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Impex Records and Audio International Announce the Resurrection of an American Classic

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Impex Records and Audio International Announce the Resurrection of an American Classic “When Johnny Cash comes on the radio, no one changes the station. It’s a voice, a name with a soul that cuts across all boundaries and it’s a voice we all believe. Yours is a voice that speaks for the saints and the sinners – it’s like branch water for the soul. Long may you sing out. Loud.” – Tom Waits audio int‘l p. o. box 560 229 60407 frankfurt/m. germany www.audio-intl.com Catalog: IMP 6008 Format: 180-gram LP tel: 49-69-503570 mobile: 49-170-8565465 Available Spring 2011 fax: 49-69-504733 To order/preorder, please contact your favorite audiophile dealer. Jennifer Warnes, Famous Blue Raincoat. Shout-Cisco (three 200g 45rpm LPs). Joan Baez, In Concert. Vanguard-Cisco (180g LP). The 20th Anniversary reissue of Warnes’ stunning Now-iconic performances, recorded live at college renditions from the songbook of Leonard Cohen. concerts throughout 1961-62. The Cisco 45 rpm LPs define the state of the art in vinyl playback. Holly Cole, Temptation. Classic Records (LP). The distinctive Canadian songstress and her loyal Jennifer Warnes, The Hunter. combo in smoky, jazz-fired takes on the songs of Private-Cisco (200g LP). Tom Waits. Warnes’ post-Famous Blue Raincoat release that also showcases her own vivid songwriting talents in an Crosby, Stills, Nash & Young, Déjá Vu. exquisite performance and recording. Atlantic-Classic (200g LP). A classic: Great songs, great performances, Doc Watson, Home Again. Vanguard-Cisco great sound. The best country guitar-picker of his day plays folk ballads, bluegrass, and gospel classics. Jimi Hendrix, Axis: Bold as Love. Track-Classic (200g mono LP). Muddy Waters, Folk Singer. JH’s marvelous, trippy, and jazzy second LP reissued Chess-Classic (200g LP). in the rare monophonic mix never sounded better. “Good Morning School Girl,” “You Gonna Need My Help,” “Big Leg Woman,” and “Country Boy” highlight Jimi Hendrix, Band of Gypsys. this famous blues album by Chicago’s most famous Classic Records (200g LP). bluesman. Mature Hendrix in one of his most original sets, live at the Fillmore; the music and sound will astonish. The Who, Tommy. Track-Classic (two 180g LPs). Classic’s reissue of Tommy must be heard to be Ian and Sylvia, Four Strong Winds. believed — it brings this still amazing rock “opera” Vanguard-Cisco (180g LP). to astonishing life. This great Canadian duo’s high-lonesome harmonies convey unvarnished emotion in “Katy Dear,” “Long The Who, Who’s Next. Classic (200g LP). Lonesome Road,” and “Royal Canal.” Arguably The Who’s best LP with arguably The Who’s best song — the bitter, timeless, and, alas, time-and- Led Zeppelin, I, II, III, IV. again-tested anthem “Won’t Get Fooled Again.” Atlantic-Classic (200g LPs). Yo — here it is, the first four Zeppelin albums reissued Neil Young, Live at Massey Hall 1971. with sound that will raise the hairs on the back of your Rhino-Classic (two 200g LPs). neck! This awesome sounding 1971 concert album from Neil’s vault features a solo Young with just a guitar, a piano, Roy Orbison, The All Time Greatest Hits Of Roy and a microphone, debuting some of his now-famous Orbison. Monument-S+P Records (two 180g LPs). new songs of the time. The honey-toned tenor’s finest work, neatly packaged in this great sounding S+P reissue. Steely Dan, Aja. Cisco (180g LP). Bartók, Concerto for Orchestra. Reiner, CSO. Approved by Donald Fagan and Walter Becker, this is RCA-Classic Records (200g LP). one of the best-sounding LP reissues in memory. Arguably the finest concertante work of the past century. The disc features no compression (unlike previous Reiner’s and Chicago Symphony’s performance — in masterings), tremendous sense of air, and precise some of RCA’s finest sound — generates tremendous soundstage focus. excitement. Bartók, Divertimento for Strings. Kenny Burrell, Midnight Blue. Barshai, Moscow Chamber Orchestra. Classic Records (200g LP). King Super Analogue (180g LP). Famously wonderful sounding, Midnight Blue is a Written just before the Second World War, this isn’t classic, and as moody as the title suggests. merely light and diverting; in the nightmarish second movement Bartók utters a riveting scream of horror at Miles Davis, Kind of Blue. the coming catastrophe. The performance by Barshai Columbia-Classic (200g LP). and the MCO is perhaps the most powerful on disc. For many this is the desert island jazz record. Beethoven, Kreutzer Sonata. Heifetz, Smith. Miles Davis, Sketches of Spain. RCA-Cisco (180g LP). Columbia-Classic (200g LP). While Heifetz’s quick tempi and flawless technique Miles and Gil Evans team for another great set, sometimes seem like mere showing off, they rise to the with more multiple-choice editions, including an level of poetry in Beethoven’s astonishingly original, upcoming Classic 4-LP 45rpm version. rhythmically innovative sonata. Great sound, too. Duke Ellington, Ellington Jazz Party in Stereo. Brahms, Violin Concerto. Heifetz, Reiner, CSO. Columbia-Classic (180g LP). RCA-Classic Records (180g LP). The title says it all: superbly detailed sound, playful When this 1955 recording session was finished, Reiner big band jazz, great soloists, and Ellington. and his orchestra agreed that they had never heard a better performance of Brahms’ concerto. Neither have Ella Fitzgerald, Sings Songs From Let No Man we. Though the violin is spotlighted, Heifetz’s playing Write My Epitaph. makes it worthy of the spotlight. One of the great RCAs. Verve-Classic (200g LP). This intimate and excellent recording pairs the great Cantaloube, Songs of the Auvergne. Davrath. singer with only a piano accompanist. “Black Coffee,” Vanguard-Classic (two 200g LPs). “Angel Eyes,” and more never sounded so good. By consensus, this 1960s recording of Canteloube’s uncannily beautiful folk song arrangements is definitive. Dexter Gordon, Dexter Calling. One of those rare instances when the finest Classic Records (200g LP). performance of a work just so happens to be — by a One of this great tenor’s finest sessions, the wide margin — the best-sounding. sound really pops on this modal-themed outing. Hindemith, Violin Concerto. Fuchs, Goossens, LSO. Dexter Gordon, One Flight Up. Everest-Classic Records (200g LP). Blue Note-Cisco (180g LP). A big, tuneful concerto beautifully played, and captured With Donald Bryd on trumpet, a gorgeous session in clear, spacious, detailed, dynamic sound. in sumptuous sound. Mussorgsky, et al., Witches’ Brew. Gibson, NSOL. Billie Holiday, Songs for Distingué Lovers. RCA-Classic Records (200g LP). Verve-Classic (200g LP). Orchestral showpieces by Mussorgsky, Saint-Saëns, et A rare stereo Holiday album, this late recording al. The sound is as spectacular as Golden Age stereo finds her in great form with a small group and gets. superb sound. Stravinsky, Firebird Suite. Dorati, LSO. Jackie McLean, Jackie’s Bag. Mercury-Classic Records (200g LP). Blue Note-Classic Records (200g LP). Arguably Mercury’s single most beautiful recording. McLean shows great talents as composer, arranger, The sound is stunning, and the music, taken from and soloist in a series of rhythmically complex tunes Stravinsky’s ballet score, exquisite and exquisitely well that leave you just a little off guard. played. Lee Morgan, Candy. Classic Records (200g LP). One of the great classic Blue Note LPs, Classic Records mono reissue sounds absolutely Cannonball Adderley, Somethin’ Else. fabulous. Classic Records (200g LP). Though the personnel is mostly different, Adderley Sonny Rollins, Our Man in Jazz. teams again with Miles Davis for something of a modal RCA-Classic (180g LP). follow-up to Kind of Blue. Rollins at his best, improvising in concert with Don Cherry and a fine rhythm section in lifelike Louis Armstrong, Satchmo Plays King Oliver. sound. Audio Fidelity-Classic (180g LP). Classic New Orleans jazz in stunningly lively sound. Frank Sinatra, The Voice. Columbia-Classic (180g LP). Tina Brooks, Back To The Tracks. Originally released in 1955, this mono recording Classic Records (200g LP). captured Sinatra’s voice at its most lovely and In a short career, Brooks proved to be an imaginative lyrical. This reissue is exceptionally intimate and composer, leader, and sideman. He’s worth knowing. natural sounding. Bobby Darin That's All 1959 Double Grammy Award Winner Record of the Year Best New Artist 2010 Lifetime Achievement Grammy Award Winner Der Albumtitel ist irreführend: Weder handelt es sich um das letzte retrospektive Wek des Künstlers noch um ein Best-of-Album. Dies würde bei Bobby Darin auch ein bisschen seltsam ausfallen, hat der Mann doch in seinem nur 37 Jahre währenden Leben ein paar musikalische Karrieren gemacht. Angefangen hat es mit dem Rock'n'Roll – „Splish Splash“ sollte jedem bekannt sein, später wurde es der Swing und schließlich Folk- und Protestsongs, bevor er 1973 einem angeborenen Herzleiden erlag. Das vorliegende Mono-Album „That‘s All“ wurde original im Jahr 1959 aufgenommen, als sich die Karriere Darins in ihrem frühen Zenith befand. Zu diesem Zeitpunkt wurde er in einem Atemzug mit Frank Sinatra genannt – hört man sich das charismatische Tim- bre seiner Stimme und die traumwandlerisch sichere Gesangstechnik an, dann sicherlich auch mit Recht. Als Anspieltipps seien nur die wunderbar um seine Ausnahmestimme arrangierten „Mack the Knife“ und „Beyound the Sea“ genannt, bei denen alles, Gesang wie Bläsereinsätze, absolut auf den Punkt stimmt, Hut ab vor dem Bandleader. Aber auch diese Aufnahmen zeigen bei aller musikali- schen und produktionstechnischen Sauberkeit eines nur angedeutet: Die funkelnde Bühnenpsäsenz eines Ausnahmemusikers, dessen Charisma ganz nebenbei zu einer Schauspielkarriere mit diversen Golden-Globe und einer Oscar-Nominierung langte. Es ergeht also neben einer dicken Empfehlung für diese Platte auch noch die, einmal im Internet nach Live-Dokumenten von Bobby Darins zu suchen. Bobby Darin auf dem Höhepunkt seiner Swing-Karriere – „nur“ in Mono, ansonsten aber in Aufnahme- wie Presstechnik perfekt.
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    CifuJazz Discografía de BLUE NOTE Records Colección particular de Juan Claudio Cifuentes Introducción Sin duda uno de los sellos verdaderamente históricos del jazz, Blue Note nació en 1939 de la mano de Alfred Lion y Max Margulis. El primero era un alemán que se había aficionado al jazz en su país y que, una vez establecido en Nueva York en el 37, no tardaría mucho en empezar a grabar a músicos de boogie woogie como Meade Lux Lewis y Albert Ammons. Su socio, Margulis, era un escritor de ideología comunista. Los primeros testimonios del sello van en la dirección del jazz tradicional, por entonces a las puertas de un inesperado revival en plena era del swing. Una sentida versión de Sidney Bechet del clásico Summertime fue el primer gran éxito de la nueva compañía. Blue Note solía organizar sus sesiones de grabación de madrugada, una vez terminados los bolos nocturnos de los músicos, y pronto se hizo popular por su respeto y buen trato a los artistas, que a menudo podían involucrarse en tareas de producción. Otro emigrante aleman, el fotógrafo Francis Wolff, llegaría para unirse al proyecto de su amigo Lion, creando un tandem particulamente memorable. Sus imágenes, unidas al personal diseño del artista gráfico Reid Miles, constituyeron la base de las extraordinarias portadas de Blue Note, verdadera seña de identidad estética de la compañía en las décadas siguientes mil veces imitada. Después de la Guerra, Blue Note iniciaría un giro en su producción musical hacia los nuevos sonidos del bebop. En el 47 uno de los jóvenes representantes del nuevo estilo, el pianista Thelonious Monk, grabó sus primeras sesiones Blue Note, que fue también la primera compañía del batería Art Blakey.
  • Discography Updates (Updated May, 2021)

    Discography Updates (Updated May, 2021)

    Discography Updates (Updated May, 2021) I’ve been amassing corrections and additions since the August, 2012 publication of Pepper Adams’ Joy Road. Its 2013 paperback edition gave me a chance to overhaul the Index. For reasons I explain below, it’s vastly superior to the index in the hardcover version. But those are static changes, fixed in the manuscript. Discographers know that their databases are instantly obsolete upon publication. New commercial recordings continue to get released or reissued. Audience recordings are continually discovered. Errors are unmasked, and missing information slowly but surely gets supplanted by new data. That’s why discographies in book form are now a rarity. With the steady stream of updates that are needed to keep a discography current, the internet is the ideal medium. When Joy Road goes out of print, in fact, my entire book with updates will be posted right here. At that time, many of these changes will be combined with their corresponding entries. Until then, to give you the fullest sense of each session, please consult the original entry as well as information here. Please send any additions, corrections or comments to http://gc-pepperadamsblog.blogspot.com/, despite the content of the current blog post. Addition: OLIVER SHEARER 470900 September 1947, unissued demo recording, United Sound Studios, Detroit: Willie Wells tp; Pepper Adams cl; Tommy Flanagan p; Oliver Shearer vib, voc*; Charles Burrell b; Patt Popp voc.^ a Shearer Madness (Ow!) b Medley: Stairway to the Stars A Hundred Years from Today*^ Correction: 490900A Fall 1949 The recording was made in late 1949 because it was reviewed in the December 17, 1949 issue of Billboard.