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 BUD POWELL TIME WAITS MONO FIRST PRESS RVGEAR DWAX 47W  US $150.00
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 George Lewis Concert BlueNote LP Mono RVG DG Ear 1208 US $19.99
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 BLUE NOTE 4056 HANK MOBLEY FREDDIE HUBBARD DG RVG EAR US $243.50
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BUD POWELL TIME WAITS MONO FIRST PRESS RVGEAR DWAX 47W US $150.00
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George Lewis Concert BlueNote LP Mono RVG DG Ear 1208 US $19.99
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BLUE NOTE 4056 HANK MOBLEY FREDDIE HUBBARD DG RVG EAR US $243.50
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 LOU DONALDSON GRAVY TRAIN BLUE NOTE NY NY LBL RVG EAR US $19.99
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 3 SOUNDS Moods BLUE NOTE NY USA RVG ear VG US $9.99
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 GEORGE WALLINGTON and his band blue note 5045 RVG EAR US $56.00
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 MILES DAVIS self titled blue note 1501 RVG EAR 63rd US $24.99
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 HORACE SILVER Doin the Thing BLP 4076 NYC RVG ear US $7.99
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 Jimmy Smith Home Cookin LP Blue Note RVG Ear NY USA US $49.99
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 JIMMY SMITH prayer meetin blue note RVG EAR US $14.99
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 SIDNEY BECHET the fabulous blue note RVG EAR US $49.99
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 Art Blakey Mosaic BN Mono NY USA DG Ear RVG Mint US $329.99
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 Dexter Gordon Calling BN St NYUSA Ear RVG Stereo EX US $279.99
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 GRANT GREEN am i blue blue note RVG EAR US $39.99
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 Jimmy Smith Home Cookin’ BLP4050 NY EAR RVG VG US $59.99
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 STANLEY TURRENTINE hustlin blue note RVG EAR US $59.99
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 JIMMY SMITH the sermon blue note RVG EAR US $39.99
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 JIMMY SMITH groovin vol 1 blue note RVG DG EAR US $39.99
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 JIMMY SMITH house party blue note RVG DG EAR US $49.99
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 JIMMY SMITH midnight special blue note RVG EAR US $39.99
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 Sidney Bechet Jazz Classics Vol2 BLP1202 Ear NY RVG NM US $79.99
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 Donald Byrd I’m Trying To Get Home BLP4188 NM Ear RVG US $49.99
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![SIDNEY BECHET Volume 1 BLUE NOTE 1201 {DG} NYEARRVG]](http://www.originalrecordsos7.com/images/e/380153354319_0.jpg) SIDNEY BECHET Volume 1 BLUE NOTE 1201 {DG} NYEARRVG] US $49.99
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 ART BLAKEY the african beat blue note RVG EAR US $90.99
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 ART BLAKEY jazz messengers blue note 4003 RVG EAR US $70.99
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 DEXTER GORDON doin allright BLP RVG EAR PROMO US $200.99
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 HORACE SILVER silvers serenade blue note RVG EAR US $49.99
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Check out these fine shops that offer Rvg Ear products:
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Rvg/conquistador $7.99 Rvg/conquistador |
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Rechtsanwaltsvergtungsgesetz (rvg) $47.95 Rechtsanwaltsvergtungsgesetz (rvg) |
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Rvg/ready For Freddie $7.99 Rvg/ready For Freddie |
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RVG/Blue Train : 724349532625 $5.25 RVG/Blue Train : 724349532625 |
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The Big Beat [RVG Edition] $8.15 The Big Beat [RVG Edition] |
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Rvg - Rechtsanwaltsverg+b-+tungsgesetz $112.95 Rvg - Rechtsanwaltsverg+b-+tungsgesetz |
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Sunday Mornin' [RVG Edition] $75.03 Sunday Mornin' [RVG Edition] |
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Simplify Your Rvg $79.95 Simplify Your Rvg |
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Stardust (rvg Remastered) $8.51 Stardust (rvg Remastered) |
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Rvg/never Let Me Go $8.99 Rvg/never Let Me Go |
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The Ear $30.24 The Ear |
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Ear $9.95 Dead Meat - Life Size Prop! Gory ear |
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A Night in Tunisia [RVG Edition] $9.93 The lengthy title track on this CD easily overshadows the rest of the program for it is one of the most exciting versions ever recorded of Dizzy Gillespie's "A Night in Tunisia." Trumpeter Lee Morgan (then only in his early 20s), tenor saxophonist Wayne Shorter, pianist Bobby Timmons and bassist Jymie Merritt formed one of the strongest of the many versions of Art Blakey & the Jazz Messengers and are actually in fine form during the remainder of the satisfying (if anticlimactic) set. [Originally released in 1960, an RVG edition was reissued on CD in 2005.] ~ Scott Yanow, All Music GuidePerformers: Art Blakey - Drums; Jymie Merritt - Bass, Double Bass; Lee Morgan Quintet - Trumpet; Lee Morgan - Trumpet; Wayne Shorter - Sax (Tenor); Bobby Timmons - Piano |
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Gravy Train [RVG Edition] $11.98 Gravy Train is a fine, if not quite exceptional record from Lou Donaldson's initial soul-jazz phase of the early '60s. Actually, given the title and the period in which it was recorded, the album isn't quite as greasy and funky overall as one might expect; most of the repertoire is devoted to pop ballads and mid-tempo standards, the latter of which tends to bring out more of the bop elements in Donaldson's playing. That's not true for the entire album, though; the title cut is a laid-back, conga-tinged bluesy groover in the classic Donaldson mold, even if it's a bit workmanlike. Donaldson's longtime pianist, Herman Foster, is allotted quite a bit of solo space here, and he concentrates more on thick, rippling chords than single-note lines. For his part, Donaldson's playing is pleasant, and the rest of the supporting group maintains a steady groove throughout. All of Donaldson's sessions from this period (Here 'Tis, The Natural Soul, Good Gracious) have enough worthwhile moments for devoted fans, and that's true of Gravy Train as well, though casual fans probably won't find it necessary enough to track down. [An RVG edition was released in 2007.] ~ Steve Huey, RoviPerformers: Alec Dorsey - Conga; Dave Bailey - Drums; Lou Donaldson - Sax (Alto); Herman Foster - Piano; Ben Tucker - Bass |
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Time for Tyner [RVG Edition] $11.98 This CD reissue draws its music from two separate concerts nearly a year apart but utilizing the same personnel: pianist McCoy Tyner, vibraphonist Bobby Hutcherson, bassist Herbie Lewis, and drummer Freddie Waits. Although three numbers were performed at a John Coltrane Memorial Concert, they are all Tyner originals; the pianist and Hutcherson blend together quite well and both are experts at coming up with inventive ideas over modal vamps. The other three selections are veteran standards. "I Didn't Know What Time It Was" is taken by the full quartet, Hutcherson sits out on "Surrey with the Fringe on Top," and a rhapsodic "I've Grown Accustomed to Your Face" is a piano solo. A fine all-round showcase for McCoy Tyner in the late '60s. [This RVG edition has been remastered.] ~ Scott Yanow, All Music GuidePerformers: Bobby Hutcherson - Vibraphone; Herbie Lewis - Bass; McCoy Tyner - Piano; Freddie Waits - Drums; Frederick Waits - Drums |
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Somethin' Else [RVG Edition] $8.94 It isn't too difficult to understand why MFSL considered this album to be a worthy candidate for an Ultradisc reissue -- aside from Cannonball Adderley, you have a lineup that includes Miles Davis, Hank Jones, Sam Jones, and Art Blakey. This is a group that could take on a Barry Manilow number and turn it into a jazz masterpiece. MFSL have done the purchaser a favor, too, by including an additional track that was left off the original album. This sixth track, "Alison's Uncle," closes out Somethin' Else on a high note, changing the flow of energy in an interesting way (purists can still finish up on a quieter note, as with the original, by programming "Dancing in the Dark" as the final track). In many ways it's a surprise that this track was left off originally -- it's an excellent piece, with Adderley and Davis trading licks and solos while Jones and Blakey keep pace. Blakey also takes some terrific solos. The remastering job is the usual superb MFSL effort, producing clear sound with almost no background noise. Due to the original recording (made in 1958), Davis' trumpet sometimes seems a little shrill and metallic, but it's not an overwhelming problem -- certainly not when you consider Davis' style. Altogether, an excellent addition to any jazz collection. [This RVG edition corrects the name of the bonus track "Alison's Uncle" that appeared on earlier CD editions; the correct title of this track is "Bangoon."] ~ Steven McDonald, All Music GuidePerformers: Cannonball Adderley - Sax (Alto); Art Blakey - Drums; Miles Davis - Trumpet; Hank Jones Great Jazz Trio - Piano; Sam "Stovepipe No. 1" Jones - Bass |
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Royal Flush [RVG Edition] $11.98 Donald Byrd was at his peak as a straight-ahead hard bop band leader in the early '60s, turning in a series of remarkably solid, enjoyable sessions for Blue Note. Royal Flush is no exception to the rule. Recorded in the fall of 1961, Royal Flush finds Byrd once again working with baritonist Pepper Adams, but adding bassist Butch Warren, drummer Billy Higgins, and, most importantly, a young pianist named Herbie Hancock. For the most part, the quintet plays a set of vital hard bop, swinging hard on the bluesy groove "Hush" and laying back on the pop standard "I'm a Fool to Want You." But what's really interesting is when they begin pushing the boundaries of bop. All three of Byrd's original pieces -- "Jorgie's," "Shangri-La," "6M's" -- are harmonically complex and have subtly shifting rhythms; all three are successful, but "Shangri-La" is particularly noteworthy. Similarly, Hancock's graceful "Requiem" calls attention to its fluid melodic lines and rhythm. Throughout the date, Byrd and Adams are typically impressive, alternating between punchy, hard-hitting, and graceful solos, but Hancock is just as good, signaling early on in his career his deep, unique talent. [This RVG edition features 24-bit remastering.] ~ Stephen Thomas Erlewine, All Music GuidePerformers: Pepper Adams - Sax (Baritone); Donald Byrd - Trumpet; Herbie Hancock - Piano; Billy Higgins - Drums; Butch Warren - Bass, Bass (Upright) |
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Oblique [RVG Edition] $11.98 Bobby Hutcherson's second quartet session, Oblique, shares both pianist Herbie Hancock and drummer Joe Chambers with his first, Happenings (bassist Albert Stinson is a newcomer). However, the approach is somewhat different this time around. For starters, there's less emphasis on Hutcherson originals; he contributes only three of the six pieces, with one from Hancock and two from the typically free-thinking Chambers. And compared to the relatively simple compositions and reflective soloing on Happenings, Oblique is often more complex in its post-bop style and more emotionally direct (despite what the title may suggest). The latter is especially true on the two opening Hutcherson pieces, the sweetly lilting "'Til Then" and the innocent, childlike theme of "My Joy," which is reminiscent of "Little B's Poem" (save for its multi-sectioned structure). Meanwhile, Chambers' experiments with counterpoint in the context of group improvisation keep getting more evocative. The title cut is quick and driving, with lots of short, fleeting exchanges between Hutcherson and a surprisingly swinging Hancock; "Bi-Sectional" makes playful use of chromaticism in its first part, after which Hutcherson and Chambers switch between several different percussion instruments for what amounts to an artillery attack. As for the other pieces, Hutcherson's "Subtle Neptune" fuses post-bop with Brazilian rhythms, and Hancock's "Theme from Blow-Up" is a spare modal melody over a repeated chordal vamp, somewhat reminiscent of his classic "Maiden Voyage." All the performances are spirited enough to make the sophisticated music sound winning and accessible as well, which means that Oblique is one of the better entries in Hutcherson's Blue Note discography and one worth tracking down. [This 2005 RVG edition has been remastered by Rudy Van Gelder.] ~ Steve Huey, All Music GuidePerformers: Bobby Hutcherson - Vibraphone; Joe Chambers - Drums; Herbie Hancock - Piano |
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Leapin' and Lopin' [RVG Edition] $11.98 Sonny Clark's fifth Blue Note recording as a leader is generally regarded as his best, especially considering he composed four of the seven tracks, and they all bear his stamp of originality. What is also evident is that he is shaping the sounds of his quintet rather than dominating the proceedings as he did on other previous dates. Tenor saxophonist Charlie Rouse and trumpeter Tommy Turrentine play very little harmony on the date, but their in-tune unison lines are singularly distinctive, while bassist Butch Warren and a young drummer Billy Higgins keep the rhythmic coals burning with a steady glowing red heat. Among the classic tunes is the definitive hard bop opener "Somethin' Special" which lives up to its title in a most bright and happy manner, with Clark merrily comping chords. "Melody for C" is similarly cheerful, measured, and vivid in melodic coloration, the CD containing a slightly longer alternate take. "Zellmar's Delight," not included on the original LP, finally has the tenor and trumpet playing harmony during a tricky, progressive melody, not at all conventional, which is perhaps why it was initially omitted. The showstopper is "Voodoo," the ultimate yin/yang, dark, late night, sly and slinky jazz tune contrasted by Clark's tinkling piano riffs. Warren wrote the exciting hard bopper "Eric Walks" reminiscent of a Dizzy Gillespie tune, while Turrentine's "Midnight Mambo" mixes metaphors of Afro-Cuban music with unusual off-minor phrases and the stoic playing of Rouse. Tenor saxophonist Ike Quebec plays a cameo sans the other horns on the soulful ballad "Deep in a Dream," exhibiting a vocal quality on his instrument, making one wonder if any other sessions with this group were done on the side. Top to bottom Leapin' and Lopin' is a definitive recording for Clark, and really for all time in the mainstream jazz idiom. [An RVG edition was also released.] ~ Michael G. Nastos, RoviPerformers: Sonny Clark - Piano; Billy Higgins - Drums; Ike Quebec - Sax (Tenor); Charlie Rouse - Sax (Tenor); Tommy Turrentine - Trumpet; Butch Warren - Bass |
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Traneing In [RVG Edition] $9.98 Even with comparatively nominal experience in the role of bandleader, John Coltrane (tenor sax) ably commands the Red Garland Trio -- consisting of Garland (piano), Paul Chambers (bass), and Art Taylor (drums) -- through five selections on John Coltrane with the Red Garland Trio (1958). Here the players are given the perfect platform to demonstrate their respective versatility as performers, combo members, and for Coltrane, as a composer of the project's opener and title track "Traneing In," as well as the masterful "Bass Blues." The former is one of the tenor's best-known works as it not only bears his surname, but also exemplifies some of his trademark performance attributes -- namely his abilities as an effective communicator and arranger. Garland takes the front end of the tune before yielding to Coltrane. Once Chambers gets in on the action, he lets loose with references to the children's seasonal favorite "Santa Claus Is Coming to Town" in the playful spirit of the moment. Conversely, the bassist's introduction to the earthy ballad "Slow Dance" begins with a brief excursion into formless dissonance that rapidly dissolves into a noir ballad that shimmers in Coltrane's refreshing, robust, and brisk lines. His domination is brief as Chambers, who is followed by Garland, become primary participants. The pianist's lush and richly appointed fills are comparable to that of Nat King Cole or even Erroll Garner with the rhythm section providing a textural balance. Coltrane's assertive original "Bass Blues" drives forward with the tenor remaining evenhanded, if not at times purposefully reserved. Less staid are Garland's limber blues runs as he frolics up and down the '88s. Chambers' contributions should not be overlooked either as his interminably cheerful bowing enhances the optimistic feel. Always a sucker for a love song, "You Leave Me Breathless" is nothing short of sublime and this rendition is unquestionably picture perfect and suitable for framing. Coltrane is charming and romantic, weaving his way through Chambers as Garland lightly prods him on. "Soft Lights and Sweet Music" is beauty and grandeur on a completely different strata. Listeners are served up a heaping helping of Coltrane and company at their bebop best. With his aim steadfastly fixed upon what amounts to research and development of his "sheets of sound," Coltrane unleashes a flood of notes without getting lost or bogged down, predicting the direction that his future sonic voyages would take. [A remastered RVG edition was also released.] ~ Lindsay Planer, All Music GuidePerformers: Paul Chambers - Bass; John Coltrane - Sax (Tenor); Red Garland - Piano; |
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Magnificent Thad Jones [RVG] $8.94 In 1956, trumpeter Thad Jones was making his way forward as a leader and apart from his important role with the Count Basie Orchestra, having recorded for the Charles Mingus owned "Debut" and Period labels. But this release for Blue Note most firmly established him as one of the premier musicians and composers in modern jazz; it's titled "Magnificent" for many great reasons. There are several precedents set here; the initial foray out of Detroit for the young pianist and fellow Michiganian Barry Harris, the identifying of a personalized small group, as well as individual sound of Jones, and his ability to easily bring great jazz icons together as a team. With Detroit's Billy Mitchell on tenor sax, Percy Heath's bass, and stellar drummer Max Roach, this quintet makes truly great jazz music together. Starting with Heath's spooky bass lines surrounding "April in Paris" melting into the silky smooth tenor of Mitchell, you immediately know you're in for a unique listening experience. Jones' singing soul on his horn comes through best on the ballads "If Someone Had Told Me," in tandem with the pristine piano of Harris during "I've Got a Crush on You," and in duet with Kenny Burrell on "Something to Remember You By." Not forgetting to follow in the footsteps of Dizzy Gillespie/Miles Davis/Clifford Brown examples before him, Jones bops strong and proud on "If I Love Again," spurred on by Roach constantly mutating the rhythm changes, and using counter-melodies while jousting with Mitchell on "Billie-Doo." The single, definitive, and most enduring piece is the near-11-minute "Thedia," a classic post-bop case study that everyone should know and revere. The musicianship being at such a lofty plateau, so intelligently selected and executed, this CD is a must-have for every collection, and is generally regarded as the very best work of Jones, later big-band recordings with Mel Lewis notwithstanding. [An RVG remastered version of the CD was released in 2007.] ~ Michael G. Nastos, RoviPerformers: Kenny Burrell - Guitar; Barry Harris - Piano; Percy Heath - Bass; Thad Jones - Trumpet; Max Roach - Drums |
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Grinning from Ear to Ear $9 Grinning from Ear to Ear |
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E.A.R. This $19.98 Including three tracks by Brooklyn Bounce and others by Black Connection, Chicane and Mark Van Dale, E.A.R. This compiles Latin-influenced house and club grooves. ~ Keith Farley, All Music Guide |
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It Might as Well Be Spring [RVG Edition] $11.98 Working with the same quartet that cut Heavy Soul -- organist Freddie Roach, bassist Milt Hinton and drummer Al Harewood -- Ike Quebec recorded another winning hard bop album with It Might as Well Be Spring. In many ways, the record is a companion piece to Heavy Soul. Since the two albums were recorded so close together, it's not surprising that there a number of stylistic similarities, but there are subtle differences to savor. The main distinction between the two dates is that It Might as Well Be Spring is a relaxed, romantic date comprised of standards. It provides Quebec with ample opportunity to showcase his rich, lyrical ballad style, and he shines throughout the album. Similarly, Roach has a tasteful, understated technique, whether he's soloing or providing support for Quebec. The pair have a terrific, sympathetic interplay that makes It Might as Well Be Spring a joyous listen. [This RVG edition has been remastered.] ~ Stephen Thomas Erlewine, All Music GuidePerformers: Al Harewood - Drums; Milt Hinton - Bass, Bass (Upright); Ike Quebec - Sax (Tenor); Freddie Roach - Organ |
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Black Fire [RVG Edition] $8.94 Black Fire, Andrew Hill's debut record for Blue Note, was an impressive statement of purpose that retains much of its power decades after its initial release. Hill's music is quite original, building from a hard bop foundation and moving into uncharted harmonic and rhythmic territory. His compositions and technique take chances; he often sounds restless, searching relentlessly for provocative voicings, rhythms, and phrases. Black Fire borrows from the avant-garde, but it's not part of it -- the structures remain quite similar to bop, and there are distinct melodies. Nevertheless, Hill and his band -- comprised of tenor saxophonist Joe Henderson, bassist Richard Davis, and drummer Roy Haynes -- are not content with the limitations of hard bop. Much of the music is informed by implied Afro-Cuban rhythms and modal harmonics, resulting in continually challenging and very rewarding music. Hill's complex chording is thoroughly impressive, and Henderson's bold solos are more adventurous than his previous bop outings would have suggested. Their expertise and the nimble, unpredictable rhythm section help make Black Fire a modern jazz classic. The 2004 Rudy Van Gelder edition features spectacularly remastered sound and places the alternate takes of the title cut and "Pumpkin" (which appeared on the 1998 CD issue) at the bottom of the track list, leaving the original sequence intact. ~ Stephen Thomas Erlewine, All Music GuidePerformers: Richard Davis - Bass; Roy Haynes - Drums; Joe Henderson - Sax (Tenor); Andrew Hill - Piano |
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El Hombre [RVG Remaster] $9.98 Guitarist Pat Martino's debut as a leader finds the 22-year-old showing off his roots in soul-jazz organ groups while looking ahead at the same time. Joined by organist Trudy Pitts, flutist Danny Turner, drummer Mitch Fine, and both Abdu Johnson and Vance Anderson on percussion, Martino primarily plays a straight-ahead set (five of his originals, "Just Friends," and "Once I Loved"), but already displays a fairly distinctive sound. This CD reissue brings back Martino's impressive start to what would be a productive solo career. [A Rudy Van Gelder remaster appeared in 2007.] ~ Scott Yanow, All Music GuidePerformers: Vance Anderson - Bongos; Abdu Johnson - Conga, Drums; Mitch Fine - Drums; Pat Martino - Guitar; Trudy Pitts - Organ; Danny Turner - Flute |
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Boss Tenor [RVG Remaster] $9.98 There are many Gene Ammons recordings currently available on CD in Fantasy's Original Jazz Classics, since the versatile tenorman was a longtime Prestige recording artist. Unlike his earlier jam sessions, this particular outing finds Ammons as the only horn, fronting a talented rhythm section (pianist Tommy Flanagan, bassist Doug Watkins, drummer Art Taylor, and Ray Barretto on congas). Ammons explores standards (including a near-classic version of "Canadian Sunset"), blues, and ballads in his usual warm, soulful, and swinging fashion. This is a fine outing by one of the true "bosses" of the tenor. ~ Scott Yanow, All Music GuidePerformers: Ray Barretto - Conga; Gene Ammons - Sax (Tenor); Tommy Flanagan - Piano; Art Taylor - Drums; Doug Watkins - Bass, Bass (Upright) |
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Cookin' [RVG Remaster] $9.98 Cookin' is the first of four albums derived from the Miles Davis quintet's fabled extended recording session on October 26, 1956; the concept being that the band would document their vast, live-performance catalog in a studio environment, rather than preparing all new tracks for their upcoming long-player. The bounty of material in the band's live sets -- as well as the overwhelming conviction in the quintet's studio sides -- would produce the lion's share of the Cookin', Relaxin', Workin', and Steamin' albums. As these recordings demonstrate, there is an undeniable telepathic cohesion that allows this band -- consisting of Miles Davis (trumpet), John Coltrane (tenor sax), Red Garland (piano), and Philly Joe Jones (drums) -- to work so efficiently both on the stage as well as in the studio. This same unifying force is also undoubtedly responsible for the extrasensory dimensions scattered throughout these recordings. The immediate yet somewhat understated ability of each musician to react with the ingenuity and precision is expressed in the consistency and singularity of each solo as it is maintained from one musician to the next without the slightest deviation. "Blues by Five" reveals the exceptional symmetry between Davis and Coltrane that allows them to complete each other's thoughts musically. Cookin' features the pairing of "Tune Up/When Lights Are Low" which is, without a doubt, a highlight not only of this mammoth session, but also the entire tenure of Miles Davis mid-'50s quintet. All the elements converge upon this fundamentally swinging medley. Davis' pure-toned solos, and the conversational banter that occurs with Coltrane, and later Garland during "When the Lights Are Low," resounds as some of the finest moments between these musicians. ~ Lindsay Planer, All Music GuidePerformers: Paul Chambers - Bass; John Coltrane - Sax (Tenor); Miles Davis - Trumpet; Red Garland - Piano; Philly Joe Jones - Drums |
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Posted December 21, 2009 by admin under RecordsLeave a Reply