Part of the ultimate audiophile Prestige stereo reissues from Analogue Productions — 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 331/3 and also released on Hybrid SACD All mastered from the original analog master tapes by mastering maestro Kevin Gray Quiet Kenny is yet another reminder of what a trumpet giant Kenny Dorham was. Whether limning ballads such as 'My Ideal,' 'Alone Together,' 'I Had the Craziest Dream,' and 'Old Folks,' or investigating the timelessness and intricacies of the blues (his originals in this set with 'Blue' in their titles), the former Charlie Parker cohort and ex-Jazz Messenger exhibits his subtle swing, personal sound, and finely-honed harmonic sense. Along the way these reflections and connections with Bird, Coleman Hawkins, Sonny Rollins, Max Roach, Harry James, and Louis Armstrong make for a rich legacy. With Tommy Flanagan, Paul Chambers and Arthur Taylor.

• Lee Morgan
• Kenny Dorham Blue Bossa
• Clifford Brown

Pour cela, nous nous int. Il est visible en. On trouvera moins souvent Wilen. Lors d'un enregistrement r. Wilen affirmait avoir adopt. Find album reviews, stream songs, credits and award information for Quiet Kenny - Kenny Dorham on AllMusic - 1959 - In the liner notes of Quiet Kenny, former. Find great deals on eBay for kenny dorham quiet kenny. Shop with confidence.

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Part of the ultimate audiophile Prestige stereo reissues from Analogue Productions - 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 33 1/3. All mastered from the original analog master tapes by mastering maestro Kevin Gray. 200-gram LPs pressed at Acoustic Sounds' state-of-the-art pressing plant, Quality Record Pressings, plated by Gary Salstrom Deep groove label pressings, tip-on jackets on thick cardboard stock Quiet Kenny is yet another reminder of what a trumpet giant Kenny Dorham was. Whether limning ballads such as My Ideal, Alone Together, I Had the Craziest Dream, and Old Folks, or investigating the timelessness and intricacies of the blues (his originals in this set with Blue in their titles), the former Charlie Parker cohort and ex-Jazz Messenger exhibits his subtle swing, personal sound, and finely-honed harmonic sense.

Along the way these reflections and connections with Bird, Coleman Hawkins, Sonny Rollins, Max Roach, Harry James, and Louis Armstrong make for a rich legacy. With Tommy Flanagan, Paul Chambers and Arthur Taylor This title is not eligible for discount. Blue Note Reissue As much as I'd love to relay all kinds of anecdotes about the challenges Steve Hoffman and Kevin Gray encounter during the mastering sessions, I witness none. These boys know the sound of the facility and the Van Gelder masters like the backs of their hands. Back home a month later, I unpack some test pressings Chad Kassem has sent me. I hear the most realistic-sounding drums ever reproduced by my system. It's as though I'm sitting at the point of creation, experiencing the same high that brought such gifted musicians together as one.

Steve Hoffman, Kevin Gray, Chad Kassem, and Don MacInnis have done Rudy Van Gelder and his Blue Note artists proud. Jason Victor Serinus, Stereophile, April 2008.these first five Acoustic Sounds Blue Note re-issues are pure bop genius.The best news is that Kevin Gray and Steve Hoffman were keen enough to do nothing more than gently clean up the masters, bringing us even closer to the hard bop edge. The 45 rpm pressings that I received were all super quiet with every last drop of resolution from the master tapes. I had almost forgotten just how good Paul Chambers and Phil Joe were together as the backbone of these groups.

I've always loved this music but I didn't remember it sounding this good! Hank Mobley offers us some brilliant sax bits on one of Kenny Dorham's finest recordings, Whistle Stop and Dexter Gordon's performance blew me away as well. The biggest surprise were the Lee Morgan records.

I suggest turning these up loud, since they possess unlimited energy and some hooks that will knock you out. Just a small warning: Once you start playing these Blue Note recordings you will be hooked. The good news is that Acoustic Sounds is working on at least 20 more of these jazz gems. So make sure your turntable has a setting for 45 rpm, clean your stylus occassionally, and get ready to be transported to nirvana. Dan Babineau, Tone Audio, No. 14 2008, www.tonepublications.com Rightfully considered one of Kenny Dorham's best, this album features great originals and great trumpet playing.

The superb cast consists of Hank Mobley, Kenny Drew, Paul Chambers and Philly Joe Jones. The title tune and Philly Twist are often heard, but the entire album represents a great composing achievement for KD. This title is not eligible for discount.

North Carolina based singer-songwriter Kenny Roby (6 String Drag) brings poetic art to well produced, stand alone, music pieces, in his new record, Memories and Birds. The list of contributing artists and number of well appointed instruments is noteworthy here, although Roby gets a lot of press for his very unique lyrics. Influenced by Randy Newman and Townes Van Zant, the philosophy that words in music don't always have to be upbeat, gives him permission to tell stories as dark and twisted as a T.S. Eliot meets Falkner poem. However, the score that flows behind the pieces is warm and inviting. The listener is held steady, as the imagery changes.

This 8 track collection is a monument of eclectic relativism, that expands as it plays. Each song is unique in its own right, but Roby's style comes through.

The lyrics, honest and sometimes stark, also come around with a subtle moral of the story, that is positive and humane. Memories & Birds was recorded between December 2011 and April 2012. Themes of Faulkner, O'Connor, Percy and McCarthy are noted as influence. I heard a range as wide as Tom Waits and Elvis Costello, but these artists are not that far from each other in conjuring up provocative subject lines. Where Kenny Roby stands out is the consistent honor of the lone soul, participant observer and quiet societal commentator. Point Of Departure is not only one of the greatest jazz recordings of 1964, but of all time.

The stellar lineup (Eric Dolphy, Kenny Dorham, Joe Henderson, Richard Davis and a teen aged Tony Williams) was given a set of challenging compositions by the brilliant pianist and composer Andrew Hill. This group created the album known as Point of Departure, an acknowledged modern day classic and one of Blue Notes most extraordinary recordings. Andrew Hill was a quiet revolutionary, but he was every bit as original in his conception as Thelonious Monk. Hill extended, twisted and turned hard bop into his own very fresh and personal music. Like Eric Dolphy, Hill spawned few imitators. His conception was so pure, and so unique, both as a player and as an arranger-composer that nearly a half century later, Point Of Departure remains a brilliant touchstone of modern jazz.

Blue Note Reissue As much as I'd love to relay all kinds of anecdotes about the challenges Steve Hoffman and Kevin Gray encounter during the mastering sessions, I witness none. These boys know the sound of the facility and the Van Gelder masters like the backs of their handsBack home a month later, I unpack some test pressings Chad Kassem has sent meI hear the most realistic-sounding drums ever reproduced by my system. It's as though I'm sitting at the point of creation, experiencing the same high that brought such gifted musicians together as one. Steve Hoffman, Kevin Gray, Chad Kassem, and Don MacInnis have done Rudy Van Gelder and his Blue Note artists proud.

Jason Victor Serinus, Stereophile, April 2008 I have my two new Blue Note LPs here and as I sit writing this I am listening to the Dexter Gordon, WOW!sitting here listening to this wonderful music, just clean, no background noise, a black background, like the studio that they recorded this in, it is wonderful. The instruments coming out of the sound stage positioned as they were recorded, this is a real treat. Miller Steel, Acoustic Sounds customer.these first five Acoustic Sounds Blue Note re-issues are pure bop genius.The best news is that Kevin Gray and Steve Hoffman were keen enough to do nothing more than gently clean up the masters, bringing us even closer to the hard bop edge. The 45 rpm pressings that I received were all super quiet with every last drop of resolution from the master tapes. I had almost forgotten just how good Paul Chambers and Phil Joe were together as the backbone of these groups. I've always loved this music but I didn't remember it sounding this good!

Hank Mobley offers us some brilliant sax bits on one of Kenny Dorham's finest recordings, Whistle Stop and Dexter Gordon's performance blew me away as well. The biggest surprise were the Lee Morgan records. I suggest turning these up loud, since they possess unlimited energy and some hooks that will knock you out. Just a small warning: Once you start playing these Blue Note recordings you will be hooked. The good news is that Acoustic Sounds is working on at least 20 more of these jazz gems. So make sure your turntable has a setting for 45 rpm, clean your stylus occassionally, and get ready to be transported to nirvana.

Dan Babineau, Tone Audio, No. 14 2008, www.tonepublications.com I have just listened, in succession, to my mono and early stereo versions of each LP. I have purchased other similar reissues over the years, but find the engineering and pressing of this 45rpm/180 series to be superior to all to others. This is particularly since I find many new releases to be of inferior quality or handling during manufacture, despite being re-engineered and of heavier vinyl. Barry Paulson, Acoustic Sounds customer Dexter Gordon connects immediately with the sublime rhythm section of Kenny Drew, Paul Chambers and Philly Joe Jones on this, his second Blue Note album. The material ranges from Drew originals to pieces from Gordon's score for the Los Angeles production of The Connection to stunning performances of the standards The End Of A Love Affair and Smile.

This title is not eligible for discount. Blue Note Reissue As much as I'd love to relay all kinds of anecdotes about the challenges Steve Hoffman and Kevin Gray encounter during the mastering sessions, I witness none. These boys know the sound of the facility and the Van Gelder masters like the backs of their handsBack home a month later, I unpack some test pressings Chad Kassem has sent meI hear the most realistic-sounding drums ever reproduced by my system. It's as though I'm sitting at the point of creation, experiencing the same high that brought such gifted musicians together as one. Steve Hoffman, Kevin Gray, Chad Kassem, and Don MacInnis have done Rudy Van Gelder and his Blue Note artists proud.

Jason Victor Serinus, Stereophile, April 2008.these first five Acoustic Sounds Blue Note re-issues are pure bop genius.The best news is that Kevin Gray and Steve Hoffman were keen enough to do nothing more than gently clean up the masters, bringing us even closer to the hard bop edge. The 45 rpm pressings that I received were all super quiet with every last drop of resolution from the master tapes. I had almost forgotten just how good Paul Chambers and Phil Joe were together as the backbone of these groups. I've always loved this music but I didn't remember it sounding this good! Hank Mobley offers us some brilliant sax bits on one of Kenny Dorham's finest recordings, Whistle Stop and Dexter Gordon's performance blew me away as well.

Lee Morgan

The biggest surprise were the Lee Morgan records. I suggest turning these up loud, since they possess unlimited energy and some hooks that will knock you out. Just a small warning: Once you start playing these Blue Note recordings you will be hooked. The good news is that Acoustic Sounds is working on at least 20 more of these jazz gems. So make sure your turntable has a setting for 45 rpm, clean your stylus occassionally, and get ready to be transported to nirvana. Dan Babineau, Tone Audio, No.

On the chessboard, when you challenge a piece, you are teleported into a Combat Arena where they fight in REAL-TIME until only the victor emerges to claim the square back on the checkered board. Archon classic 2010 pc jatekok. You must try to outmaneuver your opponent using teams of fantasy creatures or monsters in this epic struggle of Light and Dark. 1.) Archon: Classic can be played using USB controllers (the best way) or with keyboard and mouse. Conquer your opponent by defeating all of their pieces on the chess board or claim all the Power Squares for a quick victory! You can play Free-For-All mode, where it's everyone for themselves, or play using teams and gang up on your opponents pieces in battle (2 vs.

14 2008, www.tonepublications.com In terms of composition, leadership and playing, this is probably Jackie McLean's greatest album, culled from two different sessions, separated by 20 months. A sextet session with Tina Brooks and Blue Mitchell. This title is not eligible for discount. Blue Note Reissue How do these new deluxe re-issues stack up to the alternatives? Not surprisingly, the big difference comes from the 45-RPM cutting. The faster cutting speed creates greater dynamic range and the sense of more air around the instruments, which stand out in better relief and give that you-are-there feel.

The tradeoff requires you to flip the record twice as often, a small price to pay for this level of enhanced realism. These new issues maintain that timbral accuracy and at the same time bring out the piano sound like never before, for the first time Blue Note re-issues sound right. Davis, Hi-Fi+, Issue 57 As much as I'd love to relay all kinds of anecdotes about the challenges Steve Hoffman and Kevin Gray encounter during the mastering sessions, I witness none. These boys know the sound of the facility and the Van Gelder masters like the backs of their hands. Back home a month later, I unpack some test pressings Chad Kassem has sent me.

I hear the most realistic-sounding drums ever reproduced by my system. It's as though I'm sitting at the point of creation, experiencing the same high that brought such gifted musicians together as one. Steve Hoffman, Kevin Gray, Chad Kassem, and Don MacInnis have done Rudy Van Gelder and his Blue Note artists proud. Jason Victor Serinus, Stereophile, April 2008.these first five Acoustic Sounds Blue Note re-issues are pure bop genius.The best news is that Kevin Gray and Steve Hoffman were keen enough to do nothing more than gently clean up the masters, bringing us even closer to the hard bop edge.

The 45 rpm pressings that I received were all super quiet with every last drop of resolution from the master tapes. I had almost forgotten just how good Paul Chambers and Phil Joe were together as the backbone of these groups. I've always loved this music but I didn't remember it sounding this good!

Hank Mobley offers us some brilliant sax bits on one of Kenny Dorham's finest recordings, Whistle Stop and Dexter Gordon's performance blew me away as well. The biggest surprise were the Lee Morgan records. I suggest turning these up loud, since they possess unlimited energy and some hooks that will knock you out. Just a small warning: Once you start playing these Blue Note recordings you will be hooked. The good news is that Acoustic Sounds is working on at least 20 more of these jazz gems. So make sure your turntable has a setting for 45 rpm, clean your stylus occassionally, and get ready to be transported to nirvana. Dan Babineau, Tone Audio, No.

14 2008, www.tonepublications.com This album is unique within Lee Morgan's vast and rich Blue Note discography. With then current employer Art Blakey, band mate Bobby Timmons on piano, Paul Chambers on bass and Jackie McLean on alto saxophone, the trumpeter abandons time constraints and stretches out on four, soulful, hard-bop compositions (the first and the last are by Cal Massey). These hard bop masters are constantly inspired by Blakey's explosive grooves. This title is not eligible for discount. Mastered by Bernie Grundman from the Original Analog Master Tapes! Only 2500 Numbered Limited Edition Copies Worldwide! It was one of those rare nights of absolute communication - the New York City opening of the New Stan Getz Quartet.

Stan had chosen the Cafe Au Go Go for this occasion because of its fine acoustics and its intimacy. Atmosphere was paramount to the first New York presentation of the New Stan Getz Quartet and Astrud Gilberto because of the soft, easy quality of their music.

Kenny Dorham Blue Bossa

Astrud had already won acclaim for her work with Getz in the album Getz/Gilberto (V/V 6-8548), which also stars Astrud's husband Joao Gilberto as well, and this threesome's single from the album The Girl From Ipanema was rapidly rising on the best-selling charts. This, is the stunning New Stan Getz Quartet with Astrud Gilberto at Cafe Au Go Go. Reflected here are the excitement, warmth and communication of that memorable engagement.' -Gene Lees, from the liner notes of Getz Au Go Go Although the name Stan Getz (tenor sax) was initially synonymous with the West Coast cool scene during the mid-to-late 1950s, he likewise became a key component in the Bossa Nova craze of the early 1960s. Getz Au Go Go featuring Astrud Gilberto (1964) was the second-to-last album that he would issue during his self-proclaimed Bossa Nova Era- the final being Getz/Gilberto #2 live (1964) concert title from Carnegie Hall. The focus of Getz Au Go Go steers away from the Brazilian flavored fare, bringing Astrud Gilberto into the realm of a decidedly more North American style.

That said, there are a few Antonio Carlos Jobim compositions - Corcovado (Quiet Nights of Quiet Stars); and One Note Samba - both of which would be considered as jazz standards in years to follow - as well as the lesser-circulated Eu E Voco. All Music Guide Features:. Numbered, Limited Edition. 180g Vinyl.

Clifford Brown

45rpm. Double LP. Mastered by Bernie Grundman Musicians: Stan Getz, tenor sax Astrud Gilberto, vocals Gary Burton, vibes Gene Cherico, bass (1-3, 5-8) Joe Hunt, drums (4-7, 9,10) Helcio Milito, drums (1-3, 8) Kenny Burrell, guitar (1-3, 8) Chuck Israels, bass (4, 9,10).