{"title":"Verve Vault Series","description":"\u003cp dir=\"ltr\"\u003eWelcome to a brand vinyl reissue series that’s affordable, analogue and for audiophiles.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eA dig through the Verve Vault is rewarded with all-analogue 180g vinyl pressings newly-mastered from the original analogue master tapes by Ryan K. Smith at Sterling Sound and pressed at Optimal in Germany.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe inaugural slate of releases includes legendary albums from Archie Shepp, Blossom Dearie, Dinah Washington, Gábor Szabó, Jimmy Smith and Wes Montgomery, Max Roach, Pharoah Sanders and Stan Getz.\u003c\/p\u003e","products":[{"product_id":"the-composer-of-desafinado-plays-verve-vault-series","title":"The Composer Of Desafinado, Plays - Verve Vault Series","description":"\u003cp\u003eRecorded in 1963, The Composer of Desafinado Plays documents the beginning of what would become a long-term creative relationship between Jobim and arranger Claus Ogerman. Although there was initial resistance by producers, Jobim not only plays guitar but piano as well in his debut for Verve. Jobim is joined by George Duvivier (bass), Edison Machado (drums), Leo Wright (flute), Jimmy Cleveland (trombone) and full strings on the 12-song instrumental set that features such bossa nova classics as “Corcovado”, “The Girl from Ipanema”, “Agua de Beber” and more. The Verve Vault series is always mastered from analog tapes and pressed on 180g vinyl at Optimal.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eSIDE A\u003cbr\u003e1. The Girl From Ipanema\u003cbr\u003e2. O Morro (Amor Em Paz)\u003cbr\u003e3. Agua De Beber\u003cbr\u003e4. Dreamer (Vivo Sonhando)\u003cbr\u003e5. Favela (O Morro Não Tem Vez)\u003cbr\u003e6. Insensatez\u003c\/p\u003e\u003cp\u003eSIDE B\u003cbr\u003e1. Corcovado\u003cbr\u003e2. One Note Samba\u003cbr\u003e3. Meditation\u003cbr\u003e4. Jazz Samba (Só Danço Samba) (From The Film 5. \"Copacabana Palace\")\u003cbr\u003e6. Chega De Saudade\u003cbr\u003e7. Desafinado\u003c\/p\u003e","brand":"Antonio Carlos Jobim","offers":[{"title":"Default Title","offer_id":51420719579300,"sku":"7817988","price":25.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0873\/6453\/4436\/files\/verve-vault1.png?v=1785185152"},{"product_id":"sonny-side-up-verve-vault-series","title":"Sonny Side Up - Verve Vault Series","description":"\u003cp\u003eVerve Records and UMe are proud to present Verve Vault, an all-new, affordable, all-analog vinyl reissue series. Pressed on 180-gram vinyl and housed in quality packaging, each title is mastered by Ryan K. Smith at Sterling Sound from the original master tapes. The series explores the rich catalogs of Verve, Impulse, Mercury and beyond, from Dizzy Gillespie’s “Sonny Side Up” to Archie Shepp’s “Four For Trane”. Meticulous attention has been paid to every detail,  from jacket graphics and printing quality to the all-analog mastering and quality 180-gram pressings at Optimal – all offered at an attractive price. Releasing two titles per month, the series highlights standout albums and rare gems from the Verve Records catalog.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eSIDE A\u003cbr\u003e1. On The Sunny Side Of The Street\u003cbr\u003e2. The Eternal Triangle\u003c\/p\u003e\u003cp\u003eSIDE B\u003cbr\u003e1. After Hours\u003cbr\u003e2. I Know That You Know\u003c\/p\u003e","brand":"Dizzy Gillespie, Sonny Stitt, Sonny Rollins","offers":[{"title":"Default Title","offer_id":51420720595108,"sku":"7817986","price":25.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0873\/6453\/4436\/files\/verve-vault-2.png?v=1785185207"},{"product_id":"percussion-bitter-sweet-vinyl","title":"Percussion Bitter Sweet - Vinyl","description":"\u003cp\u003ePercussion Bitter Sweet, released in 1961 on Impulse! Records, is one of preeminent jazz drummer Max Roach’s most politically charged and musically expansive recordings. Recorded over two days in September 1960 at Universal Studios in Chicago, the record reflects Roach’s deepening engagement with themes of social justice and Pan-African identity. The ensemble features trumpeter Tommy Turrentine, tenor saxophonist Clifford Jordan, and tuba innovator Ray Draper, alongside Roach’s own commanding blend of cymbal textures, mallets, and explosive rhythmic detail. The inclusion of vocalist Abbey Lincoln — Roach’s artistic and political partner at the time — adds urgency and emotional power to the project’s most pointed statements.\u003c\/p\u003e\u003cp\u003eWhile not formally structured as a suite, the album’s six tracks move fluidly between spiritual lament, militant swing, and improvisational abstraction. The opening piece, ‘Garvey’s Ghost’, sets the tone with Afro-Caribbean rhythmic undercurrents, while ‘Mendacity’ takes aim at hypocrisy with biting horn lines and Lincoln’s dramatic delivery. Elsewhere, ‘Mama’ and ‘Praise for a Martyr’ explore personal and collective grief through dynamic interplay and modal intensity.\u003c\/p\u003e\u003cp\u003eThe Verve Vault series is always mastered from analog tapes and pressed on 180g vinyl at Optimal.\u003cbr\u003e\u003cbr\u003eGarvey’s Ghost\u003cbr\u003eMama\u003cbr\u003eTender Warriors\u003cbr\u003ePraise For A Martyr\u003cbr\u003eMendacity\u003cbr\u003eMan From South Africa\u003cbr\u003e\u003c\/p\u003e","brand":"Max Roach","offers":[{"title":"Default Title","offer_id":51420735733924,"sku":"7826289","price":25.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0873\/6453\/4436\/files\/maxroach-percussion-packshot.png?v=1785185783"},{"product_id":"four-for-trane-vinyl","title":"Four For Trane - Vinyl","description":"\u003cp\u003eFour for Trane, released in 1964 on Impulse! Records, was saxophonist Archie Shepp’s first major studio statement and remains one of his most influential albums. Co-produced by John Coltrane and recorded at Rudy Van Gelder’s Englewood Cliffs studio, the set presents Shepp performing four Coltrane compositions — ‘Naima’, ‘Mr. Syms’, ‘Syeeda’s Song Flute’, and ‘Cousin Mary’ — alongside Shepp’s own ‘Rufus’. Rather than offering faithful renditions, Shepp and arranger Roswell Rudd reimagine Coltrane’s material with bold ensemble voicings, fluctuating time signatures, and unfettered improvisation. The result is an album that honours Coltrane’s vision while reframing it through the lens of the emerging avant-garde.\u003c\/p\u003e\u003cp\u003eThe quintet — Shepp on tenor saxophone, Rudd on trombone, Alan Shorter on flugelhorn, Reggie Workman on bass, and Charles Moffett on drums — bridges the intensity of free jazz with the formal rigor of post-bop. Released at a pivotal moment in Shepp’s artistic development, Four for Trane signalled his arrival as a vital and progressive voice within the new wave of 1960s jazz.\u003c\/p\u003e\u003cp\u003eThe Verve Vault series is always mastered from analog tapes and pressed on 180g vinyl at Optimal.\u003cbr\u003e\u003cbr\u003eSyeeda’s Dong Flute\u003cbr\u003eMr. Syms\u003cbr\u003eCousin Mary\u003cbr\u003eNaima\u003cbr\u003eRufus (Swung, His Face At Last To The Wind, Then His Neck Snapped)\u003cbr\u003e\u003c\/p\u003e","brand":"Archie Shepp","offers":[{"title":"Default Title","offer_id":51420739764388,"sku":"7826290","price":25.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0873\/6453\/4436\/files\/fourfortrane-packshot.png?v=1785185844"},{"product_id":"focus-verve-vault-series-vinyl","title":"Focus - (Verve Vault Series): Vinyl","description":"\u003cp\u003eFocus, released in 1961 on Verve Records, stands as a singular entry in saxophonist Stan Getz’s discography — a chamber jazz suite composed and arranged by Eddie Sauter, with Getz as its sole improviser. Recorded in July 1961 at Webster Hall in New York City, Focus pairs Getz’ expressive tenor saxophone with a string orchestra conducted by Hershy Kay. Sauter’s seven-movement suite — originally envisioned for violinist Jascha Heifetz — unfolds in layered harmonic landscapes and orchestral textures. Getz’ parts were entirely improvised, captured live in single takes without written music, as he navigated pre-composed frameworks with melodic invention and emotional clarity.\u003c\/p\u003e\u003cp\u003eThe album represents a true collaboration between Sauter and Getz, and a radical departure from the conventions of jazz ‘with strings’ albums of the time. Sauter’s charts emphasize contrapuntal writing, rhythmic complexity, and harmonic ambiguity, while Getz — unedited and unrehearsed in the traditional sense — weaves a lyrical, instinctive line throughout. The result remains one of the most original and artistically daring projects in Getz’s recorded legacy; the artist’s favourite of all the records he made.\u003cbr\u003e\u003cbr\u003eI'm Late, I'm Late\u003cbr\u003eHer\u003cbr\u003ePan\u003cbr\u003eI Remember When\u003cbr\u003eNight Rider\u003cbr\u003eOnce Upon A Time\u003cbr\u003eA Summer Afternoon\u003cbr\u003e\u003c\/p\u003e","brand":"Stan Getz","offers":[{"title":"Default Title","offer_id":51420780265636,"sku":"7826171","price":25.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0873\/6453\/4436\/files\/stan_getz_-_packshot.png?v=1785188043"},{"product_id":"jimmy-and-wes-the-dynamic-duo-verve-vault-series-vinyl","title":"Jimmy And Wes (The Dynamic Duo) - (Verve Vault Series): Vinyl","description":"\u003cp\u003eReleased in 1966 on Verve Records, Jimmy \u0026amp; Wes (The Dynamic Duo), captures the only full-length studio collaboration between Hammond B3 organist Jimmy Smith and guitarist Wes Montgomery. Produced by Creed Taylor and arranged by Oliver Nelson, Jimmy \u0026amp; Wes brought together two of jazz’s most distinctive voices in an expansive big band setting. Recorded over three days in September 1966 at Rudy Van Gelder’s Englewood Cliffs studio, the sessions featured a brass-and reed-heavy ensemble and a top-tier rhythm section with drummer Grady Tate and bassist Richard Davis.\u003c\/p\u003e\u003cp\u003eMontgomery’s melodic guitar lines and Smith’s fiery organ grooves find a vibrant setting in Nelson’s tight, punchy arrangements — rich in harmonic color and rhythmic drive. The program blends originals and standards, including Smith’s bluesy “James and Wes” and a reimagined “Baby, It’s Cold Outside” transformed into a simmering, minor-key vamp. Nelson’s orchestrations give the album cinematic sweep without sacrificing the interplay between its stars. The result is a rare meeting of two jazz giants, captured during a period of broad popular success, with the added presence of one of the era’s most accomplished arrangers.\u003cbr\u003e\u003cbr\u003eDown By The Riverside\u003cbr\u003eNight Train\u003cbr\u003eJames \u0026amp; Wes\u003cbr\u003e13 (Death March)\u003cbr\u003eBaby, It’s Cold Outside\u003cbr\u003e\u003c\/p\u003e","brand":"Jimmy Smith","offers":[{"title":"Default Title","offer_id":51420780363940,"sku":"7826174","price":25.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0873\/6453\/4436\/files\/dynamic-duo-packshot.png?v=1785188051"},{"product_id":"s-make-it-verve-vault-series-vinyl-lp","title":"'S Make It (Verve Vault Series): Vinyl LP","description":"\u003cp\u003e’S Make It, recorded in 1964 and released the following year on Limelight, captures drummer Art Blakey leading a transitional edition of his Jazz Messengers. At the time, Blakey was navigating the departure of several key members and searching for a new configuration, resulting in a distinctive short-lived lineup within the band’s long history.\u003c\/p\u003e\u003cp\u003eThe sextet featured Lee Morgan on trumpet, Curtis Fuller on trombone, John Gilmore on tenor saxophone, John Hicks on piano, and Victor Sproles on bass. Together, they delivered a hard-driving program that reflects both Blakey’s established hard-bop intensity and the shifting personnel landscape of the mid-1960s Messengers. Blakey’s drumming anchors the session throughout with the galvanic rhythmic command that defined his leadership across decades.\u003c\/p\u003e\u003cdiv class=\"product_tracklist\"\u003e\n\u003cp\u003eSide A\u003c\/p\u003e\n\u003cp\u003e1. Faith (From The Broadway Musical \"I Had A Ball\")\u003cbr\u003e2. 'S Make It\u003cbr\u003e3. Waltz For Ruth\u003cbr\u003e4. One For Gamal\u003c\/p\u003e\n\u003cp\u003eSide B\u003c\/p\u003e1. Little Hughie\u003cbr\u003e2. Olympia\u003cbr\u003e3. Lament For Stacy\u003c\/div\u003e\u003cdiv class=\"product_credits\"\u003e\u003cp\u003eThe Verve Vault series is always mastered from analog tapes and pressed on 180g vinyl at Optimal.\u003c\/p\u003e\u003c\/div\u003e","brand":"Art Blakey \u0026 The Jazz Messengers","offers":[{"title":"Default Title","offer_id":51420785705124,"sku":"95701022","price":25.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0873\/6453\/4436\/files\/artblakey-smakeit-packshot.webp?v=1785188272"},{"product_id":"hes-coming-verve-vault-series-vinyl-lp","title":"He's Coming (Verve Vault Series): Vinyl LP","description":"\u003cp\u003eReleased on Polydor in 1972, He’s Coming captures vibraphonist Roy Ayers at a creative apex, as Ubiquity’s sound settled into the blend of jazz improvisation, funk rhythm, soul harmony, and spiritual import that would define his work throughout the decade. Emerging at the start of the 1970s, the album reflects Ayers’s deepening move toward a groove-centred musical language rooted in soul-jazz and early jazz-funk. The vibraphonist, keyboardist, composer, and bandleader is supported by a core ensemble that includes Harry Whitaker on electric piano, organ, and vocals; John Williams on bass, with Ron Carter featured on ‘We Live in Brooklyn, Baby’; David Lee Jr. and Billy Cobham on drums and percussion; guitarists Sam Brown and Bob Fusco; saxophonist Sonny Fortune; and percussionist Juma Santos. Tracks like ‘He’s a Superstar’, ‘Sweet Butterfly of Love’, and ‘Fire Weaver’ embody the record’s mix of urban narrative, spiritual reflection, and deep rhythmic momentum — qualities that would later make Ayers’s catalogue a source of inspiration for soul, funk, hip-hop, and neo-soul artists.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e1. He's A Superstar\u003cbr\u003e2. He Ain't Heavy He's My Brother\u003cbr\u003e3. Ain't Got Time\u003cbr\u003e4. I Don't Know How To Love Him\u003cbr\u003e5. He's Coming\u003cbr\u003e6. We Live In Brooklyn Baby\u003cbr\u003e7. Sweet Butterfly Of Love\u003cbr\u003e8. Sweet Tears\u003cbr\u003e9. Fire Weaver\u003c\/p\u003e","brand":"Roy Ayers Ubiquity","offers":[{"title":"Default Title","offer_id":51420788883620,"sku":"5733744","price":25.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0873\/6453\/4436\/files\/He_27s_Coming.png?v=1785188468"},{"product_id":"the-individualism-of-gil-evans-verve-vault-vinyl-lp","title":"The Individualism Of Gil Evans (Verve Vault): Vinyl LP","description":"\u003cp\u003eReleased in 1964 on Verve, The Individualism of Gil Evans stands as one of arranger-composer Gil Evans’ most compelling and richly detailed works, showcasing some of the finest music of his career. The album blends Evans’ originals — including ‘Las Vegas Tango’ and ‘El Toreador’, and the Miles Davis collaboration ‘Flute Song\/Hotel Me’ — with inspired interpretations such as Kurt Weill’s ‘The Barbara Song’, all rendered through his distinctive big band lens. A core group of musicians, including Johnny Coles, Steve Lacy, Jimmy Cleveland, Tony Studd, Bill Barber, Elvin Jones, and Paul Chambers, appears across sessions, lending a remarkable consistency of texture, mood, and overall sound. Additional standout contributors — among them Eric Dolphy, Wayne Shorter, Phil Woods, and Kenny Burrell — bring fresh colour to select tracks. Evans himself plays piano throughout, his touch especially poignant on ‘The Barbara Song’, where a sense of deep pathos is underscored by Shorter’s expressive tenor. The album highlights Evans’ mastery of tone, space, and orchestral nuance.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e1. The Barbara Song\u003cbr\u003e2. Las Vegas Tango\u003cbr\u003e3. The Flute Song\u003cbr\u003e4. Hotel Me\u003cbr\u003e5. El Toreador\u003c\/p\u003e","brand":"Gil Evans","offers":[{"title":"Default Title","offer_id":51420789407908,"sku":"5733742","price":25.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0873\/6453\/4436\/files\/The_Individualism_Of_Gil_Evans_28Verve_Vault_29.png?v=1785188500"},{"product_id":"what-a-diff-rence-a-day-makes-verve-vault-vinyl-lp","title":"What A Diff’rence A Day Makes (Verve Vault): Vinyl LP","description":"\u003cp\u003eWhat A Diff’rence A Day Makes, released in 1959 on Mercury Records, marked a turning point in the career of vocalist Dinah Washington — earning her a GRAMMY Award and bringing her rich, blues-informed style into the world of lush orchestral pop. Produced by Clyde Otis and arranged by Belford Hendricks, the album represents Washington’s successful crossover from jazz and R\u0026amp;B into the mainstream pop market. The title track, originally written in Spanish in the 1930s and popularized in English by other vocalists, became Washington’s signature song after her version climbed the Billboard charts and won the 1960 GRAMMY for Best Rhythm \u0026amp; Blues Performance — the first year the award was presented. The album balances Washington’s commanding vocal presence with sophisticated arrangements that blend strings, rhythm section, and light brass. Tracks like “Cry Me a River,” “Manhattan,” and “Time After Time” showcase her ability to deliver emotional nuance and rhythmic phrasing with precision and ease. The result is a seamless fusion of jazz tradition and contemporary production, establishing Washington as one of the most versatile and expressive vocalists of her era.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eTracklist:\u003c\/p\u003e\u003cp\u003e1. I Remember You\u003cbr\u003e2. I Thought About you\u003cbr\u003e3. That’s All There Is To That\u003cbr\u003e4. I Won’t Cry Anymore\u003cbr\u003e5. I’m Thru With Love\u003cbr\u003e6. Cry Me A River\u003cbr\u003e7. What A Diff'rence A Day Makes\u003cbr\u003e8. Nothing In The World (Could Make Me Love More Than I Do)\u003cbr\u003e9. Manhattan\u003cbr\u003e10. Time After Time\u003cbr\u003e11. It’s Magic\u003cbr\u003e12. 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Subtitled “Edition I \u0026amp; II” to reflect the two complete takes recorded at the session—and presented together on LP for the first time—the piece is a nearly 40-minute large-ensemble performance marking Coltrane’s decisive embrace of the avant-garde.\u003c\/p\u003e\u003cp\u003eRecorded on June 28, 1965, at Rudy Van Gelder’s Englewood Cliffs studio and produced by Bob Thiele, the session assembled an expanded ensemble of eleven musicians. Alongside Coltrane’s tenor saxophone are trumpeters Freddie Hubbard and Dewey Johnson; saxophonists Pharoah Sanders, Marion Brown, John Tchicai, and Archie Shepp; pianist McCoy Tyner; bassists Art Davis and Jimmy Garrison; and drummer Elvin Jones. The music alternates between densely textured collective improvisation and extended solo statements, conjuring a hurricane of violent, searching sound. Initially controversial for its intensity and freedom, \u003cem\u003eAscension\u003c\/em\u003e has since come to be recognized as a landmark of modern jazz and a defining statement of the emerging free-jazz movement. Presenting both takes together highlights the organic, ever-changing character of the performance and affirms its enduring place in Coltrane’s artistic legacy.\u003c\/p\u003e\u003cdiv class=\"product_tracklist\"\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLP 1 - Ascension (Edition I)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A\u003c\/p\u003e\n\u003col\u003e\u003cli\u003eAscension (Part 1)\u003c\/li\u003e\u003c\/ol\u003e\n\u003cbr\u003e\u003cp\u003eSide B\u003c\/p\u003e\n\u003col\u003e\u003cli\u003eAscension (Part 2)\u003c\/li\u003e\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003eLP 2 - Ascension (Edition II)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A\u003c\/p\u003e\n\u003col\u003e\u003cli\u003eAscension (Part 1)\u003c\/li\u003e\u003c\/ol\u003e\n\u003cp\u003eSide B\u003c\/p\u003e\n\u003col\u003e\u003cli\u003eAscension (Part 2)\u003c\/li\u003e\u003c\/ol\u003e\n\u003c\/div\u003e\u003cdiv class=\"product_credits\"\u003e\u003cp\u003eThe Verve Vault series is always mastered from analog tapes and pressed on 180g vinyl at Optimal.\u003c\/p\u003e\u003c\/div\u003e","brand":"John Coltrane","offers":[{"title":"Default Title","offer_id":51420789833892,"sku":"95711798","price":35.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0873\/6453\/4436\/files\/4_e79d94ac-a310-44ed-926d-fd93b3d40ea8.webp?v=1785188526"},{"product_id":"cannonballs-sharpshooters-verve-vault-series-vinyl-lp","title":"Cannonball's Sharpshooters (Verve Vault Series): Vinyl LP","description":"\u003cp\u003e\u003cem\u003eCannonball’s Sharpshooters\u003c\/em\u003e, originally released in 1958, documents alto saxophonist \u003cstrong\u003eJulian “Cannonball” Adderley\u003c\/strong\u003e leading a quintet featuring cornetist \u003cstrong\u003eNat Adderley\u003c\/strong\u003e, pianist \u003cstrong\u003eJunior Mance\u003c\/strong\u003e, bassist \u003cstrong\u003eSam Jones\u003c\/strong\u003e, and drummer \u003cstrong\u003eJimmy Cobb\u003c\/strong\u003e. 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The first half features Rollins with a brass ensemble arranged and conducted by Ernie Wilkins, recorded in New York in July 1958. The lineup includes trumpeter Harry “Sweets” Edison, trombonists J.J. Johnson and Jimmy Cleveland, and tuba player Don Butterfield, supported by a rhythm section of pianist Dick Katz, guitarist Rene Thomas, bassist Henry Grimes, and drummer Roy Haynes. Together, they provide a swinging, harmonically rich backdrop for Rollins on standards like “Who Cares?” and “Love Is A Simple Thing.” The second half was recorded days later in Los Angeles with bassist Henry Grimes and drummer Specs Wright — a pared-down trio setting that emphasizes Rollins’ rhythmic command and melodic elasticity. Tracks like “Raincheck,” “My One and Only Love,” and “Just in Time” showcase his ability to move effortlessly between ballad interpretation and fleet improvisation.\u003c\/p\u003e\u003cp\u003eWho Cares?\u003cbr\u003eLove Is A Simple Thing\u003cbr\u003eGrand Street\u003cbr\u003eFar Out East\u003cbr\u003eWhat’s My Name?\u003cbr\u003eIf You Were The Only Girl In The World\u003cbr\u003eManhattan\u003cbr\u003eBody \u0026amp; Soul\u003c\/p\u003e","brand":"Sonny Rollins","offers":[{"title":"Default Title","offer_id":51420798320804,"sku":"7898483","price":25.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0873\/6453\/4436\/files\/Brass_Trio_28Verve_Vault_29.png?v=1785188751"},{"product_id":"elevation-verve-vault-vinyl-lp","title":"Elevation (Verve Vault): Vinyl LP","description":"\u003cp\u003eElevation, released in 1974 on Impulse! Records, finds saxophonist Pharoah Sanders expanding his spiritual jazz vision on an album that balances ecstatic expression with focused ensemble interplay. Produced by Ed Michel and recorded in 1973 across two live performances and a studio session, Elevation features a dynamic ensemble including Joe Bonner on piano, Calvin Hill on bass, and Michael Carvin on drums.\u003c\/p\u003e\u003cp\u003eThe album’s open forms, modal grooves, and spiritual themes underscore Sanders’s ongoing search for transcendence and cultural affirmation through sound. With chant-like melodies, circular motifs, and immersive rhythmic textures, pieces like “The Gathering” and the title track reflect a more meditative and exploratory side of Sanders’s aesthetic. 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Produced by Norman Granz and recorded in Hollywood in October 1957, the session finds Getz joining a veteran rhythm section already regarded as one of the most cohesive in jazz: Peterson on piano, Herb Ellis on guitar, and Ray Brown on bass. With no drummer present, the group maintains a buoyant, propulsive swing, giving Getz the space to stretch out across a program of standards and originals, including “I Want to Be Happy,” “Tour’s End,” and “Bronx Blues.” While Getz was often heard in more subdued or orchestrated contexts during this period, this session highlights his command of bebop language and small-group swing. 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Records, introduced Hungarian guitarist Gábor Szabó to a wider American audience with a set that blends modal jazz, Eastern European folk influences, and 1960s pop textures. Recorded in May 1966 at Rudy Van Gelder’s Englewood Cliffs studio and produced by Bob Thiele, Spellbinder features Szabó in a quintet setting with bassist Ron Carter, drummer Chico Hamilton, and percussionists Willie Bobo and Victor Pantoja. The group’s hypnotic blend of grooves and drones helped establish Szabó’s signature approach: vamp-based forms, sitar-like guitar articulation, and modal lines shaped by his Eastern European heritage.\u003c\/p\u003e\u003cp\u003eThe title track, a slow-building vamp, showcases Szabó’s minimalist phrasing and rhythmic sensitivity. The record’s standout moment is a reimagining of Sonny Bono’s “Bang Bang (My Baby Shot Me Down),” which Szabó transforms into a darkly lyrical modal meditation. 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The album places Farmer at the forefront of a large ensemble arranged and conducted by Oliver Nelson, whose writing gives the project a striking blend of sophistication and swing. The personnel bridges New York’s hard-bop scene with leading studio and jazz musicians, with Farmer featured as the principal solo voice against Nelson’s full complement of brass, reeds, and rhythm. Guitarists Jim Hall and Barry Galbraith, bassist George Duvivier, drummer Charlie Persip, and pianist Tommy Flanagan are among the players supporting Farmer. They appear alongside an expanded orchestral roster of trumpets, trombones, French horns, reeds, and percussion. Nelson’s orchestrations give him space to showcase his lyricism and poised tone, balancing tightly arranged ensemble passages with luminous solo statements. This program draws on beloved standards — including ‘Street of Dreams’, and ‘Naima’ — and the orchestral setting underscores why Farmer was regarded as one of the era’s most elegant and expressive horn players. 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Already established in Brazil through songs such as ‘Samba de Verão’ (‘Summer Samba’), Valle worked with producers Bob Morgan and Ray Gilbert on a recording that pairs Brazilian rhythmic forms with contemporary American studio orchestration. The sessions include vocals by Anamaria Valle and arrangements by Eumir Deodato, whose writing places Valle’s guitar and voice within settings for strings, brass, and rhythm section typical of Verve’s late-1960s productions. The repertoire features English-language versions of compositions co-written by Valle — including ‘So Nice (Summer Samba)’, ‘Chup Chup, I Got Away’, and ‘Safely In Your Arms’ alongside additional material that reflects his economical writing and feather-light rhythmic approach. The album documents a meeting point between Brazilian popular music and international pop-jazz studio practice at the end of the 1960s. 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Though the title track is one of two Benson originals, most of the album's tracks are sharp takes on smooth chart fare of the period: the Bacharach-David immortal \"Walk On By,\" The Young Rascals' \"Groovin',\" The Association's sunshine-pop classic \"Along Comes Mary\" and more. Produced by former Prestige Records luminary Esmond Edwards, Giblet Gravy alternates between small-group interplay and expanded ensemble, with Benson's unmistakable guitar tone, rhythm and phrasing remaining the disc's sonic north star. The cast of stellar backing musicians includes pianist Herbie Hancock, bassists Ron Carter and Bob Cranshaw, drummer Billy Cobham, percussionist Johnny Pacheco, and baritone saxophonist Pepper Adams, alongside a larger brass and rhythm section woven throughout.\u003c\/p\u003e\u003cp\u003eThe Verve Vault series is all-analog, cut from the original master tapes by Ryan K. 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