Walton – Facade / Lecocq – Mamzelle Angot
Walton – Facade / Lecocq – Mamzelle Angot
The Light Ballet has always been among the most popular of genres, and more than any other form of ballet it is dependent upon its musical score.
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Warne Marsh – Jazz of Two Cities
Warne Marsh – Jazz of Two Cities
Warne Marsh and Ted Brown playing tenor saxes are joined by Ronnie Ball on piano, Ben Tucker on bass and Jeff Morton on drums on this Classic Imperial Series reissue. The original full-track mono master tape was used on Classic's all-tube mono cutting system (including mono tape head, cutting hear and cutter head) at Bernie Grundman Mastering with Bernie Grundman doing the set-up and cutting.
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Warren Zevon – Warren Zevon s/t
Warren Zevon – Warren Zevon s/t
At the time Warren Zevon cut his first self titled album in 1976, he was not considered an average member of "LA's Mellow Mafia." Zevon's music was full of blood, bile, and mean spirited irony, and the glossy surfaces of Jackson Browne's production failed to disguise the bitter heart of the songs on Warren Zevon. But for all their darkness, Zevon's songs also possessed a steely intelligence, a winning wit, and an unusually sophisticated melodic sense. Warren Zevon may not have been the songwriter's debut but it was the album that confirmed he was a major talent, and it remains a black-hearted pop delight.  
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Weather Report – Tale Spinnin’
Weather Report – Tale Spinnin’
The heart-stopping mix of motivic fixed points and exciting improvisations, "the sketchy melodies, all that a synthesizer and other similar electronic devices could offer, combined with a Milky Way of rhythms" (Der Spiegel) was the pathway down which the group went – without ever becoming pure routine. The fifth album, "Tale Spinnin’", is captivating for its wealth of distinctive, often warm, synthesized sounds, which are further enhanced by Wayne Shorter’s bright, twangy soprano saxophone, lending it a jazzy aura. To be sure, this gripping jazz fusion never progresses steadily all the time, but takes up snatchy, though seemingly familiar, melodic ingredients and combines them to produce a new mixture. "Badia", however, is completely different: a quietly flowing and totally rhythmic ethnic work, which today would be classified as World Music.  
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Wes Montgomery – Down Here On The Ground
Wes Montgomery – Down Here On The Ground
Sales figures of the first two LPs for World Pacific Records were minimal at the time when Wes Montgomery’s first band was purely a family affair called The Montgomery Brothers. From California, Wes travelled eastwards, and the Riverside label produced his first jazz recordings. But it was with the label Verve and Creed Taylor, who had risen to the position of producer, with whom he made his true success story.
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Willie Nelson – Red Headed Stranger
Willie Nelson – Red Headed Stranger
Willie's 1978 concept album, with its mystic and religious overtones, broke all of the traditional rules of country music and helped establish Austin, Texas as ground zero of the "Outlaw" movement. Nelson's self-financed, surprise double-platinum smash helped him reach by far his largest audience and yielded the No. 1 country single "Blue Eyes Crying In The Rain."
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Willie Nelson – Stardust
Willie Nelson – Stardust
“Why be predictable?,” Willie Nelson asked Columbia Records executive Nick Blackburn, after the latter resisted the Red Headed Stranger’s decision to make an album of classic pop tunes. Talk about outlaw country. Cutting against the genre’s traditions and Music Row conventions, Nelson’s Stardust remains a genius-level creation as well as the icon’s most commercially successful release, a truly gorgeous record infused with ultimate respect for composers and lyrics and many of the finest performances of his career. It is a quintessential part of any catalog.  
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Willie Nelson : Stardust
Willie Nelson : Stardust
Arranged by Booker T. Jones of Green Onions fame and recorded in Nelson's inimitable style in Emmylou Harris' house.
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Woody Guthrie – Woody’s Roots
Woody Guthrie – Woody’s Roots
Many of Guthrie's songs were a result of his living through the era of the Dust Bowl when he left his wife and children behind in Texas to find work in California. It was in Los Angeles, California in the late '30s when he achieved fame with radio partner Maxine "Lefty Lou" Crissman as a broadcast performer of traditional folk music. This earned him enough money to send for his family to join him.  
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Woody Herman – 1963
Woody Herman – 1963
Three big bands remained true to swing in the Sixties: those of Duke Ellington, Count Basie and Woody Herman. Although the Count ventured into the spheres of James Bond and the Beatles, and despite the Duke’s musical hits, it was Woody Herman who best made the transition into the world of new sounds and compositions. The “Herds” (as Woody called his various bands, with himself as shepherd) galloped through the second half of the 20th century, leaving giant footprints in the history of jazz.
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Wynton Kelly : Kelly Blue
Wynton Kelly : Kelly Blue
Kelly's five co-workers on the LP are among the best of the many fine young jazzmen who have come to the fore in the past few years. To begin with, the rest of the rhythm section consists of the two with whom Wynton has been teamed in Miles' sextet. With such support, plus that his own fingers and imagination give him, plus a repertoire ideally suited to the blues concept on which the album is based, it seems likely that this could be the push needed to put Wynton Kelly out in front, where he belongs.  
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Wynton Kelly Trio & Wes Montgomery – Smokin At The Half Note
Wynton Kelly Trio & Wes Montgomery – Smokin At The Half Note
An American jazz critic once said that Wes Montgomery was the "best thing that could happen to a guitar". Grand words, one might say quickly racking one's brains to come up with other great names. But after only a few minutes of listening to this live recording made in 1965 at the Half Note in New York, you will forget your brain-storming and concentrate on the unfused performance of this brilliant guitarist and the superb Wynton Kelly Trio. The very first number on this album, which despite its tongue-in-cheek title "No Blues" is full of the spirit of black jazz, makes plain Montgomery's unique talents. Highly-polished arching melodies, sharply-dissonant chordal runs and free improvisation displaying brilliant technique are the characteristics of this wizard of the "semi-acoustic" guitar. The quartet's thrilling mixture of Blues, Latin and Soul is as fresh, modern and compelling as it was 30 years ago. This is music which gets down to the nitty-gritty, is always cool and straight with no fuss or frills getting in the way: the message comes over clearly - and it makes the blood surge through one's veins! The almost tangible atmosphere of the recording venue and the pure sound quality further enhance this collector's item and guarantee a jazz happening of the very highest order.
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