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Adderley, Cannonball - Happy People
(Capitol SAT-11121 US-72 EX 300:-)

A really unique little album from Cannonball's all-great late years at Capitol – a session that features some strong influences from Brazilian music – "The Happy People" – and production from the legendary David Axelrod! The mix makes for a really unique little record – a set that isn't really bossa, but isn't regular Cannonball funk either – kind of a special hybrid of the two! Airto plays on the set, and contributed the great groover "The Happy People" – a long bit of funky samba that features George Duke on electric piano, and percussion and vocals by Airto himself. The rest of the album's pretty darn great too – with some long tracks that have a more open-ended groove than the usual Cannon funk – featuring more piano by Duke, percussion by Airto and King Errison, cornet by Nat Adderley, and guitar by David T Walker. Other titles include "Ela", "Maria Tres Filhos", and "Savior" – and the album was recorded live, with a very lively feel!
Babs, Alice - Alice and Wonderband
(Decca LK-4326 Swe-59 VG+ 500:-)

A popular singer when she was still a young teenager, Alice Babs has had a long and varied career. She made her recording debut in 1939 at the age of 15 and, although her yodelling made her initially popular and the novelty "Swing It, Mr. Teacher" was her first hit, Babs even at the start had a highly appealing voice and a lightly swinging style. She mostly recorded in jazz and swing-oriented settings throughout the years of World War II. Babs remained active throughout the 1950s and '60s in Europe, singing everything from jazz (recording with Duke Ellington in 1963 and performing the classic "Heaven" at his second spiritual concert) and pop to a bit of classical music. By the late '70s, Alice Babs had become less active but into the mid-'90s, she occasionally performed on special occasions.

Very uncommon first issue in great condition. This is the original from 1959 ( later released on Telestar ) on the lightblue Decca label. The music is charming vocal jazz not unlike Monica Zetterlund's "Swedish sensation" album. Listen to "I can't give you anything but love" with music from Benny Bailey, Arne Domnerus & Bengt Hallberg among others. Very clean copy, just a few pressing marks on vinyl not affecting play.
Baker, Chet - Chet's Choice
(Criss Cross 1016 Hol-85 EX 300:-)

One of the best settings for trumpeter Chet Baker was when he was accompanied by a guitar-bass duo. On this excellent session, Baker is joined by guitarist Philip Catherine and bassist Jean-Louis Rassinfosse on a variety of high-quality standards that include such songs as "If I Should Lose You," Horace Silver's "Doodlin'," "Conception" and "Love for Sale." A special treat is hearing the talented but forgotten Bob Zieff's "Sad Walk." This is one of Baker's better albums from his later period.
Bostic, Earl - Earl Bostic and his Alto Sax
(Parlophone PMD-1016 UK-54 VG+ 375:-)

Alto saxophonist Earl Bostic was a technical master of his instrument, yet remained somewhat underappreciated by jazz fans due to the string of simple, popular R&B/jump blues hits he recorded during his heyday in the '50s.

This copy is overall in Very Good+ conditon; the sleeve has a bit of loosening of the laminate and the vinyl a few small marks.
Carter, Benny - Swingin' the 20's
(Contemporary S-7561 US-58 EX 400:-)

Combining altoist Benny Carter with pianist Earl Hines in a quartet is an idea with plenty of potential, but the results of this 1958 session are relaxed rather than explosive. Carter and Hines explore a dozen tunes (standards as well as forgotten songs like "All Alone" and "Mary Lou") with respect and light swing, but one wishes that there were a bit more competitiveness to replace some of the mutual respect.
Coltrane, John - Kulu se Mama
(Impulse AS-9106 US-66 EX 800:-)

This LP features John Coltrane in two different settings. "Vigil" and the spiritual ballad "Welcome" showcase tenor saxophonist Coltrane with his classic quartet (pianist McCoy Tyner, bassist Jimmy Garrison, and drummer Elvin Jones) in June 1965. Dating from October 14, 1965, it adds tenor saxophonist Pharoah Sanders, Donald Garrett on bass clarinet and second bass, second drummer Frank Butler, and percussionist-vocalist Juno Lewis to the quartet and is a bit of an oddity. Lewis' chanting and colorful percussion make this a unique if not essential entry in Coltrane's discography.
Davis, Eddie - Count Basie presents
(Roulette R-52007 US-58 EX 400:-)

Great small combo work from Eddie Lockjaw Davis – very much in the mode of his early Cookbook albums for Prestige, but with the added bonus of Count Basie on piano and Joe Newman on trumpet! Davis' raw tenor sound gets plenty of time in the spotlight, but Newman gets in a few strong solos too – and although Shirley Scott is backing up the group with the strongest sound on Hammond, Basie also tickles the ivories a bit in the background – and ensures that there's a bit of a Basie swing to the whole record! Titles include "Farouk", "Lock Up", "Telegraph", "Marie", "Swingin Till The Girls Come Home", "Street Of Dreams", and "A Misty One".
Davis, Miles - Complete Prestige Recordings
(Prestige/Fantasy P-012 US-80 EX 800:-)

This is the entire output of Miles Davis for Prestige Records between 1951 and late 1956. A Gem for every serious collector!

Rare Mono 12-LP Limited Edition Box Set (#3946 of only 10000 copies made). Beautiful designed cover, looks like a book, incl. a long essay written by Dan Morgenstern plus a discography and extensive information about the recorded tracks.
Davis, Miles - Early Miles
(Prestige PRLP-7168 US-59 EX 800:-)

This album compiles early Miles Davis sides from two different Prestige sessions of the early 50s. One features Miles with a sextet that includes Sonny Rollins, Bennie Green, John Lewis, Percy Heath, and Roy Haynes – on the tracks "Morpheus", "Down", "Blue Room", and "Whispering". The other session features a septet, with Lewis, Kenny Clarke, Al Cohn, Zoot Sims, Leonard Gaskin, and Sonny Truitt. Titles include "Tasty Pudding", "Floppy", "Willie The Wailer", and "For Adults Only".
Davis, Miles - Legendary Masters
(RARE LP-08/10 Ita-8? EX 375:-)

Rare Italian 25-track triple LP box set featuring digitally remastered live recordings on three LPs, 1948-52, 1956-59 & 1960, each in their own gold embossed picture sleeve, all housedin a gold embossed slipcase picture box.
Davis, Miles - Miles ahead
(Fontana TFL-5007 UK-57 VG+ 300:-)

A masterful meeting of two modern jazz talents – the trumpet of Miles Davis balanced with the arrangements of Gil Evans – with results that have made the album one of Miles' greatest ever! The sound here is completely sublime – as Davis gets all chromatic and spooky over Evans' edgey arrangements – shimmering nicely in a perfect blend of modernism and lighter, more lyrical touches. Titles include "Springsville", "Blues For Pablo", "New Rhumba", "Lament", and "Miles Ahead".

Original UK pressing on the Fontana label; the sleeve shows some minor wear - the vinyl is in Excellent condition!
Fitzgerald, Ella - Rodgers & Hart Songbook
(Verve MGV-4002-2 US-56 VG+ 500:-)

The second of Ella Fitzgerald's famed Songbook series features her singing 34 of the best songs co-written by Richard Rodgers and Lorenz Hart. The arrangements by Buddy Bregman for the string orchestra and big band only border on jazz but she manages to swing the medium-tempo numbers and give sensitivity to the ballads. With such songs as "You Took Advantage of Me," "The Lady Is a Tramp," "It Never Entered My Mind," "Where or When," "My Funny Valentine," and "Blue Moon," it is not too surprising that this 2-LP set was so popular.
Gardner & Dee Dee Ford, Don - Quintet in Sweden
(Sonet SLP-39 Swe-65 EX 450:-)

A male-female duo, Don Gardner and Dee Dee Ford reached the charts in 1962 with "I Need Your Loving," a Top 20 hit in the mold of Ike & Tina Turner. Gardner had formed a Philadelphia group, called the Sonotones, in 1952, but teamed up with Ford ten years later.
Gillespie & Charley Christian, Dizzy - 1941
(Esoteric ESJ-4 US-53 VG+ 500:-)

Four Charley Christian Tunes from Minton's 1941; Up on Teddy's Hill, Guy's got to Go, On with Charlie Christian and Down on Teddy's Hill. The Dizzy Gillespie side features Don Byas, Kenny Kersey and Nick Flinton; Stardust and Kerouac.

The sleeve is split on top and bottom of the opening - otherwise all in Very Good+ condition.
Gillespie, Dizzy - A Portrait of Duke Ellington
(Verve MGV-8386 US-60 EX 500:-)

A portrait of Duke, done by Dizzy -- and one that's got a whole different feel than you might think! Gillespie's working here with arrangements by a young Clare Fischer -- who takes Ellington's themes and recasts them with an even deeper sense of color and tone -- one that pushes the already-modern themes of the numbers into a whole new realm of sound, and uses the horn passages to carve things out a lot differently than Duke might have done! The result is a wonderfully striking session -- one with familiar melodies that unfold in a whole new way -- and which showcases some great phrasing from Dizzy, over rhythms by a combo that features Hank Jones, George Duvivier, and Charlie Persip -- playing alongside a group of larger horns. Titles include "Perdido", "Caravan", "Upper Manhattan Medical Group", and "Chelsea Bridge".
Gillespie, Dizzy - Dizzy Gillespie Story
(Savoy MG-12110 US-57 EX 400:-)

This set features eight tracks of famed trumpeter Dizzy Gillespie sitting in with Johnny Richards' orchestra at a session that was recorded for the West Coast label Discovery Records (and released under the title Dizzy Gillespie Plays, Johnny Richards Conducts) and four tracks cut with the so-called BeBop Boys from a session held in 1946. Savoy combined the tracks for its 1957 release titled The Dizzy Gillespie Story.
Hallberg, Bengt - same
(Philips P-08201-L Hol-6? VG+ 350:-)

One of Sweden's top jazz pianists, Bengt Hallberg made his first trio recordings when he was 17. In the 1950s, he recorded with Lars Gullin, Arne Domnérus, and such traveling Americans as Clifford Brown, Stan Gets, and Quincy Jones. He worked as a member of the Swedish Radio Big Band (1956-1963), and, although in demand as a writer for films and television, Hallberg has continued playing jazz on a part-time basis (often with Domnérus and Karin Krog), mostly recording for Swedish labels such as Metronome, Sonet, and Phontastic.
Hamilton, Chico - Chico Hamilton Quintet
(World Pacific PJ-1225 US-57 EX 375:-)

A classic from the west coast scene of the 50s – and not to be confused with other similar-titled Chico Hamilton albums at the time! This one sports an abstract painting on the cover, and was recorded in 1956 at the Forum Theater in Los Angeles – not live, but using the space as a very open-sounding studio – with really amazing results! The lineup features Hamilton on drums, Paul Horn on alto and tenor sax and clarinet, John Pisano on guitar, Fred Katz on cello and Carson Smith on bass – kind of a second-generation of Hamilton's group, with Horn taking over wonderfully from Buddy Collette, and playing with even more sensitivity than before. The work's very much in Hamilton's best sprightly chamber jazz mode – with some great originals that include "Chanel #5", "Beanstalk", "Mr. Jo Jones", and "Reflections" – plus Hamilton-ized versions of "Satin Doll", "Caravan", "Soft Winds", "Siete-Cuatro", "I Know", and "Lillian".
Hamilton, Chico - Sweet Smell of Success
(Brunswick LAT-8225 UK-57 VG+ 300:-)

Elmer Bernstein's orchestra plays the principal music on this, his fourth movie soundtrack, with Chico Hamilton's groundbreaking quintet (including cellist Fred Katz) provide the rest of the sounds.

Original UK Vinyl; both sleeve and vinyl are graded Very Good+.
Jackson, Milt - Opus de Jazz
(Savoy MG-12038 US-55 VG+ 350:-)

One of the best-known 50s jazz sessions from the Savoy label – a laidback classic that's a great illustration of the label's shift in modes after the early bop years! The setting here is relatively informal – with Milt Jackson as the ersatz leader, working almost in blowing session mode with hip players who include Frank Wess on flute and tenor, Hank Jones on piano, Eddie Jones on bass and Kenny Clarke on drums – all players who relax into a groove wonderfully, and really open up on the album's four long tracks. Titles include the classic reading of "Opus De Funk", plus "Opus Pocus", "You Leave Me Breathless", and "Opus & Interlude".
Johansson, Jan - Innertrio
(Megafon MFLP-2 Swe-62 VG+ 300:-)

Jan Johansson was among Sweden's top jazz pianists of the 1950s and '60s and commanded tremendous respect in Scandinavian jazz circles. Johansson was quite prolific in the '60s, when he also explored the possibilities of modal post-bop, third stream and avant-garde jazz.

Original Swedish vinyl; the sleeve shows some general wear - the viny is in Excellent condition.
Lambert, Hendricks & Ross - Sing a Song of Basie
(ABC Paramount ABC-223 US-58 EX 400:-)

The premiere vocal jazz group, Lambert, Hendricks & Ross made their recording debut on this classic album. After unsuccessfully searching for a dozen singers in 1957 who could sing vocalese in a re-creation of some famous records by the Count Basie Orchestra, Dave Lambert, Jon Hendricks and Annie Ross decided to overdub their voices several times instead. Utilizing just a rhythm section, the vocalists sing the witty and inventive lyrics of Hendricks in note-for-note reproductions of ten Basie records. Highlights include "It's Sand, Man!," "One O'Clock Jump," the up-tempo "Little Pony," and "Avenue C." This record was a sensation when it was released and it is still quite enjoyable and unique.
Lawson-Haggart Band - Boppin' at the Hop
(Brunswick STA-3010 UK-60 EX 800:-)

These great instrumentals are arranged and played especially for dancing... Nobody sits when the Lawson-Haggart group starts rockin'!
Martinez, Sabu - Groovin'
(Metronome MLP-15316 Swe-68 VG+ 350:-)

Percussionist Luis "Sabu" Martinez is one of the all-time greats of Latin music – and this record came out of Sweden, where Sabu was residing during the 70s – enjoying some success as an expatriot jazz player in the European scene. The album mixes Latin grooves and hard funk in a way that's rarely been duplicated, and which has ensured Sabu a place in the funk hall of fame for all time!
Montgomery, Wes - Bumpin'
(Mobile Fidelity MFSL-1-508 US-82 EX 300:-)

An incredible album from Wes Montgomery – and the beginning of a whole new sound for his guitar! Wes moves away from his small combo soul jazz roots on the set – and hits a wonderfully sweet new vibe with larger arrangements from Don Sebesky – bigger backdrops that fill in the space between the notes wonderfully, yet still leave plenty of space for Montgomery to really open up and do his thing! Sebesky's got a perfect sense of timing on the record – and many tunes have a subtle sort of groove – one that pushes Wes' solos beautifully, and has them open up in chromatic tones that are simply mindblowing. This is the start of Montgomery's really classic years in the 60s jazz mainstream – and titles include the classic "Bumpin", plus "Mi Cosa", "Musty", "Con Alma", and "Tear It Down".

Half-speed production and mastering by Original Mastering Works. Specially plated and pressed on high definition super vinyl by Victor Company of Japan Ltd.
Mulligan & Paul Desmond, Gerry - same
(Fantasy 3-220 US-56 EX 500:-)

This re-issue combines two 10" albums originally released by Fantasy Records in 1953 and 1955.

Original US pressing, on RED vinyl. Both sleeve and vinyl are graded Excellent!
Mulligan, Gerry - A Profile of Gerry Mulligan
(Mercury MG-20453 US-59 EX 450:-)

"A Profile..." was recorded in New York City after Mulligan had returned to his hometown following the 1954 drug bust that ended his starmaking Los Angeles group with Chet Baker. As a result, some call these sessions the first flowering of "West Coast" cool jazz on the Eastern Seaboard, but in point of fact, these tracks can be traced directly back to Mulligan's work with Miles Davis and Gil Evans on the "Birth of the Cool" sessions in 1949.
Pettiford, Oscar - OP's Jazz Men
(ABC Paramount ABC-227 US-58 VG 500:-)

Oscar Pettiford was an jazz double bassist, cellist and composer known particularly for his pioneering work in BeBop. Pettiford is considered the pioneer of the cello as a solo instrument in jazz music. He first played the cello as a practical joke on his band leader [Woody Herman] when he walked off stage during his solo spot and came back, unexpectedly with a cello and played on that. In 1949, after suffering a broken arm, Pettiford found it impossible to play his bass, so he experimented with a cello a friend had lent him. Tuning it in fourths, like a double bass, but one octave higher, Pettiford found it possible to perform during his rehabilitation (during which time his arm was in a sling) and made his first recordings with the instrument in 1950. The cello thus became his secondary instrument, and he continued to perform and record with it throughout the remainder of his career. Aong with his contemporary, Charles Mingus, Pettiford stands out as one of the most-recorded bass-playing bandleader/composers in jazz.
Rumsey, Howard - In the Solo Spotlight!
(Contemporary C-3517 US-56 EX 600:-)

Although a good enough bassist to play with stan Kenton's big band, Howard Rumsey's main importance was as the organizer of the Lighthouse All-Stars and manager of the Lighthouse. Originally a drummer, Rumsey switched to bass while at college. In 1949 Rumsey brought jazz into the Lighthouse in Hermosa Beach, CA. Within a few years the jam sessions featured some of the top jazz-oriented studio players in the area and the bassist was heading "the Lighthouse All-Stars," which recorded frequently for Contemporary in the 1950s, starring such players as Shorty Rogers, Jimmy Giuffre, Bob Cooper, Bud Shank and Bill Perkins.
Shank & Bob Brookmeyer, Bud - same
(Vogue LDE-181 UK-56 EX 400:-)

British issue of the Pacific Jazz 10" album issued in 1955. Bud and Bob are joined by Claude Williamson (piano), Larry Bunker (drums), Joe Mondragon and Buddy Clark (bass).
Shank, Bud - Bud Shank and Three Trombones
(Pacific Jazz PJLP-14 US-54 VG+ 400:-)

Bud Shank began his career pigeonholed as a cool-schooler, but those who have listened to the altoist progress over the long haul know that he has become one of the hottest, most original players of the immediate post-Parker generation. Shank's keening, blithely melodic, and tonally expressive style is one of the more genuinely distinctive approaches to have grown out of the bebop idiom.

On this 1954 10" album his is joined by the trombones of Bob Enevoldsen, Stu Williamson and Maynard Ferguson.
Staton, Dakota - Late, Late Show
(Capitol T-876 UK-58 EX 375:-)

Singer Dakota Staton's first full-length album was one of her best. She had a hit with "The Late, Late Show" and performed memorable versions of "Broadway," "A Foggy Day," "What Do You See in Her," "My Funny Valentine" and "Mooney." Backed by a largely unidentified orchestra arranged by Van Alexander (with Hank Jones on piano), Staton sounds both youthful and mature, displaying a highly appealing voice on a near-classic set.
v/a - Sounds
(Blue Tower BTLP-01/02 Swe-90 VG+ 400:-)

The small Blue Tower label began its documentation of the Swedish free improvisation scene, circa the late '80s, with this monumental double album. Musically, it is a superb collection that shows the country's improvisers operating with the force, precision, and -- most importantly -- overall weirdness of the British improvising scene of the '70s. The lavish packaging and thorough liner notes in the form of a handsome bilingual booklet smartly attached inside make this quite a desirable item to have in one's collection.
Wilson, Anthony - Power if Nine
(Groove Note GRV-1035 US-06 NM 300:-)

A new album by Anthony Wilson featuring the super talented and top selling jazz vocalist Diana Krall with whom Anthony has been recording and touring for the last three to four years.
Krall appears on the track "Looking Back" on vocals. The material includes a mix of Wilson originals and some jazz standards. Pressed on 180-gram vinyl, this two-LP set includes eight tracks on regular 33 1/3 with a four tracks cut at 45. The album was produced by Joe Harley and recorded by Michael Ross at Oceanway in Hollywood.

1 LP with a 45 rpm bonus vinyl.