair was filled by the phenomenal 19-year old Jon Faddis, a protégé and acolyte of Dizzy Gillespie.

The Lost Album features nine performances captured during the two-night engagement; some of them – the then-new compositions “Orange Was the Color of Her Dress, Then Silk Blues” and “Mind-readers’ Convention in Milano” and the war horse “Fables of Faubus” – are epics that stretch close to or past the half-hour mark. In its entirety, the set bears comparison to Mingus’ storied concerts at Monterey, Carnegie Hall, and Antibes.

During the English engagement, which came at the end of a European tour, Priestley conducted a joint interview with Mingus and McPherson at the club. He found the bassist in a philosophical mood: “Life has many changes. Tomorrow it may rain. And it’s supposed to be sunshine because it’s summertime, but God’s got a funny soul. He plays like Charlie Parker. He may run some thunder on you. He may take the sun up and put it in the nighttime, the way it looks to me.”

In a new interview with Feldman, McPherson deftly characterizes his longtime employer’s musical approach: “[Mingus] liked for his music to be clean enough for it to be obvious that this is worked out and thought out, but not so pristine that it sounded robotic or unanimated or not human — too processed. I think ‘organized chaos’ is an apt term because that’s the way Mingus’s music really did sound; it did have almost this free-wheeling kind of a vibe and yet, you can tell it’s written out, it’s thought about, and it has all the elements of organization, but still, it has the elements of spontaneity.”

A pair of jazz’s most celebrated bassists offer their appreciation for Mingus in interviews conducted by Feldman. Christian McBride says, “Mingus just has such an individual sound, such a presence. He had some real estate that no one else had. I love how Mingus’s music is this very blurry balance of blues, swing and the avant-garde….He did it in a way that no one else did.” Eddie Gomez notes, “He was this big influence in a big forest, so I assumed that he got a lot of recognition. Maybe he should have gotten more. He’s still one of the great influences in jazz music.”

The full measure of the jazz artist’s larger-than-life personality is captured in reminiscences by Sue Graham Mingus (in an excerpt from her 2002 book Tonight at Noon: A Love Story) and Mary Scott (in a new interview with Feldman) of the bandleader and the club owner who were their respective spouses.

A rich and very funny recollection of the mercurial titan is offered in Feldman’s interview with New York writer, raconteur, and woman-about-town Fran Lebowitz, who knew both the Minguses well. She recalls one encounter in which an angry Mingus chased her out of the Village Vanguard and through Lower Manhattan.

She says, “We went down Seventh Avenue really far; my recollection is to Canal Street. We ran to Canal Street and I couldn’t run anymore. I was like 21 years old. I don’t know how old Charles was. He was probably in his late forties at least and he was not exactly in Olympic condition. Neither was I, but compared to Charles I was. I just fell on the ground. I couldn’t run anymore. And then when he reached me, he fell on the ground and he’s panting. And then he just looked at me and said, ‘You want to go eat?’ because I guess he realized we were near Chinatown where he was the star eater of all time.”

“Music is my life. Without it I’d be dead. All I need is score paper and a piano.” — Charles Mingus, from an interview in London, 1972

Art Pepper meets the Rhythm Section

Record Store Day RSD 2022 Limited Edition

Contemporary / Craft Recordings 180g Mono Vinyl LP CR00491

new, factory sealed

all-star quartet including Red Garland, Paul Chambers and Philly Joe Jones

all-analog mastering from the original tapoes by Bernie Grundman

pressed at QRP on 180-gram vinyl

"A diamond of recorded jazz history" - All Music Guide

Delvon Lamarr Organ Trio Live in Loveland

Record Store Day RSD 2022 Limited Edition

Colemine Records 2x 180g LP

new, factory sealed

Bubblegum Pink Vinyl

This live performance was recorded on RSD in 2018 outside of Plaid Room Records directly to tape and engineered/mixed by label owner Terry Cole. This show was the first time that the label crew had met the Delvon Lamarr Organ Trio in person, and on the day they were releasing their RSD release Live At KEXP! so it certainly a momentous today to be sure! And now, the whole live set is available on vinyl for the first time!

Sun Ra Arkestra Babylon Live

Limited Audipophile Signature Edition

hand-signed by Marshall Allen

In + Out Records 2x 180g LP IOR 77122-1

new, factory sealed

Chet Baker sings

Record Store Day RSD 2022 Limited Edition

Deluxe Edition incl. 180g Virgin Vinyl, CD and Book

new, factory sealed

The Definite Collector´s Edition

Deluxe Box Set incl.

- the complete LP Chet Baker sings on 180g Virgin Vinyl (Gatefold Edition)

- 80-page-book "The making of Chet Baker sings" by Brian Morton (Penguin Guide to Jazz / BBC)

- the complete CD Chet Baker sings incl. 6 bonus tracks

Bill Evans Trio Treasures

Record Store Day RSD 2022 Limited Numbered Edition

Elemental Records 5990544 3x 180g Vinyl LP

new

A TRUE HOLY GRAIL OF PREVIOUSLY UNRELEASED BILL EVANS RECORDINGS!!!

3-LP SET MASTERED FOR VINYL BY BERNIE GRUNDMAN

Treasures: Solo, Trio and Orchestra Recordings from Denmark (1965-1969) is a set of never-before-released recordings of jazz piano icon Bill Evans, taped with excellent sound quality either live or in Danish TV and Radio studios in the mid-to-late 1960s. An official Elemental Music release in collaboration with the Bill Evans Estate, Treasures is truly a ’holy grail’ discovery culled from the private collection of Danish jazz musician Ole Matthiessen and being released for the very first time as a limited-edition 180-gram 3-LP set. Highlights of the collection include trio performances from 1965 featuring legendary Danish jazz bassist Niels-Henning Ørsted Pedersen; the only solo piano version of “My Funny Valentine” by Evans known to exist; a 1966 orchestral suite performed with the Evans trio accompanied by the Danish Radio Big Band conducted by trumpeter/arranger Palle Mikkelborg; and much more! The beautifully designed triple gatefold LP set showcases previously unpublished photos by Jan Persson from Evans’ Danish tours, as well as insightful liner notes by acclaimed author, journalist and Evans scholar, Marc Myers, plus interviews and statements from Danish drummer Alex Riel, music journalist, Danish producer and Evans discographer Peter Larsen, Palle Mikkelborg, Evans’ longtime trio mates - bassist Eddie Gomez and drummer Marty Morell, and pianists Ran Blake and Matthew Shipp.

Tracklist

LP1: BILL EVANS TRIO with NHØP - DENMARK

SIDE A:

1. COME RAIN OR COME SHINE

2. SOMEDAY MY PRINCE WILL COME

3. BEAUTIFUL LOVE

4. WALTZ FOR DEBBY

SIDE B:

1. I SHOULD CARE

2. VERY EARLY

3. TIME REMEMBERED

4. WHO CAN I TURN TO?

LP2: BILL EVANS SOLO & ORCHESTRA

SIDE A: Solo

1. RE: PERSON I KNEW

2. ’ROUND MIDNIGHT

3. MY FUNNY VALENTINE

4. TIME REMEMBERED

5. COME RAIN OR COME SHINE

6. EPILOGUE

SIDE B: Orchestral Suite

1. INTRO into WALTZ FOR DEBBY

2. TIME REMEMBERED

3. MY BELLS

4. TREASURES

5. WALTZ FOR DEBBY [reprise]

6. WALKIN’ UP

LP3: BILL EVANS TRIO DENMARK 1966/69

SIDE A:

1. ELSA

2. STELLA BY STARLIGHT

3. DETOUR AHEAD

4. IN A SENTIMENTAL MOOD

5. TIME REMEMBERED

6. NARDIS

SIDE B:

1. AUTUMN LEAVES

2. EMILY

3. QUIET NOW

4. NARDIS"

Personnel: Bill Evans (piano) with collective personnel: Niels-Henning Orsted Pedersen, Eddie Gomez (bass) Alan Dawson, Alex Riel, Marty Morell (drums) The Royal Symphony Orchestra & the Danish Radio Big Band.

Recorded in Denmark, 1965-1969.

Miles Davis Kind of Blue

audiophile Analogue Productions UHQR 0004-45

2x 180g 45 RPM Vinyl LP Box

made in USA