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UMC
Brian Eno - Here Comes the Warm Jets
$48.00
Visit product page →Here Come the Warm Jets is the debut solo album by Brian Eno, credited only as "Eno". Produced by him, it was released on Island Records in January 1974. The musical style of Here Come the Warm Jets is a hybrid of glam rock and art pop, similar to Eno's previous album work with Roxy Music, although in a stronger experimental fashion. In developing the album's words and music, Eno used unusual methods such as dancing for his band members and having them play accordingly, and singing nonsense words to himself that would form the basis of subsequent lyrics. The album features various guest musicians, including members of Roxy Music, Hawkwind, Matching Mole and Pink Fairies, as well as Chris Spedding, and Robert Fripp of King Crimson, who collaborated with Eno a year before in (No Pussyfooting). - Wiki
“Brian Eno’s run of rock albums in the ’70s was an unprecedented achievement in music built on aleatory synth settings, fiery guitar work, subconscious lyrics, and of course, Oblique Strategies.” – Pitchfork
Item description:
Artist:
Brian Eno
Title:
Here Comes the Warm Jets
Label:
UMCFormat:
2 × Vinyl, LP, 45 RPM, Album, Limited Edition, Reissue, Remastered
Pressing:
EuropeRelease Date:
04 Aug 2017
Genre:
RockStyle:
Art Rock, GlamCatalog No:
00602557484359
Condition:
New
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Analogue Productions / Impulse!
Charles Mingus – The Black Saint and the Sinner Lady | 2011 Analogue Productions Reissue
$95.00
vAnalogue Productions / Impulse!
Charles Mingus – The Black Saint and the Sinner Lady | 2011 Analogue Productions Reissue
$95.00
Visit product page →The Black Saint and the Sinner Lady is a studio album by American jazz musician Charles Mingus, released on Impulse! Records in 1963. The album consists of a single continuous composition—partially written as a ballet—divided into four tracks and six movements.
The album was recorded on January 20, 1963 by an eleven-piece band. Mingus has called the album's orchestral style "ethnic folk-dance music". Mingus's perfectionism led to extensive use of studio overdubbing techniques … The Black Saint and the Sinner Lady is often characterized by jazz and music critics as one of Mingus's two major masterworks (the other being Mingus Ah Um) and has frequently ranked highly on lists of the best albums of all time.
Richard Cook and Brian Morton, writers of The Penguin Guide to Jazz, awarded the album a "Crown" token, the publication's highest accolade, in addition to the highest four-star rating. Steve Huey of AllMusic awards The Black Saint and the Sinner Lady five stars out of five and describes the album as "one of the greatest achievements in orchestration by any composer in jazz history." Q magazine describes the album as "a mixture of haunting bluesiness, dancing vivacity, and moments of Andalusian heat..." and awards it four of five stars. – Wiki
“(The record) veers between so many emotions that it defies easy encapsulation … Yet it soon reveals itself as a masterpiece of rich, multi-layered texture and swirling tonal colors, manipulated with a painter's attention to detail. There are a few stylistic reference points -- Ellington, the contemporary avant-garde, several flamenco guitar breaks … Mingus relies heavily on the timbral contrasts between expressively vocal-like muted brass, a rumbling mass of low voices (including tuba and baritone sax), and achingly lyrical upper woodwinds, highlighted by altoist Charlie Mariano. Within that framework, Mingus plays shifting rhythms, moaning dissonances, and multiple lines off one another in the most complex, interlaced fashion he'd ever attempted.
Mingus was sometimes pigeonholed as a firebrand, but the personal exorcism of Black Saint deserves the reputation -- one needn't be able to follow the story line to hear the suffering, mourning, frustration, and caged fury pouring out of the music. The 11-piece group rehearsed the original score during a Village Vanguard engagement, where Mingus allowed the players to mold the music further; in the studio, however, his exacting perfectionism made The Black Saint and the Sinner Lady the first jazz album to rely on overdubbing technology. The result is one of the high-water marks for avant-garde jazz in the '60s and arguably Mingus' most brilliant moment.” – AllMusic
Item description:
Artist:
Charles Mingus
Title:
The Black Saint and the Sinner Lady
Label:
Analogue Productions | Impulse!
Format:
2 × Vinyl, LP, 45 RPM, Album, Reissue, Remastered
Pressing:
US
Release Date:
This reissue: 2019 | Original – 1963
Genre:
Jazz
Style:
Post Bop
Catalog No:
AIPJ 35
Condition:
New
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Analogue Productions / Verve
Sonny Stitt – Blows The Blues | 45rpm 2LP
$75.00
Visit product page →A TAV Curator’s Pick.
“Sonny Stitt led a number of excellent record dates in 1959, especially at the end of the year when he produced three LPs for Verve over a span of three sessions with pianist Lou Levy, bassist Leroy Vinnegar and drummer Mel Lewis. Playing alto sax throughout this album, Stitt hardly sounds like a Charlie Parker clone, something that unfortunately was a frequent claim by tin-eared critics throughout a fair portion of his career. The music includes several potent originals, especially "Hymnal Blues" and the slow, powerful "Morning After Blues."” – Acoustic Sounds
“The music includes several potent originals, especially "Hymnal Blues" (which is based on an old hymn) and the slow, powerful "Morning After Blues." Even an old warhorse like "Frankie and Johnnie" (which actually dates back to the early 1800s, according to liner note writer Leonard Feather) sounds fresh in the quartet's hands, with great solos by Stitt, Levy, and Vinnegar.” - AllMusic
About Sonny Sitt :
"Edward "Sonny" Stitt (1924 - 1982) was an American jazz saxophonist of the bebop/hard bop idiom. He was one of the best-documented saxophonists of his generation, recording over 100 albums. He was nicknamed the "Lone Wolf" by jazz critic Dan Morgenstern, in reference to his relentless touring and devotion to jazz. Stitt was sometimes viewed as a mere Charlie Parker mimic, especially earlier in his career, but gradually came to develop his own sound and style particularly when performing on tenor sax." - Wiki
"A wonderful blues and ballad player whose approach influenced John Coltrane, Stitt could rip through an up-tempo bebop stanza, then turn around and play a shivering, captivating ballad. He was an alto saxophonist in Tiny Bradshaw's band during the early '40s, then joined Billy Eckstine's seminal big band in 1945, playing alongside other emerging bebop stars like Gene Ammons and Dexter Gordon. Stitt later played in Dizzy Gillespie's big band and sextet. He began on tenor and baritone in 1949, and at times was in a two-tenor unit with Ammons. He recorded with Bud Powell and J.J. Johnson for Prestige in 1949, then did several albums on Prestige, Argo, and Verve in the '50s and '60s. Stitt led many combos in the '50s, and re-joined Gillespie for a short period in the late '50s. After a brief stint with Miles Davis in 1960, he reunited with Ammons and for a while was in a three-tenor lineup with James Moody. During the '60s, Stitt also recorded for Atlantic, cutting the transcendent Stitt Plays Bird, which finally addressed the Parker question in epic fashion. He continued heading bands, though he joined the Giants of Jazz in the early '70s. This group included Gillespie, Art Blakey, Kai Winding, Thelonious Monk, and Al McKibbon. Stitt did more sessions in the '70s for Cobblestone, Muse, and others, among them another definitive date, Tune Up. He continued playing and recording in the early '80s, recording for Muse, Sonet, and Who's Who in Jazz. He suffered a heart attack and died in 1982." - AllMusic
Item description:
Artist:
Title:
Blows The Blues
Label:
Format:
2 × Vinyl, 12", 45 RPM, Limited Edition
Pressing:
US
Release Date:
This reissue: 2013 | Original - 1960
Genre:
Jazz
Style:
Bop
Catalog No:
AP-6149
Condition:
New
