{"title":"2026 Bestsellers","description":null,"products":[{"product_id":"come-away-with-me-cd","title":"Come Away With Me: CD","description":"\u003cp\u003eIn 1999 a 20-year-old Norah Jones came to New York from Texas and was quickly gigging around town with a home-made demo recording in her pocket. In the spring of 2000 she came to the attention of Bruce Lundvall, the head of Blue Note Records. Impressed by her grasp of the standards and her originality, Lundvall offered her a demo deal with the option for the label to extend this to a full album deal. Norah mixed up the record with a focus on originals she and her band had written rounded out with a few jazz standards she loved. The collection of 13 songs, recorded over three days at Sorcerer Sound in Soho was engineered by Jay Newland who had worked on Etta James’ Billie Holiday tribute record ‘Mystery Girl’. The band: the same as that she had been gigging with—Jesse Harris on guitar, Lee Alexander on bass, and Dan Reiser on drums. Adam Rogers and Tony Scherr played guitar on a few additional songs and tabla player Vikram Gosh joined for one cut on the demo. Lundvall signed Norah as a Blue Note artist off the back of the thirteen tracks submitted.\u003c\/p\u003e\n\n\u003cp\u003ePrior to cutting the album, the best of these demos were released as a limited-edition promotional EP, titled First Sessions. Norah and band started to play fewer and fewer straight jazz gigs turning their focus to original music while mixing in the covers and standards. Cassandra Wilson’s New Moon Daughter had been a favourite album of Norah’s and was a big inspiration for the kind of record she wanted to make so she asked Lundvall if she could work with producer Craig Street. Street agreed and they headed to Allaire Studios in upstate NY. Street brought in Bill Frisell and Kevin Breit on guitars, Brian Blade and Kenny Wollesen on drums, and Rob Burger on accordion and organ. Lee Alexander stayed on the bass, and Husky Höskulds, who had a love for vintage equipment and a knack for capturing a vibe on tape, recorded everything. Most of the songs from the demos were re-recorded as Norah explored where else she could take them while some new originals and a few covers were also tracked.\u003c\/p\u003e\n\n\u003cp\u003eThe label latterly rejected the 19 songs as being too far removed from what had made the demos so special and Lundvall suggested that Norah return to Sorcerer Sound Studios with legendary producer, Arif Mardin, who had worked with Aretha Franklin and Donny Hathaway among others. Mardin and Jones chose the best of the demos and the Craig Street sessions—'Don’t Know Why’ and ‘Turn Me On’ from the demo sessions and ‘The Long Day Is Over,’ ‘Feeling The Same Way,’ and ‘Seven Years’ from the Allaire sessions, all with a few new overdubs and new mixes—and recorded nine additional songs in the same spirit of the demos, with the original trio of Harris, Alexander and Reisler, plus Brian Blade back on drums, Adam Levy on guitar, and Jenny Scheinman on violin.\u003c\/p\u003e\n\n\u003cp\u003eUltimately, all three sessions played a unique part in making the record what it ended up being: An eight-time Grammy Award®-winning album that Rolling Stone described as ‘One of the best debut albums of all time,’ that has gone on to sell close to 30 million units to date. ‘In the end I was so thankful that I got to explore a few different paths before putting them all together. No one, including the label, had any idea it would reach the success that it did. I’m forever grateful to Bruce and the very special team at Blue Note for giving me the chance to find my sound through all of it and for never telling me who I had to be.\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cbr\u003e\n1    Don’t Know Why     \u003cbr\u003e\n2    Seven Years     \u003cbr\u003e\n3    Cold Cold Heart     \u003cbr\u003e\n4    Feellin’ The Same Way     \u003cbr\u003e\n5    Come Away With Me     \u003cbr\u003e\n6    Shoot The Moon     \u003cbr\u003e\n7    Turn Me On     \u003cbr\u003e\n8    Lonestar     \u003cbr\u003e\n9    I’ve Got To See You Again     \u003cbr\u003e\n10    Painter Song     \u003cbr\u003e\n11    One Flight Down     \u003cbr\u003e\n12    Nightingale     \u003cbr\u003e\n13    The Long Day Is Over     \u003cbr\u003e\n14    The Nearness Of You\u003c\/p\u003e\n","brand":"Norah Jones","offers":[{"title":"Default Title","offer_id":51420158558372,"sku":"4507763","price":10.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0873\/6453\/4436\/files\/SharedImage-131765.png?v=1785164580"},{"product_id":"come-away-with-me-vinyl-lp","title":"Come Away With Me: Vinyl LP","description":"\u003cp\u003eIn 1999 a 20-year-old Norah Jones came to New York from Texas and was quickly gigging around town with a home-made demo recording in her pocket. In the spring of 2000 she came to the attention of Bruce Lundvall, the head of Blue Note Records. Impressed by her grasp of the standards and her originality, Lundvall offered her a demo deal with the option for the label to extend this to a full album deal. Norah mixed up the record with a focus on originals she and her band had written rounded out with a few jazz standards she loved. The collection of 13 songs, recorded over three days at Sorcerer Sound in Soho was engineered by Jay Newland who had worked on Etta James’ Billie Holiday tribute record ‘Mystery Girl’. The band: the same as that she had been gigging with—Jesse Harris on guitar, Lee Alexander on bass, and Dan Reiser on drums. Adam Rogers and Tony Scherr played guitar on a few additional songs and tabla player Vikram Gosh joined for one cut on the demo. Lundvall signed Norah as a Blue Note artist off the back of the thirteen tracks submitted.\u003c\/p\u003e\u003cp\u003ePrior to cutting the album, the best of these demos were released as a limited-edition promotional EP, titled First Sessions. Norah and band started to play fewer and fewer straight jazz gigs turning their focus to original music while mixing in the covers and standards. Cassandra Wilson’s New Moon Daughter had been a favourite album of Norah’s and was a big inspiration for the kind of record she wanted to make so she asked Lundvall if she could work with producer Craig Street. Street agreed and they headed to Allaire Studios in upstate NY. Street brought in Bill Frisell and Kevin Breit on guitars, Brian Blade and Kenny Wollesen on drums, and Rob Burger on accordion and organ. Lee Alexander stayed on the bass, and Husky Höskulds, who had a love for vintage equipment and a knack for capturing a vibe on tape, recorded everything. Most of the songs from the demos were re-recorded as Norah explored where else she could take them while some new originals and a few covers were also tracked.\u003c\/p\u003e\u003cp\u003eThe label latterly rejected the 19 songs as being too far removed from what had made the demos so special and Lundvall suggested that Norah return to Sorcerer Sound Studios with legendary producer, Arif Mardin, who had worked with Aretha Franklin and Donny Hathaway among others. Mardin and Jones chose the best of the demos and the Craig Street sessions—'Don’t Know Why’ and ‘Turn Me On’ from the demo sessions and ‘The Long Day Is Over,’ ‘Feeling The Same Way,’ and ‘Seven Years’ from the Allaire sessions, all with a few new overdubs and new mixes—and recorded nine additional songs in the same spirit of the demos, with the original trio of Harris, Alexander and Reisler, plus Brian Blade back on drums, Adam Levy on guitar, and Jenny Scheinman on violin.\u003cbr\u003e\u003cbr\u003eUltimately, all three sessions played a unique part in making the record what it ended up being: An eight-time Grammy Award®-winning album that Rolling Stone described as ‘One of the best debut albums of all time,’ that has gone on to sell close to 30 million units to date. ‘In the end I was so thankful that I got to explore a few different paths before putting them all together. No one, including the label, had any idea it would reach the success that it did. I’m forever grateful to Bruce and the very special team at Blue Note for giving me the chance to find my sound through all of it and for never telling me who I had to be.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eNorah Jones’\u003c\/strong\u003e seminal debut album \u003cem\u003eCome Away With Me\u003c\/em\u003e became a global phenomenon, reaching #1 in 20 countries, selling nearly 30 million copies, and sweeping the 2003 GRAMMY Awards. The 20th Anniversary Super Deluxe Edition captures the emergence of a singular talent and the full story of the making of this now-classic album. In addition to a remaster of the original album, there are 22 previously unreleased tracks, including early demos and the never-before-heard first version of the album.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTracklist:\u003cbr\u003eSide A\u003c\/strong\u003e\u003cbr\u003e1. Don’t Know Why\u003cbr\u003e2. Seven Years\u003cbr\u003e3. Cold Cold Heart\u003cbr\u003e4. 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The Nearness Of You\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e","brand":"Norah Jones","offers":[{"title":"Default Title","offer_id":51420450291876,"sku":"3884234","price":25.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0873\/6453\/4436\/files\/SharedImage-131802_copy.webp?v=1785170304"},{"product_id":"come-away-with-me-deluxe-3cd","title":"Come Away With Me: Deluxe 3CD","description":"\u003cp\u003e3 CD Deluxe Edition Contains\u003c\/p\u003e\n\n\u003cp\u003eIn 1999 a 20-year-old Norah Jones came to New York from Texas and was quickly gigging around town with a home-made demo recording in her pocket. In the spring of 2000 she came to the attention of Bruce Lundvall, the head of Blue Note Records. Impressed by her grasp of the standards and her originality, Lundvall offered her a demo deal with the option for the label to extend this to a full album deal. Norah mixed up the record with a focus on originals she and her band had written rounded out with a few jazz standards she loved. The collection of 13 songs, recorded over three days at Sorcerer Sound in Soho was engineered by Jay Newland who had worked on Etta James’ Billie Holiday tribute record ‘Mystery Girl’. The band: the same as that she had been gigging with—Jesse Harris on guitar, Lee Alexander on bass, and Dan Reiser on drums. Adam Rogers and Tony Scherr played guitar on a few additional songs and tabla player Vikram Gosh joined for one cut on the demo. Lundvall signed Norah as a Blue Note artist off the back of the thirteen tracks submitted.\u003c\/p\u003e\n\n\u003cp\u003ePrior to cutting the album, the best of these demos were released as a limited-edition promotional EP, titled First Sessions. Norah and band started to play fewer and fewer straight jazz gigs turning their focus to original music while mixing in the covers and standards. Cassandra Wilson’s New Moon Daughter had been a favourite album of Norah’s and was a big inspiration for the kind of record she wanted to make so she asked Lundvall if she could work with producer Craig Street. Street agreed and they headed to Allaire Studios in upstate NY. Street brought in Bill Frisell and Kevin Breit on guitars, Brian Blade and Kenny Wollesen on drums, and Rob Burger on accordion and organ. Lee Alexander stayed on the bass, and Husky Höskulds, who had a love for vintage equipment and a knack for capturing a vibe on tape, recorded everything. Most of the songs from the demos were re-recorded as Norah explored where else she could take them while some new originals and a few covers were also tracked.\u003c\/p\u003e\n\n\u003cp\u003eThe label latterly rejected the 19 songs as being too far removed from what had made the demos so special and Lundvall suggested that Norah return to Sorcerer Sound Studios with legendary producer, Arif Mardin, who had worked with Aretha Franklin and Donny Hathaway among others. Mardin and Jones chose the best of the demos and the Craig Street sessions—'Don’t Know Why’ and ‘Turn Me On’ from the demo sessions and ‘The Long Day Is Over,’ ‘Feeling The Same Way,’ and ‘Seven Years’ from the Allaire sessions, all with a few new overdubs and new mixes—and recorded nine additional songs in the same spirit of the demos, with the original trio of Harris, Alexander and Reisler, plus Brian Blade back on drums, Adam Levy on guitar, and Jenny Scheinman on violin.\u003c\/p\u003e\n\n\u003cp\u003eUltimately, all three sessions played a unique part in making the record what it ended up being: An eight-time Grammy Award®-winning album that Rolling Stone described as ‘One of the best debut albums of all time,’ that has gone on to sell close to 30 million units to date. ‘In the end I was so thankful that I got to explore a few different paths before putting them all together. No one, including the label, had any idea it would reach the success that it did. I’m forever grateful to Bruce and the very special team at Blue Note for giving me the chance to find my sound through all of it and for never telling me who I had to be.\u003c\/p\u003e\n\n\u003cul\u003e\n\t\u003cli\u003enew remastering of the eight-time Grammy®-winning album by Ted Jensen at Sterling Sound, engineer on the original album\u003c\/li\u003e\n\t\u003cli\u003e11 unreleased demos (including Norah’s home-made demos, and the demos cut for Blue Note\u003c\/li\u003e\n\t\u003cli\u003e6 rare tracks only previously released on the promo-only First Sessions EP\u003c\/li\u003e\n\t\u003cli\u003e13 tracks from the Allaire Sessions—the original version of the album, produced by Craig Street, which was never released—including 11 previously unreleased tracks (9 alternate versions\/mixes alternate versions), all now newly-mixed by Tony Maserati\u003c\/li\u003e\n\t\u003cli\u003enew liner notes by Norah Jones\u003c\/li\u003e\n\t\u003cli\u003erare session photos \u0026amp; detailed track annotations\u003c\/li\u003e\n\u003c\/ul\u003e\n\n\u003cp\u003e\u003cbr\u003e\n\u003cstrong\u003eCD 1 | Come Away With Me - 20th Anniversary Remaster\u003c\/strong\u003e\u003cbr\u003e\n1    Don’t Know Why     \u003cbr\u003e\n2    Seven Years     \u003cbr\u003e\n3    Cold Cold Heart     \u003cbr\u003e\n4    Feelin’ The Same Way     \u003cbr\u003e\n5    Come Away With Me     \u003cbr\u003e\n6    Shoot The Moon     \u003cbr\u003e\n7    Turn Me On     \u003cbr\u003e\n8    Lonestar     \u003cbr\u003e\n9    I’ve Got To See You Again     \u003cbr\u003e\n10    Painter Song     \u003cbr\u003e\n11    One Flight Down     \u003cbr\u003e\n12    Nightingale     \u003cbr\u003e\n13    The Long Day Is Over     \u003cbr\u003e\n14    The Nearness Of You \u003cbr\u003e\n    \u003cbr\u003e\n\u003cstrong\u003eCD 2 | The Demos \/ First Sessions Outtakes \/ First Sessions EP\u003c\/strong\u003e\u003cbr\u003e\n1    Spring Can Really Hang You Up the Most     \u003cbr\u003e\n2    Walkin’ My Baby Back Home     \u003cbr\u003e\n3    World of Trouble     \u003cbr\u003e\n4    The Only Time     \u003cbr\u003e\n5    I Didn’t Know About You     \u003cbr\u003e\n6    Something Is Calling You tabla version     \u003cbr\u003e\n7    Just Like A Dream Today     \u003cbr\u003e\n8    When Sunny Gets Blue     \u003cbr\u003e\n9    What Am I To You     \u003cbr\u003e\n10    Hallelujah I Love Him So     \u003cbr\u003e\n11    Daydream     \u003cbr\u003e\n12    Don’t Know Why     \u003cbr\u003e\n13    Come Away With Me     \u003cbr\u003e\n14    Something Is Calling You     \u003cbr\u003e\n15    Turn Me On     \u003cbr\u003e\n16    Lonestar     \u003cbr\u003e\n17    Peace\u003cbr\u003e\n     \u003cbr\u003e\n\u003cstrong\u003eCD 3 | The Allaire Sessions\u003c\/strong\u003e\u003cbr\u003e\n1    I’ll Be Your Baby Tonight     \u003cbr\u003e\n2    I’ve Got To See You Again     \u003cbr\u003e\n3    What Would I Do     \u003cbr\u003e\n4    Come Away With Me     \u003cbr\u003e\n5    Picture In A Frame     \u003cbr\u003e\n6    Nightingale     \u003cbr\u003e\n7    Peace     \u003cbr\u003e\n8    What Am I To You     \u003cbr\u003e\n9    Painter Song     \u003cbr\u003e\n10    Turn Me On     \u003cbr\u003e\n11    A Little At A Time     \u003cbr\u003e\n12    One Flight Down     \u003cbr\u003e\n13    Fragile\u003c\/p\u003e\n","brand":"Norah Jones","offers":[{"title":"Default Title","offer_id":51420456779940,"sku":"4507772","price":24.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0873\/6453\/4436\/files\/SharedImage-131815_copy.webp?v=1785170789"},{"product_id":"not-tight-vinyl-lp","title":"NOT TiGHT: Vinyl LP","description":"\u003cp\u003eNOT TiGHT is the long-awaited debut album from virtuosic Gen Z duo, DOMi \u0026amp; JD BECK, released on Anderson .Paak’s new label APESHIT in partnership with the legendary jazz label Blue Note Records. It features the likes of Thundercat, whose deadpan funk is their closest antecedent, Herbie Hancock, Snoop Dogg, Busta Rhymes, Mac DeMarco, Kurt Rosenwinkel, and .Paak himself.\u003c\/p\u003e\n\n\u003cp\u003eTheir music finds both humor and greatness in harmonic complexity and rhythmic shiftiness, abruptly adopting and ditching tempos, toying with time signatures, and sneaking extra beats into bridges. They offer winking breaks and gleeful pivots, but the album is more composed than anything they’ve done before, toying with pop structures and pretty restraint. That befits their origin story. The duo first played together in a room full of blaring demos at a trade show, but they bonded over gauche keyboard FX and mom jokes. Over the next year and a half, they wrote and recorded much of the album at JD’s house in Dallas on drums and a 49-key MIDI board with just a few mics. Along the way, DOMi \u0026amp; JD BECK have sat in with Herbie Hancock and backed Thundercat, Ariana Grande, Eric André, and more; they also co-wrote “Skate” on .Paak’s GRAMMY-winning album with Bruno Mars as Silk Sonic.\u003cbr\u003e\n \u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eTRACKLIST:\u003c\/strong\u003e\u003cbr\u003e\n1. LOUNA’S iNTRO\u003cbr\u003e\n2. WHATUP\u003cbr\u003e\n3. SMiLE\u003cbr\u003e\n4. BOWLiNG (feat. Thundercat)\u003cbr\u003e\n5. NOT TiGHT \u003cbr\u003e\n6. TWO SHRiMPS (feat. Mac DeMarco)\u003cbr\u003e\n7. U DON’T HAVE TO ROB ME\u003cbr\u003e\n8. MOON (feat. Herbie Hancock)\u003cbr\u003e\n9. DUKE\u003cbr\u003e\n10. TAKE A CHANCE (feat. Anderson .Paak)\u003cbr\u003e\n11. SPACE MOUNTAiN\u003cbr\u003e\n12. PiLOT (feat. Snoop Dogg, Busta Rhymes, Anderson .Paak)\u003cbr\u003e\n13. WHOA (feat. Kurt Rosenwinkel)\u003cbr\u003e\n14. SNiFF\u003cbr\u003e\n15. 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The album features Chet’s indelible vocals and sterling trumpet playing with two different quartet line-ups both featuring pianist Russ Freeman on a set of classic standards that he made his own including “My Funny Valentine,” “That Old Feeling,” and “I Fall In Love Too Easily.” \u003cbr\u003e\u003cbr\u003eFor the first time in more than 60 years, this definitive edition was cut from the original master tapes in the correct order with pristine fidelity. The gatefold packaging includes additional session photography by William Claxton.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTracklist:\u003cbr\u003eSide A\u003c\/strong\u003e\u003cbr\u003e1. That Old Feeling\u003cbr\u003e2. It’s Always You\u003cbr\u003e3. Like Someone In Love\u003cbr\u003e4. My Ideal\u003cbr\u003e5. I’ve Never Been In Love Before\u003cbr\u003e6. My Buddy\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eSide B\u003c\/strong\u003e\u003cbr\u003e1. But Not For Me\u003cbr\u003e2. Time After Time\u003cbr\u003e3. I Get Along Without You Very Well\u003cbr\u003e4. My Funny Valentine\u003cbr\u003e5. There Will Never Be Another You\u003cbr\u003e6. The Thrill Is Gone\u003cbr\u003e7. I Fall In Love Too Easily\u003cbr\u003e8. Look For The Silver Lining\u003c\/p\u003e","brand":"Chet Baker","offers":[{"title":"Default Title","offer_id":51420546924708,"sku":"835891","price":32.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0873\/6453\/4436\/files\/CHET_BAKER_SINGS_productshot_LP_5448ff4c-350c-47a2-8461-8075a8084d3a.webp?v=1785175879"},{"product_id":"ascenseur-pour-l-echafaud-vinyl-lp","title":"Ascenseur Pour L’échafaud: Vinyl LP","description":"\u003cp\u003eFirst released in 1958 by Fontana in Europe and Columbia in America, never had a soundtrack contributed as much to the fame of a film. The contradictory accounts of Miles Davis’ creation of the soundtrack have all become part of its legend. Rarely has a soundtrack been so decisive. Close to seven decades on, beyond the myth, this taut, feverish recording, imbued with extreme dramatic tension, remains one of the most iconic soundtracks in our catalogue — and one of the only jazz soundtracks which was entirely improvised.\u003c\/p\u003e\u003cp\u003eSide A\u003cbr\u003e1. Générique\u003cbr\u003e2. L’Assassinat de Carala\u003cbr\u003e3. Sur l’autoroute\u003cbr\u003e4. Julien dans l’ascenseur\u003cbr\u003e5. Florence sur les Champs-Élysées\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eSide B\u003cbr\u003e1. Dîner au motel\u003cbr\u003e2. Évasion de Julien\u003cbr\u003e3. Visite du Vigile\u003cbr\u003e4. Au bar du Petit Bac\u003cbr\u003e5. 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