This session, recorded at Studio Pathe-Magellan October 11 and 14, 1955 in Paris, is the first of three recordings released for the Barclay label between 1955 and 1956. For his first recording-date in Paris Chet decided to tackle Bob Zieff’s compositions, the same ones that Dick Twardzik had picked up in a hurry at the Alvin Hotel on his way to board the liner Ile-de-France. Violonist Dick Wetmore had just recorded the eight tunes, and Bob Zieff had had just enough time to revise the arrangements. Chet neither a champion sight-reader nor a big fan of rehearsals, hadn’t yet played them in front of an audience. From that first French session only the reel referred to as a 'production tape' remains. This ‘complete Bob Zieff’ gives an impression of unity that wellmatches the suite concept intended by the composer; as for "The Girl From Greenland", its role comes as a codicil.

The record of Chet’s quartet with Twardzik has now appeared in Ben Ratliff’s book "Jazz, a Critic’s Guide to The 100 Most Important Recordings" (The New York Times Essential Library); it’s a fitting mention for an album that was long-unrecognised in the the United States …

Recording: October 1955 at Studio Pathe-Magellan, Paris in mono

Production: Nicole and Eddie Barclay

"Featuring Dick Twardzik" - Chet Baker (tp), Dick Twardzik (p), Jimmy Bond (b), Peter Littman (dr)

As others have noted, this album occupies a unique place in the Bill Evans discography. It's the only album to document drummer Jack deJohnette's too-short stay in the trio. The trio's performance on this album won them the 1969 Grammy for Best Jazz Instrumental Album, Individual or Group. By the time this set was recorded, live in Montreux on June 15, 1968, Eddie Gomez and Evans had been playing together for two years. Gomez provided a different brand of virtuosity to that offered by Scott LaFaro in Evans's classic trio of five years earlier but he was clearly the best bass player Evans had worked with since LaFaro's tragic death. The groove between the two was deep and comfortable, so comfortable that in this set, Evans did something he hadn't done before, at least on a recording: he showcased Gomez for an entire piece, the almost seven minute long "Embraceable You". As the liner notes by Gene Lees reveal, Evan's performance at the renowned jazz festival in the nightclub of the Montreux Casino, one of the most fashionable resorts in Switzerland, was one of his best. He and Gomez played with more exuberance, more happiness and more drive. Evans' brooding, introspective musical side has been represented well on records before; the bright side has been too-little heard, but it's here in this album. At the end of each number the audience exploded in applause so stormy and extended that it had to be heavily edited for the album. Enjoy this sparkling Bill Evans piano performance, made sweeter by the expert mastering by Bernie Grundman from the original analog tape. For this edition only the best vinyl pressing would do — a 200-gram super-silent luxurious-sounding platter from Quality Record Pressings, makers of the world's finest-sounding LPs. First-rate and top-notch, this album will make a superb addition to your record collection.

Tears of sorrow mingled with tears of joy as Oscar Peterson fans realized that the keyboard genius who had just recovered his health was still capable of amazing them all, although he had obviously forfeited some of his past vitality. This may well have induced MPS – the label with whom Oscar Petersen himself claimed to have made his best recordings – to search their archives for lost tapes from Peterson’s heydey. And lo and behold, a number of previously unreleased recordings were discovered which had been taped “exclusively for my friends” in the private studio in Villingen in 1965-1968. The electric atmosphere of these live sessions before a mere handful of listeners proves once again just how at home the musicians felt in the Black Forest villa – as is borne out by the fact that Peterson’s usual trio formation alternated with his stand-in musicians of Sam Jones on the bass and Bobby Durham on the drums. And now, exclusively for all jazz fans, these amazing tracks are available for the very first time on an LP filled with glorious sound. Whether long-time collector or jazz newcomer, one thing is certain: this album belongs in every collection!

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com. All royalties and mechanical rights have been paid.

Recording: May 1965, November 1967 and October 1968 at H.G. Brunner-Schwer’s private studio’s in Villingen/ Germany by H.-G. Brunner-Schwer 

Production: H.-G. Brunner-Schwer

“Exclusively for my Friends, The Lost Tapes” – Oscar Peterson (p) / Ray Brown, Sam Jones (b) / Ed Thigpen, Bobby Durham (dr)

After the publication of her autobiography, "Lady Sings The Blues", Billie Holiday was doing good business in clubs in what turned out to be a last burst of stardom. We cannot know why she stopped recording for Norman Granz after January 1957 - but the present collection is a magnificent culmination of her years with the producer.

Recording: in mono

"All Or Nothing At All " - Billie Holiday (voc); Ben Webster (ts); Harry 'Sweets' Edison (tp); Jimmy Rowles (p); Barney Kessel (g); Red Mitchell, Joe Mondragon (b); Larry Bunker, Alvin Stoller (dr)

Contrasting downbeat ballads with an ironic brassy, upbeat big band attitude, the ironic Cole Porter standard "Just One Of Those Things" sets the tone for a distinctive, pungent experience of love and disillusionment with a swing. Brilliantly backing the intimately expressive and supremely musical voice of the incomparable Nat 'King' Cole, a big band with no 'strings' smolders, swings, saunters, storms, sighs and sizzles with the arrangements of the distinctive Billy May. Featuring top shelf interpretations of "These Foolish Things", "Who's Sorry Now?", "The Party's Over" and more, this album is among its era's finest recordings of popular music and its quality, style and spirit remains unexcelled.

Using the original 3-track session tapes from Capitol's vaults and all-analogue systems including custom headstacks, 3-track preview heads, console and monitoring chain installed at AcousTech specially for these releases, mastering engineers Kevin Gray and Steve Hoffman realize the stunning beauty of these recordings. A superb track recorded for the album, "You'll Never Know", which was omitted due to space constraints, is included in this double 45-RPM 180-gram album set. Included with this deluxe reissue is a striking six-panel booklet complete with rare photos, a 2,200-word essay by Jordan Taylor on the album and a 1,200-word essay by Michael Fremer about the remastering process. This truly is a no-expenses-spared project, resulting in the ultimate version of this title and a historic reissue.

"Just One Of Those Things" - Nat 'King' Cole (voc, p); Billy May (cond, arr) & Orchestra

Forty-two years ago, Chet Baker - one of the most tragic figures of jazz who lived on the fast lane and ruined himself with drugs and alcohol - was constantly on the road from one European jazz club to another. Local rhythm groups were not always top notch so it was only logical to pick the very best from several countries for a film-music production in Italy. And it was equally logical that RCA’s Italian subsidiary brought the musicians into the studio in January 1962. With one exception, the eight titles on this disc are all so-called standards. The two winds demand total concentration from the rhythm section while maintaining relaxed and laid-back harmonic patterns. And this is something the Italian Tommasi, the Belgian Thomas, the Frenchman Quersin and the Swiss Humair carry off with an air of nonchalance. The two ballads "These Foolish Things" and the only new composition "Ballata In Forma Di Blues" are tucked in between the other numbers and give the listener space to breathe. They are surrounded by numbers with a fast tempo, all of which demonstrate Chet Baker’s and Bobby Jaspar’s high standard of musicianship. And then there is "Over The Rainbow", whose theme is coupled with another tragic figure of music history, Judy Garland: Chet on his trumpet conjures up pure magic in the middle section. Happily, these recordings - made in Rome in 1962 - are not purely restricted to collectors living in the Sixties. This re-release on LP now offers the opportunity to listen to some excellent music and to enjoy the cover – just as it was on the original recording: a priceless gem!

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com. All royalties and mechanical rights have been paid.

Recording: January 1962 in Rome, Italy in mono

"Chet Is Back" - Chet Baker (tp); Bobby Jaspar (ts, fl); Amadeo Tommasi (p); René Thomas (g); Benoit Quersin (b); Daniel Humair (dr)

Even though by the mid-'50s he'd already established himself as a multi-talented entertainer, this collection of piano-centric instrumentals would be the first full-length long-player that Nat King Cole issued during his two-plus decades on Capitol Records. Released in 1956, the appropriately titled "The Piano Style of Nat King Cole" contains a whopping (by mid-'50s standards at least) 16 tracks. Half of the material finds the artist supported by a large band and the other with a warm, cozy string section. And making a great thing almost sinful is that the entire effort is orchestrated and conducted by the peerless Nelson Riddle. True to the nature of artist and arranger alike, the project is filled with traditional pop tunes straight out of the Great American Songbook. While the melodies are familiar, each is given a unique sonic stamp. Gershwin's "Love Walked In" provides nothing short of a sublime start as Cole trades elegant leads with the lushly appointed backing ensemble. By contrast, "My Heart Stood Still" bursts forth bearing a joyous jazzy groove that can barely be contained within Cole's blissful runs up and down the ivories. Once again mellowing the tempo is the classy and romantic refinement of a simmering "Imagination", which melts beneath the delicate drizzle of Cole's keys. This stylistic compromise continues as the friskier and decidedly upbeat "I Never Knew", "I Didn't Know What Time It Was", and "Taking a Chance on Love" perfectly temper the tender yet impassioned "April in Paris" and "I See Your Face Before Me". Likewise, the sultry blues "If I Could Be with You (One Hour Tonight)" should not be missed. The frenetic "I Want to Be Happy" and equally energetic "Just One of Those Things" stand out from the rest. Cole nimbly reels off some of his most accomplished keyboarding to date, all the while guiding the big band into a spirited musical repartee.

Recording: June and August 1955 at Universal Studios, Chicago, and Capitol Melrose Studios, Los Angeles in mono

Production: Lee Gillette

"The Piano Style Of Nat King Cole" - Nat King Cole (p); Nelson Riddle (arr,dir); Willie Smith (ss); John Collins (g); Charlie Harris (b); George Roberts, Juan Tizol (tb); Lee Young (dr); a.o.

- 180 grams reissue

No, not "Take Five" but "Take Ten" is the title of this LP and its very first number. Certainly this should be taken as a hint that it was not Dave Brubeck but Paul Desmond who was the composer of this 'million seller'. At the recording session, the guitarist Jim Hall was more than a substitute for the piano - he contributed to the quartet a whole new sound colouring which was tinged with the influences of bossa nova. The numbers are all easy-going and airy, the melodic lines and sound are filled with transparency. All the while one is curious as to the clear part-writing, and the wealth of ideas emanating from the soloists. This does not only apply to the old favourites "Alone Together", "Nancy" and "The One I Love", all three of them arrangements made ad hoc in the studio and which demonstrate how familiar the musicians were with one another, how they listened to one another, answered, and kept the dialogue flowing. The atmosphere is relaxed, and this conveys itself to the listener even after almost half a century. RCA’s recording and reproduction technology was ahead of its time. The music of these South-American-sounding gems comes out of the loudspeakers with brilliance, clarity and - at last - without the frustrating crackle of a second-hand LP.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com.

All royalties and mechanical rights have been paid.

Recording: 1963 in Webster Hall, New York, by Ray Hall

Production: George Avakian

"Take Ten" - Paul Desmond (as); Jim Hall (g); Gene Cherico, Gene Wright (b); Connie Kay (dr)

- 180 grams