{"product_id":"pristine-jazz-collection-vol-1-pabx010","title":"Pristine Jazz Collection Vol. 1 - PABX010","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePRISTINE JAZZ\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e: 11 albums over 13 CDs of classic remastered Jazz, featuring:\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eCharlie Parker, Dizzy Gillespie, Bud Powell, Charles Mingus, Max Roach, Miles Davis, Art Tatum, Duke Ellington, Jean Sablon, Wardell Gray, The Modern Jazz Quartet, Louis Armstrong \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eet al\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAJZ009.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand note:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCHARLIE PARKER with Strings, the XR Remasters (1949-52) - PAJZ001\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eCharlie Parker's legendary recordings with string orchestra\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eNewly restored using XR remastering technology\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp class=\"body\" align=\"left\"\u003eCharlie Parker's three studio sessions with\nstrings came at a time of great ongoing improvements in recording\nquality, with the innovations of both tape recording and the commercial\nvinyl record both being contemporary developments.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eHence the first six tracks here were cut\ndirectly to disc, in the traditional manner, and with the traditional\nproblems for a restorater to contend with! By contrast I'm pretty\ncertain that both the 1950 and 1952 sessions were taped.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eThis was a time where recordings were being\nissued on both the 78rpm shellac and new 33\/45rpm vinyl microgroove\nformats. Each of these performances is timed to fit a single 78rpm side,\nthough the first ten-inch LP, consisting of tracks 1-14, was released\nin the USA as early as 1950. The four tracks which complete this release\nfound their initial vinyl issue on a 7\" 45rpm EP.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eSo why go back and remaster these\nrecordings, when there's a perfectly well-loved Verve CD on the market?\nWell personally I've never been 100% happy with the sound - and I've\nalways felt that it's one of those recordings which is tantalisingly\nclose to sounding so much better. Therefore I was fascinated to find out\nhow it would respond to my continuing experimentation in widening the\napplication of XR remastering beyond the realm of classical music.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eThe effect of the remastering for the\nlistener is to remove what is at times quite a heavy veil over the\nmusic, as well as greatly improving on what was at times a pretty poor\ntonal balance. What the remastering revealed to me, especially with the\nearlier cuts, was in some instances some really quite flawed originals,\nwhich then required a considerable degree of pretty advanced further\nrestoration. Some of damage this is still just about audible in \u003cem\u003eSummertime\u003c\/em\u003e\n- you may just notice a slight 'waa-waa' effect in the upper treble at\ntimes, a problem previously buried under the murk and one that's\nparticularly time-consuming and tricky to correct. Elsewhere, on \u003cem\u003eI Didn't Know What Time It Was\u003c\/em\u003e, a small amount of occasional disc-surface noise may be apparent if you're listening closely for it.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eThose earliest tracks were also the most\nunruly with regard to the overall sound balance, with the strings\ntending to get quite shrieky if given too much free rein in the upper\ntreble registers. I think I've managed to contain them effectively, and\nit's been a real delight to hear these recordings as if for the first\ntime. I hope you'll enjoy listening to them as much as I've enjoyed\nworking on them!\u003c\/p\u003e\n\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eTHE QUINTET Massey Hall, Toronto (1953) - PAJZ002\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eWidely considered the greatest jazz concert ever...\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e...finally in sound quality that does justice to the playing.\u003cbr\u003eThe complete recording without overdubs, newly XR-remastered:\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\nIn assembling this release I've tried to bring together all of the available tracks of this historic concert, which has resulted, in the case of the Trio section, in some variation in sound quality. On this recording you will hear only the original recordings, with the bass part as originally played and restored to something closer to an appropriate level by the XR remastering process.\u003cbr\u003e\u003cbr\u003eOne may ask as to why this concert needs another release? My answer is that, for such a historic recording, all of the previous issues have failed to convey, through their sonic flaws, the full impact of the playing and overall sound. That five men, who'd never rehearsed together or played together as a group, could arrive at a two-thirds-empty hall, missing a saxophone (so playing a plastic one bought that day), half drunk (and more drunk after the interval) with one member on release from a psychiatric hospital, with the two lead players apparently not speaking to each other and conjure up such magic, is incredible. To finally hear it in this quality of sound more than justifies the hours of painstaking work it's taken me to bring this project to fruition. Despite owning copies of this recording for many years, I've heard it anew over the last few weeks, and since its completion it has rarely left my CD player. I hope you'll find similar inspiration from it!\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eJEAN SABLON Songs of a Boulevardier (1952, 1933-39) - PAJZ003\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThree Jean Sablon albums in one!\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/span\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003ci\u003eSongs of a Boulevardier \u003c\/i\u003e- rare 1952 US LP\u003cbr\u003e \u003ci\u003eSablon with Django Reinhardt\u003c\/i\u003e - eight 1933-36 small group recordings\u003cbr\u003e \u003ci\u003eSablon with Wal-Berg\u003c\/i\u003e - eight 1936-39 big band \u0026amp; orchestral recordings\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cem\u003e\u003cbr\u003eJean Sablon\u003c\/em\u003e has long been a favourite of mine, going back to\na set of 78rpm discs which came with my first wind-up gramophone, a\n1929 HMV free-standing model that had a selection of discs in its\nstorage compartment when I bought it. The songs which stuck in my head\nwere \u003cem\u003eVous Qui Passez Sans Me Voir\u003c\/em\u003e, winner of the 1937 Paris Gold Medal for disc of the year, and its flip side, \u003cem\u003eLa Chanson Des Rues\u003c\/em\u003e, both of which feature here.\u003cp class=\"body\"\u003eI later tracked down a large number of Sablon discs, including the rare 1952 LP \"\u003cem\u003eSongs of a Boulevardier\u003c\/em\u003e\",\nan American release which seems to have been ignored by the many\ncompilations of Sablon's material since (a possible sighting of the\nfinal track, \u003cem\u003eAve Maria No Morro,\u003c\/em\u003e on a nicely presented but poor-sounding Universal double-CD, \u003cem\u003eThe French Troubadour, \u003c\/em\u003eis both mis-labelled and mis-credited). The songs on this LP form the first part of this issue.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eWe then head back to the 1930's and Sablon's pre-war\nheyday. Rather than pull together the usual mish-mash of hits I wanted\nto concentrate on two very important parts of Sablon's work. First we\nhave the small ensemble material with Django Reinhardt, who Sablon had\nhelped to get his first Paris booking, and the earliest recordings of\nwhich pre-date the formation of Reinhardt's famous and influential \u003cem\u003eQuintette du Hot Club de France. \u003c\/em\u003eIn\nthe tracks selected here we hear Reinhardt both as soloist and\naccompanist as the arrangements demand, his distinctive style always\nclearly evident.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe other key player in the Sablon success story was\nWal-Berg, an immigrant of Russian-Jewish descent, born in\nConstantinople, and one of the foremost arranger-conductors of the era. A\nmusician as equally at home with Jazz and Swing music as he was with\nthe Classical canon, his employment with Sablon's record company in the\nmid-late 1930's ensured absolutely top-rate arrangements, as heard to\ngreat effect on our sample recording \u003cem\u003eParis Tu N'as Pas Changé\u003c\/em\u003e, which brilliantly evokes in music and scoring the train journey into the city for the 40 seconds of the song's introduction.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eFor the first time, these 1930's selections can be heard\nin sound quality that does them real justice - so many of the re-issues\ncurrently available of Sablon's material from this era are\ncharacterised by a thick, heavy and dull sound which entirely\nmisrepresents the actual recordings. Thanks to the use of XR remastering\nwe can finally hear the songs as they should have sounded!\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eMILES DAVIS Miles in Paris (1949) - PAJZ004\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eA milestone in Jazz finally rescued from sonic oblivion!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/span\u003e\n\u003ci\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eFestival International de Jazz, Paris, May 1949\u003c\/em\u003e\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eThese live recordings, taken from French radio broadcasts, have\nalways suffered from pretty dreadful sound quality. In their original\nColumbia issue the quality is akin to a particularly poor and crackly\ntelephone line. As such, any remastering work presents huge challenges,\nand outcomes are limited by the frequency and dynamic ranges of the\noriginal AM broadcasts, as well as poor microphone placement and\nacoustics.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe listener to this remastered recording may feel that\nmy priority was Miles Davis' trumpet. Well, yes and no. Of all the\nmusicians here it is of course Miles who we wish to hear as clearly as\npossible. But we are fortunate that it is his soloing, and that of\nsaxophonist James Moody, which was best picked up by the microphone, and\nwhich best cuts through the murk of the original recording. Dameron's\npiano is much further back, and whilst I've been able to round out the\ndeep double bass notes, the drums remain thudding rather than bright.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eYet these are perhaps secondary concerns. With a\nrecording such as this we want to hear the young Miles cutting loose and\nfree, in front of an adoring audience and effectively leading his own\nsmall group for the first time - and just before he succumbed to a drug\naddiction that would keep him out of the public eye for several years.\u003c\/p\u003e\n\u003cp\u003eSo excuse a little hiss and occasional crackle, live with the fluttery sound on \u003cem\u003eEmbraceable You\u003c\/em\u003e\n(on which a lot of wayward pitch correction has been possible), and\nlisten at long last to this vital moment in modern jazz history, now\nsounding hugely better than any other issue since those May nights in\n1949.\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eDUKE ELLINGTON Live at Carnegie Hall (1944) - PAJZ005\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eDuke Ellington's major breakthrough - sounds amazing! \u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp class=\"body\"\u003e\nThis excellent recording from mainly clean acetate discs has really\nopened out thanks to the application of the XR remastering system. I\ntook several modern recordings of music by Ellington as starting\nreference points with the aim of finding as much authentic fidelity as\npossible in the older recording. I was also able to deal with the mild\nsurface noise, scratches etc., as well as correcting pitch thanks to the\ndetection of residual 60Hz mains hum in the original - previous issues\nof this recording ran slightly fast.\u003cbr\u003e\u003cbr\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eLOUIS ARMSTRONG The Early Years (1923-40) - PAJZ006\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eAn amazing new approach to acoustic and early electric recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"\u003cspan class=\"TIMES\"\u003eAn excellent album, and one I can recommend highly ... We’re bound to want more after hearing such fabulous results\" - Fanfare\u003c\/span\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003eThis collection represents the first outing of a\nnew 'variant' of the XR remastering process, tailored particularly for\nacoustic 78rpm recordings but also very useful in restoring the earliest\nelectric recordings.\u003c\/span\u003e In this collection we present ten\u003cspan class=\"bodysmallarial\"\u003e [*see note below]\u003c\/span\u003erecordings\nfrom the pre-microphone era - recorded directly into a horn - and ten\nfrom the so-called 'electric' era of microphone recordings.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eBy using a specially adapted 'double pass' XR approach\nI've been able to get much closer to the cleaner finished sound I want\nusing equalisation alone, before bringing in digital noise reduction,\nwhilst simultaneously tackling the problems of horn resonances and very\nuneven tonal response. Where noise is a huge problem, as on acoustic\nrecordings, this is a real step forward - it allows much better\npreservation of the musical signal and reduces the risk of producing\naudible digital noise artefacts in the finished recording.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eWhat's been particularly fascinating about the Armstrong\ntracks is the realisation that, thanks to the sheer energy and harmonic\nrichness of the brass instruments used, there's much, much more on some\nof these recordings than one might have expected to find. Normally we\nsee acoustic recordings petering out somewhere between 3500 and 4500Hz,\nyet in occasional instances of particularly high notes I've detected\nharmonics right up to 19kHz.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe achievement of the new aspects of XR used for this\nrestoration is to preserve these high harmonics much more effectively\nthan before. Sadly they do generally only exist in the really\nhigh-energy instruments when they're playing loudly - we're not suddenly\ngoing to unearth CD quality from acoustic horn recordings - but the\nfact that they're not only possible but clearly audible does suggest\nthat a lot of traditional equalisation of acoustic recordings may have\nbeen throwing valuable music content away.\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003e*NB.\u003c\/b\u003e We've listed four recordings by \u003cem\u003eLouis Armstrong and his Hot Five\u003c\/em\u003e\nas acoustic recordings in our CD booklet, though they fall into the\nperiod of time when the electrical recording process was being\nintroduced by record companies during and after 1925. This assumption is\nbased on tonal analysis of the recordings, which display the\ndistinctive bass cut-off and the harmonic irregularities typical of horn\nrecordings. The difference in this bass response can be heard most\nclearly between tracks 10 and 11 in the sound of the tuba, which\nsuddenly has a depth and resonance not previously captured.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eHowever, the treble response of tracks 8-10 is\nparticularly surprising for an acoustic recording and, following\nrestoration with the XR remastering process, the sound has an added\nclarity more usually associated with microphone recordings. Thus it is\npossible that these were poor electric recordings rather than good\nacoustics. Although 1925 is generally regarded as the start of the\nelectric era, some recording companies continued with the old acoustic\nsystem into at least 1927, hence the slight uncertainty expressed here.\u003c\/p\u003e\n\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eDUKE ELLINGTON Live at Carnegie Hall (1946) - PAJZ007\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eDuke Ellington in '46 - clear, clean and compelling! \u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/span\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003ci\u003e\"I must recommend it. The critics hated it at the time, but this was a helluva concert\" \u003c\/i\u003e- Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003eI found considerable variation in quality between the various sections\nof this recording, which would have been cut directly to acetate discs,\nand in preparing this remastering have endeavoured to eradicate these\ndifferences. This involved greater and lesser applications of noise\nreduction, often targetted at specific frequency bands, following a\ngeneral re-equalisation to bring out as much of a natural and clear\nsound as possible. At times there was also a degree of reconstruction\nand acetate swish removal required, but on the whole this was a\nwell-preserved set of recordings, with good extension in both treble and\nbass.\u003cbr\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eMILES DAVIS Kind of Blue : XR (1959) - PAJZ009\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe all-time Jazz Classic from Miles Davis\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/span\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eA stunning XR-remastering\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eMiles Davis'\u003cem\u003e Kind of Blue\u003c\/em\u003e is perhaps an unusual choice for a\nPristine Audio remastering - it's almost certainly the best-selling\njazz album of all time, and there can be few serious record collections\nwhich don't own at least one copy of it.\u003c\/p\u003e\n\u003cp\u003eIt's also been an album that's been much-remastered. Yet I don't\nbelieve that anyone has ever truly mastered its remastering, because\nsome serious sonic problems with the original recording have, for over\nhalf a century, never been addressed.\u003c\/p\u003e\n\u003cp\u003eThe biggest problem with this album struck me when listening for\nperhaps the thousandth time (or probably more) back in May 2009. The\nsound of the piano, my own instrument, was lifeless, flat, and entirely\nunlike a piano - as if it were fashioned from cardboard rather than\nwood. The more I listened, the more I realised this was not the only\nproblem, and that it centred around the lower mid-ranges of the\ninstruments, producing a blurred and at times harsh sound in this\nregister.\u003c\/p\u003e\n\u003cp\u003eAs an experiment, and for my own listening purposes only, I decided\nto see what would happen if I applied XR remastering techniques - most\nspecifically re-equalisation and targeted noise reduction - to the\nrecording. The computer tonal analysis revealed what I has suspected,\nwith significant anomalies in the overall sound balance which, when\ncorrected (using other albums by Miles Davis from the period, in\nparticular the 1956 album 'Round About Midnight, as both authentic and\nbetter-recorded references), transformed and opened out the whole sound\nof the album whilst staying true to Miles Davis' 'sound'.\u003c\/p\u003e\n\u003cp\u003eKind of Blue was original recorded on a three-track tape system, and\nover the years different stereo releases have varied the stereo width of\nthe instruments. I've opted for slightly less than the full-width\napproach which can make headphone and close-up listening quite\nuncomfortable. I've also employed phase correction software to analyses\nthe phase difference between the two stereo channels and adjust for\nphase differences present between microphones picking up the same\ninstrument. The effect of this is a subtle but distinct sharpening of\nthe stereo imagery.\u003c\/p\u003e\n\u003cp\u003eI've also worked on the fine-tuning of each track, based on a precise\nanalysis of the harmonic frequencies of the piano, noting that tracks\non the current 'official' releases are between 0.3% and 0.5% sharp\n(raising A440 to between 441.3Hz and 442.2Hz). Some minor tape\ndrop-outs, audible from time to time in the cymbals of So What, have\nbeen cured. I've also worked hard to reduce tape hiss without\ncompromising the fabulously open sound of the recording.\u003c\/p\u003e\n\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eWARDELL GRAY A Sinner Kissed An Angel (1949-53) - PAJZ010\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eWardell Grey - one of the forgotten greats of Jazz\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/span\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eNew 32-bit XR-remastered transfers with utterly transformed sound quality\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eThis album came about as one of those happy accidents - a Sunday\nafternoon leafing through a collection of old LPs donated to Pristine\nunearthed two volumes on the Esquire label, entitled \"Wardell Gray\nMemorial\", which together make up the selection of studio and live\nrecordings presented here.\u003c\/p\u003e\n\u003cp\u003eMy initial aim was to rework the rather poor sound quality of the\noriginal recordings for my own pleasure, but the results far exceeded my\nexpectations - hence the present issue. Gone is the primitive, almost\ntelephonic sound of the originals - in its place a fuller, much brighter\nsound that really allows the performers to 'sing'.\u003c\/p\u003e\n\u003cp\u003eJudicious use of Ambient Stereo and a convolution reverb which\nrecreates the acoustic of the Birdland jazz club in New York also help\ncontibute to a fabulously lively and spontaneous sound that really\nbrings this long-forgotten saxophonist's great music back to life.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eTHE MODERN JAZZ QUARTET Fontessa \u0026amp; Pyramid (1956-60) - PAJZ011\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe ground-breaking 1956 album Fontessa in full stereo in a new XR remastering \u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/span\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003ePlus the MJQ's classic 1959\/60 recording Pyramid, also given the full Pristine XR treatment\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cspan class=\"bodybigblue\"\u003eThe album \u003cem\u003eFontessa\u003c\/em\u003e was the first\nthe MJQ recorded for Atlantic records, and although normally heard in\nmono, it was in fact also recorded in stereo. However, as the occasional\nissue on vinyl and CD testifies, there were myriad technical flaws in\nthe stereo issue, hence the current \"official\" preference for mono. \u003c\/span\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003eThis remastering aims to correct or reduce\nas much as possible those flaws and present the stereo Fontessa in as\ngood a light as possible. This has required extensive restoration,\nremoving heavy electrical hum, thumps, bumps, hiss and more. In\naddition, in order to bring some life to the rather dead sound of the\nstereo mix, I've used a convolution reverberation which recreates\nperfectly the live acoustic of Birdland in New York, where the MQJ\ndoubtless played on numerous occasions. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003eThe coupling here, Pyramid, demonstrates\nwhat further improvements XR remastering can offer an already\naccomplished studio recording of the era. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan class=\"bodybigblue\"\u003eAndrew Rose\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand track listing:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCHARLIE PARKER with Strings, the XR Remasters (1949-52) - PAJZ001\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eJust Friends \u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eEverything Happens To Me \u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eApril In Paris \u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eSummertime\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eI Didn't Know What Time It Was \u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eIf I Should Lose You \u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eDancing In The Dark \u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eOut Of Nowhere \u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eLaura\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eEast Of The Sun (and West Of The Moon) \u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eThey Can't Take That Away From Me \u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eEasy To Love \u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eI'm In The Mood For Love \u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eI'll Remember April \u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eTemptation\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eLover\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eAutumn In New York \u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eStella By Startlight \u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\n\n\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"left\"\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003eTracks 1-6: November 30, 1949; Reeves Sound Studios, New York City.\u003cbr\u003e Tracks 7-14: July 5, 1950; Reeves Sound Studios, New York City.\u003cbr\u003e Tracks 15-18: January 22, 1952; First Ave. \u0026amp; East 44th St., New York City. \u003c\/span\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"left\"\u003ePersonnel\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003e\u003cb\u003e1949\u003c\/b\u003e -\u003cem\u003e Charlie Parker With Strings\u003c\/em\u003e:\nParker (as), Stan Freeman (p), Ray Brown (b), Buddy Rich (d), Mitch\nMiller (oboe), Meyer Rosen (harp), Jimmy Carroll (arr-cond), strings.\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003e\u003cb\u003e1950\u003c\/b\u003e - \u003cem\u003eCharlie Parker With Strings\u003c\/em\u003e:\nParker (as), Joe Singer (French horn), Edwin Brown (oboe), Verley Mills\n(harp), Ray Brown (b), Buddy Rich (d), Bernie Leighton (p), Joe Lippman\n(arr-cond), strings.\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003e\u003cb\u003e1952\u003c\/b\u003e - \u003cem\u003eCharlie Parker and His Orchestra\u003c\/em\u003e: Chris Griffin, Bernie Privin, Al Porcino (tp), Will Bradley, Bill Harris (tb), \u003cbr\u003e Parker, Toots Mondello, Murray Williams (as), Hank Ross, Flip Phillips (ts), Stan Webb (bs), Verley Mills (harp), \u003cbr\u003e Lou Stein (p), Art Ryerson (g), Bob Haggart (b), Don Lamond (d), Joe Lippmann (arr, cond), strings, woodwinds.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eTHE QUINTET Massey Hall, Toronto (1953) - PAJZ002\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003ctable style=\"width: 100%;\" cellspacing=\"0\" cellpadding=\"5\" border=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd width=\"51%\" height=\"270\"\u003e\n\u003col\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003ePerdido \u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eSalt Peanuts \u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eAll The Things You Are \u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eWee (Allen's Alley) \u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eHot House\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eA Night In Tunisia \u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eDrum Conversation \u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eCherokee\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eEmbraceable You \u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eHallelujah (Jubilee) \u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eSure Thing\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eBassically Speaking\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eLullaby of Birdland \u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eI've Got You Under My Skin\u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003e\u003cspan class=\"style42\"\u003e1-6: The Quintet\u003cbr\u003e 7: Max Roach\u003cbr\u003e 8-14: The Trio (Powell, Mingus, Roach) \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eJEAN SABLON Songs of a Boulevardier (1952, 1933-39) - PAJZ003\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003col\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eQue Les Temps Me Dure \u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eLe Fiacre (The Cab Song) \u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eC'est La Vraie De Vraie \u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003ePretty Bride (Tire l'Aiguille) \u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eFavela\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eMy Heart's At Ease (Le Couer Tranquille) \u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eCome Back (Reviens) \u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eAve Maria No Morro \u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eParce Que Je Vous Aime \u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eSi J'Aime Suzy \u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eJe Suis Sex Appeal \u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eJe Sais Que Vous Etes Jolie \u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003ePar Correspondance \u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eUn Amour Comme Le Nôtre\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eCette Chanson Est Pour Vous Madame\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eRendez-Vous Sous La Pluie\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eCes Petits Choses\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eVous Qui Passes Sans Me Voir\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eLa Chanson Des Rues\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eIl Ne Faut Pas Briser Un Rève\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eSur Le Pont d'Avignon\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eLa Valse Au Village\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eJe Tire Ma Reverence\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eParis Tu N'as Pas Changé \u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"style42\"\u003e1-8: From the LP Songs of a Boulevardier \u003cbr\u003e 9-16: With Django Reinhardt et al \u003cbr\u003e 17-24: With Wal-Berg\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodysmallarialblue\" align=\"left\"\u003e\n\n\n1-8: Transferred from 10\" LP Capitol L344, date-stamped 6\/52\u003cbr\u003e Vocal Group \u0026amp; Instrumental Ensemble conducted by Skitch Henderson\u003c\/p\u003e\n\u003cp class=\"bodysmallarialblue\" align=\"left\"\u003e9-16: Django Reinhardt\n(guitar); Eliane de Creus, vocal (9, 10); Germaine Sablon, vocal (14);\nMichel Warlop, violin (11); Stéphane Grappelli*, violin (15, 16); André\nEkyan, clarinet (12, 13); Alec Siniavine, piano (12-14); Louis Volá,\nbass (14-16)\u003c\/p\u003e\n\u003cp class=\"bodysmallarialblue\" align=\"left\"\u003e17-24: Orchestra arranged and conducted by Wal-Berg\u003c\/p\u003e\n\u003cp class=\"bodysmallarial\" align=\"left\"\u003e*Despite Grapelli being credited\non these tracks there is no audible violin playing - and nobody is\ncredited with the piano parts which are key to the arrangements!\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eMILES DAVIS Miles in Paris (1949) - PAJZ004\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e1 Riff Tide (4:34)\u003cbr\u003e2 Good Bait (5:48)\u003cbr\u003e3 Don't Blame Me (4:20)\u003cbr\u003e4 Lady Bird (5:01)\u003cbr\u003e5 \"Wah\" \"Hoo\" (5:32)\u003cbr\u003e6 Allen's Alley (4:27)\u003cbr\u003e7 Embraceable You (4:03)\u003cbr\u003e8 Ornithology (3:46)\u003cbr\u003e9 All The Things You Are (4:18)\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eBroadcast Recordings from Salle Pleyel, Paris, May 1949 - Tracks 1-4: May 8th\u003cbr\u003eTracks 5-9:  9th, 12th, 14th, 15th May \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eDUKE ELLINGTON Live at Carnegie Hall (1944) - PAJZ005\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eDisc One\u003c\/b\u003e\u003cbr\u003e 1. Blutopia (4:25)\u003cbr\u003e 2. Midriff (4:03)\u003cbr\u003e 3. Creole Love Call (6:34)\u003cbr\u003e 4. Suddenly It Jumped (2:53)\u003cbr\u003e 5. Pitter Panther Patter (3:00)\u003cbr\u003e 6. It Don't Mean A Thing (If It Ain't Got That Swing) (3:59)\u003cbr\u003e 7. Things Ain't What They Used To Be (5:21)\u003cbr\u003e 8. \u003cem\u003ePerfume Suite\u003c\/em\u003e: Introduction (0:55)\u003cbr\u003e 9. Sonata (3:17)\u003cbr\u003e 10. Strange Feeling (5:13)\u003cbr\u003e 11. Dancers In Love (2:35)\u003cbr\u003e 12. Coloratura (3:26)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eDisc Two\u003c\/b\u003e\u003cbr\u003e 1. \u003cem\u003eBlack, Brown And Beige\u003c\/em\u003e: Work Song (7:05)\u003cbr\u003e 2. \u003cem\u003eBlack, Brown And Beige\u003c\/em\u003e: The Blues (5:29)\u003cbr\u003e 3. \u003cem\u003eBlack, Brown And Beige\u003c\/em\u003e: Three Dances (6:33)\u003cbr\u003e 4. \u003cem\u003eBlack, Brown And Beige\u003c\/em\u003e: Come Sunday (11:56)\u003cbr\u003e 5. The Mood To Be Wooed (4:51)\u003cbr\u003e 6. Blue Cellophane (3:18)\u003cbr\u003e 7. Blue Skies (Trumpets No End) (3:37)\u003cbr\u003e 8. Frankie And Johnny (8:14)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eDuke Ellington\u003c\/b\u003e - leader, piano, arranger\u003cbr\u003e\u003cb\u003eRex Stewart, Taft , Cat Anderson, Shelton Hemphill\u003c\/b\u003e - trumpets\u003cbr\u003e\u003cb\u003eRay Nance\u003c\/b\u003e - trumpet, violin, vocal\u003cbr\u003e\u003cb\u003eTricky Sam Nanton, Lawrence Brown, Claude Jones\u003c\/b\u003e - trombones\u003cbr\u003e\u003cb\u003eJohnny Hodges, Harry Carney, Otto Hardwicke, Al Sears, Jimmy Hamilton\u003c\/b\u003e - reeds\u003cbr\u003e\u003cb\u003eFred Guy\u003c\/b\u003e - guitar \u003cbr\u003e\u003cb\u003eJunior Raglin\u003c\/b\u003e - bass \u003cbr\u003e\u003cb\u003eHillard Brown\u003c\/b\u003e - drums\u003cbr\u003e\u003cb\u003eKay Davis, Marie Ellington, Al Hibbler\u003c\/b\u003e - vocals\u003cbr\u003e\u003cb\u003eBilly Strayhorn\u003c\/b\u003e - assistant arranger\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eLOUIS ARMSTRONG The Early Years (1923-40) - PAJZ006\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cem\u003e\u003cb\u003eAcoustic Recordings, 1923-26\u003c\/b\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eKing Oliver's Creole Jazz Band\u003c\/b\u003e\u003cbr\u003e1 Chimes Blues (2:58) 5.4.23\u003cbr\u003e2 Froggie Moore (3:06) 6.3.23\u003cbr\u003e\u003cbr\u003e\u003cb\u003eFletcher Henderson and his Orchestra\u003c\/b\u003e\u003cbr\u003e3 Copenhagen (3:05) 30.10.24\u003cbr\u003eClarence Williams' Blue Five\u003cbr\u003e4 Everybody Loves My Baby (But My Baby Don't Love Nobody But Me) (2:38) 6.11.24\u003cbr\u003e\u003cbr\u003e\u003cb\u003eEva Taylor with Clarence Williams' Blue Five\u003c\/b\u003e\u003cbr\u003e5 Cake Walking Babies From Home (3:04) 8.1.25\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBessie Smith\u003c\/b\u003e\u003cbr\u003e6 The St. Louis Blues (3:11) 14.1.25\u003cbr\u003e\u003cbr\u003e\u003cb\u003eLouis Armstrong and his Hot Five\u003c\/b\u003e\u003cbr\u003e7 Gut Bucket Blues (2:49) 12.11.25\u003cbr\u003e8 Muskrat Ramble (2:35) 26.2.26\u003cbr\u003e9 Heebies Jeebies (2:58) 26.2.26\u003cbr\u003e10 Cornet Chop Suey (3:05) 26.2.26\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"bodysmallarial\" align=\"left\"\u003e\u003cem\u003e\u003cb\u003eElectric Recordings, 1927-40\u003c\/b\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003eLouis Armstrong and his Hot Seven\u003c\/b\u003e\u003cbr\u003e11 Potato Head Blues (3:02) 10.5.27\u003cbr\u003e12 Twelfth Street Rag (3:11) 11.5.27\u003cbr\u003e\u003cbr\u003e\u003cb\u003eLouis Armstrong and his Hot Five\u003c\/b\u003e\u003cbr\u003e13 West End Blues (3:25) 27.6.28\u003cbr\u003e\u003cbr\u003e\u003cb\u003eLouis Armstrong and his Savoy Ballroom Five\u003c\/b\u003e\u003cbr\u003e14 St. James Infirmary (3:19) 12.12.28\u003cbr\u003e15 Tight Like This (3:17) 12.12.28\u003cbr\u003e16 I Can't Give You Anything But Love (3:31) 5.3.29\u003cbr\u003e\u003cbr\u003e\u003cb\u003eLouis Armstrong and his Sebastian New Cotton Club Orchestra\u003c\/b\u003e\u003cbr\u003e17 I'm A Ding Dong Daddy (From Dumas) (3:15) 21.7.30\u003cbr\u003e\u003cbr\u003e\u003cb\u003eLouis Armstrong and his Orchestra\u003c\/b\u003e\u003cbr\u003e18 Georgia On My Mind (3:27) 5.11.31\u003cbr\u003e19 Alexander's Ragtime Band (2:40) 7.7.37\u003cbr\u003e20 Cain And Abel (2:58) 1.5.40\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eDUKE ELLINGTON Live at Carnegie Hall (1946) - PAJZ007\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eDisc One\u003c\/b\u003e\u003cbr\u003e1 Caravan (4:00)\u003cbr\u003e 2 In A Mellow Tone (3:06)\u003cbr\u003e 3 Solid Old Man (3:42)\u003cbr\u003e\u003cbr\u003eSelections from Black, Brown and Beige:\u003cbr\u003e 4 Spiritual (Come Sunday)\/Worksong (13:03)\u003cbr\u003e 5 The Blues (5:55)\u003cbr\u003e\u003cbr\u003e6 Rugged Romeo (4:12)\u003cbr\u003e 7 Sono (5:29)\u003cbr\u003e 8 Air-Conditioned Jungle (6:21)\u003cbr\u003e 9 Pither Panther Patter (2:51)\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eDisc Two\u003c\/b\u003e\u003cbr\u003e1. Take The A Train (3:37)\u003cbr\u003e\u003cbr\u003eA Tonal Group:\u003cbr\u003e 2. Meloditti (8:20)\u003cbr\u003e 3. Fugueaditty (3:18)\u003cbr\u003e 4. Jam-A-Ditty (4:23)\u003cbr\u003e\u003cbr\u003e5. Magenta Haze (5:21)\u003cbr\u003e 6. Diminuendo In Blue\/Transbluency (8:06)\u003cbr\u003e 7. Crescendo In Blue (4:01)\u003cbr\u003e 8. Suburbanite (4:36)\u003cbr\u003e 9. I'm Just A Lucky So And So (4:54)\u003cbr\u003e 10. Riffin' Drill (2:49)\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eDuke Ellington\u003c\/b\u003e - leader, piano, arranger\u003cbr\u003e\u003cb\u003e\u003cspan class=\"style41\"\u003eTaft , Cat Anderson, Francis Williams, Shelton Hemphill \u003c\/span\u003e\u003c\/b\u003e-\u003cb\u003e \u003c\/b\u003etrumpets\u003cbr\u003e \u003cb\u003e\u003cspan class=\"style41\"\u003eLawrence Brown, Claude Jones, Wilbur de Paris\u003c\/span\u003e\u003c\/b\u003e -\u003cb\u003e \u003c\/b\u003etrombones\u003cbr\u003e \u003cspan class=\"style41\"\u003e\u003cb\u003eJohnny Hodges, Harry Carney, Otto Hardwicke, Al Sears, Jimmy Hamilton\u003c\/b\u003e \u003c\/span\u003e- reeds\u003cbr\u003e \u003cspan class=\"style41\"\u003e\u003cb\u003eAl Lucas\u003c\/b\u003e - guitar \u003cbr\u003e\u003cb\u003eOscar Pettiford\u003c\/b\u003e - bass \u003cbr\u003e\u003cb\u003eSonny Greer\u003c\/b\u003e\u003c\/span\u003e - drums\u003cbr\u003e \u003cb\u003e\u003cspan class=\"style41\"\u003eJoya Sherrill, Kay Davis, Al Hibbler\u003c\/span\u003e\u003c\/b\u003e - vocals\u003cbr\u003e \u003cb\u003e\u003cspan class=\"style41\"\u003eBilly Strayhorn\u003c\/span\u003e\u003c\/b\u003e - assistant arranger\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eART TATUM Knockin' Myself Out (1941-56) - PAJZ008\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp class=\"bodymid\"\u003e\u003cb\u003eLive and studio recordings, 1940s:\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e Lonesome Graveyard\u003c\/span\u003e (3:08)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003eCorinne Corrina\u003c\/span\u003e (2:33)\u003cbr\u003e \u003cem\u003e\"Big\nJoe\" Turner, vocal; Joe Thomas, trumpet; Art Tatum, piano; Oscar Moore,\nguitar; Billy Taylor, bass; Yank Porter, drums. New York, June 13, 1941.\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003eKnockin' Myself Out\u003c\/span\u003e (4:04)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003eToledo Blues\u003c\/span\u003e (3:33)\u003cbr\u003e \u003cem\u003eArt Tatum,\npiano \u0026amp; vocal on \"Toledo Blues\"; Chocolate Williams, bass \u0026amp;\nvocal on \"Knockin' Myself Out.\" New York, July 26, 1941.\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003eLady Be Good\u003c\/span\u003e (4:28)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003eSweet Georgia Brown\u003c\/span\u003e (7:18)\u003cbr\u003e \u003cem\u003eFrank Newton, trumpet; Art Tatum, piano; Ebenezer Paul, bass; New York, September 16, 1941.\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003eRock Me, Mama \u003c\/span\u003e(2:59)\u003cbr\u003e \u003cem\u003eSame personnel and date as tracks 1 \u0026amp; 2\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003eWee Baby Blues\u003c\/span\u003e (2:54)\u003cbr\u003e \u003cem\u003e\"Big Joe\"\nTurner, vocal; Joe Thomas, trumpet; Edmond Hall, clarinet; Art Tatum,\npiano, John Collins, guitar; Billy Taylor, bass; Ed Dougherty, drums.\nNew York, January 21, 1941.\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003eTea For Two\u003c\/span\u003e (3:25)\u003cbr\u003e \u003cem\u003eRoy\nEldridge, trumpet; Jack Teagarden, trombone; Barney Bigard, clarinet;\nLionel Hampton, vibes; Art Tatum, piano; Al Casey, guitar; Oscar\nPettiford, bass; Sid Catlett, drums. Metropolitan Opera House, New York,\nJanuary 18, 1944.\u003c\/em\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"bodymid\"\u003e\u003cbr\u003e \u003cb\u003eLive Trio Radio Broadcasts, 1950s:\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003eA Flying Home (Theme) \u003c\/span\u003e(0:49)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e I Cover The Waterfront \u003c\/span\u003e(4:33)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e Soft Winds\u003c\/span\u003e (3:23)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e Tenderly\u003c\/span\u003e (4:58)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003eTea For Two\u003c\/span\u003e (3:11)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003eWrap Your Troubles In Dreams\u003c\/span\u003e (5:20)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e Body and Soul \u003c\/span\u003e(0:59)\u003cbr\u003e \u003cem\u003eArt Tatum, piano; Everett Barksdale, guitar; Slam Stewart, bass. Basin Street, New York, October 1955\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003eFlying Home (Theme)\u003c\/span\u003e (1:43)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003eMoon Song\u003c\/span\u003e (5:56)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003eJust One Of Those Things\u003c\/span\u003e (3:48)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003eWould You Like To Take A Walk\u003c\/span\u003e (5:33)\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003eYou Go To My Head\u003c\/span\u003e\u003cspan class=\"body\"\u003e (5:23)\u003cbr\u003e \u003cem\u003eArt Tatum, piano; Everett Barksdale, guitar; Bill Pemberton, bass. Olivia's Patio Lounge, Washington DC, October 1956\u003c\/em\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eMILES DAVIS Kind of Blue : XR (1959) - PAJZ009\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSo What\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (9:27)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eFreddie Freeloader\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (9:52)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBlue in Green\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (5:39)\u003cbr\u003e Recorded 2nd March, 1959\u003cbr\u003e at Columbia's 30th Street Studio, New York City\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eAll Blues\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e(11:39) \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eFlamenco Sketches\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (9:29)\u003cbr\u003e Recorded 22nd April, 1959\u003cbr\u003e at Columbia's 30th Street Studio, New York City\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eWARDELL GRAY A Sinner Kissed An Angel (1949-53) - PAJZ010\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003col\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eTwisted\u003c\/b\u003e (3:07)\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eEasy Living\u003c\/b\u003e (4:25)\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eSouthside\u003c\/b\u003e (3:22)\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eSweet Lorraine\u003c\/b\u003e (4:09)\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cem\u003eRecorded 11 November 1949\u003c\/em\u003e\u003cbr\u003e \u003cb\u003eAl Haig\u003c\/b\u003e piano \u003cbr\u003e \u003cb\u003eTommy Potter\u003c\/b\u003e bass \u003cbr\u003e \u003cb\u003eRoy Haynes\u003c\/b\u003e drums\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eBlue Gray\u003c\/b\u003e (2:47)\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eGrayhound\u003c\/b\u003e (3:04)\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eA Sinner Kissed an Angel\u003c\/b\u003e (3:11)\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eTreadin'\u003c\/b\u003e (3:51)\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cem\u003eRecorded 25 April 1950\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cb\u003ePhil Hill\u003c\/b\u003e piano\u003cbr\u003e \u003cb\u003eJohnny Richardson\u003c\/b\u003e bass\u003cbr\u003e \u003cb\u003eArt Madigan\u003c\/b\u003e drums \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eMove\u003c\/b\u003e (9:46)\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eScrapple from the Apple\u003c\/b\u003e (9:03)\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cem\u003eRecorded live at the Hula Hut, Sunset Strip, Los Angeles, California, 27 August 1950\u003c\/em\u003e\u003cbr\u003e \u003cb\u003eDexter Gordon\u003c\/b\u003e tenor\u003cbr\u003e \u003cb\u003eSonny Criss\u003c\/b\u003e alto\u003cbr\u003e \u003cb\u003eClark Terry\u003c\/b\u003e trumpet\u003cbr\u003e \u003cb\u003eJimmy Bunn\u003c\/b\u003e piano\u003cbr\u003e \u003cb\u003eBilly Hadnott\u003c\/b\u003e bass\u003cbr\u003e \u003cb\u003eChuck Thompson\u003c\/b\u003e drums \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eApril Skies\u003c\/b\u003e (3:01)\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eBright Boy\u003c\/b\u003e (2:46)\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eJackie\u003c\/b\u003e (2:31)\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eFarmer's Market\u003c\/b\u003e (2:47)\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eSweet and Lovely\u003c\/b\u003e (3:15)\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eLover Man\u003c\/b\u003e (2:22)\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cem\u003eRecorded 21 January 1952\u003c\/em\u003e\u003cbr\u003e \u003cb\u003eArt Farmer\u003c\/b\u003e trumpet\u003cbr\u003e \u003cb\u003eHampton Hawes\u003c\/b\u003e piano\u003cbr\u003e \u003cb\u003eHarper Crosby\u003c\/b\u003e bass\u003cbr\u003e \u003cb\u003eLarry Marable\u003c\/b\u003e drums\u003cbr\u003e \u003cb\u003eRobert Collier\u003c\/b\u003e conga \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eSo Long Broadway\u003c\/b\u003e (3:09)\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003ePaul's Cause\u003c\/b\u003e (2:54)\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eThe Man I Love\u003c\/b\u003e (3:07)\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eLavonne\u003c\/b\u003e (2:52)\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cem\u003eRecorded 20 February 1953\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eTeddy Charles\u003c\/b\u003e vibes\u003cbr\u003e \u003cb\u003eFrank Morgan\u003c\/b\u003e alto\u003cbr\u003e \u003cb\u003eSonny Clark\u003c\/b\u003e piano\u003cbr\u003e \u003cb\u003eDick Nivison\u003c\/b\u003e bass\u003cbr\u003e \u003cb\u003eLarry Marable\u003c\/b\u003e drums\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e \u003cb\u003eWardell Gray \u003c\/b\u003e tenor saxophone\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Transfers from Esquire LPs 32-016 and 32-023 \u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e NB. There is at least one terrible edit in the live recordings - this is as presented on the original LP!\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e \u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eTHE MODERN JAZZ QUARTET Fontessa \u0026amp; Pyramid (1956-60) - PAJZ011\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cb\u003eFontessa\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cul\u003e\u003cli\u003e\n\u003cb\u003e1. Versailles (Porte de Versailles)  (3:27)\u003cbr\u003e2. Angel Eyes  (3:54) \u003cbr\u003e3. Fontessa  (11:17) \u003cbr\u003e4. Over The Rainbow  (3:57) \u003cbr\u003e5. Bluesology  (4:53)\u003cbr\u003e6. Willow Weep for Me  (4:53)\u003cbr\u003e7. Woody 'n You  (4:54)\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003eRecorded 22 January \u0026amp; [5] 14 February, 1956, in New Jersey \u0026amp; [5] New York\u003cbr\u003eN.B. Track 5 features a different take to that used on the mono release\u003cbr\u003eProducer: Nesuhi Ertegun\u003cbr\u003eOriginally issued as Atlantic SD 1231\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\n\u003cul\u003e\u003cli\u003e\n\u003cb\u003ePyramid \u003c\/b\u003e\u003cb\u003e\u003cbr\u003e1. Vendome (2:32)\u003cbr\u003e2. Pyramid (Blues for Junior) (10:53)\u003cbr\u003e3. It Don't Mean A Thing (5:04)\u003cbr\u003e4. Django (4:37)\u003cbr\u003e5. How High The Moon (6:18)\u003cbr\u003e6. Romaine (7:25)\u003c\/b\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003eRecorded August 22 \u0026amp; 25 and December 21, 1959 and January 15, 1960\u003cbr\u003eMusic Inn, Lenox, Massachusetts and Capitol Studios, New York City\u003cbr\u003eProducer: Nesuhi Ertegun\u003cbr\u003eOriginally issued as Atlantic 1325\u003c\/span\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo \u0026 Ambient Stereo 16-bit FLAC","offer_id":54932312621395,"sku":"kwr1789302057267","price":122.78,"currency_code":"GBP","in_stock":true},{"title":"320kbps Stereo \u0026 Ambient Stereo MP3","offer_id":54932312654163,"sku":"kfj1789302057268","price":88.24,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/1833\/9155\/files\/pristine-jazz-collection-vol-1---pabx010_1.jpg?v=1789302066","url":"https:\/\/lovevividclad.shop\/products\/pristine-jazz-collection-vol-1-pabx010","provider":"luckagni","version":"1.0","type":"link"}