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[3rdstreetjazz]

“In ‘N Out” by the great #JoeHenderson is his third album as a leader and was recorded on April 10, 1964, at the Van Gelder Studio in Englewood Cliffs, New Jersey for #BlueNoteRecords featuring Henderson on tenor, Kenny Durham on trumpet, McCoy Tyner on piano, Elvin Jones on drums and Richard Davis on bass. This is a Blue Note Records Classic Series reissue that was mastered by the legendary Kevin Gray that is one of my favorite Henderson sessions. The Reid Miles cover design is classic as well. Overall, the Blue Note Classic Series is a great series with its overall sound quality that shows in the mastering of Kevin Gray which to me eliminates the overall brightness in my Liberty pressing. I decided long before their release of the first 80th Anniversary reissue I was going to collect them all and when they decided to continue with the series and rename them The Classic Vinyl Editions it was a plus for any collector. The only gripe I have with this series in the shabby album cover and paper sleeve the album came in. Maybe add a little to the cost and improve the packaging, but overall, this album is a great purchase for the price and quality of the vinyl which is very clean. My favorite piece of the session of course is “Punjab” and because I’m so used to listening to the alternate take of “In ‘N Out” on my CD that comes right after the tune “Brown’s Town”. I forget that it’s not on the album and I have to get up and change the record. . . . . #Igjazzvinyl #vinyljazz #jazzvinylcollector #JazzRecordCollector #JazzVinyl #hardbop https://www.instagram.com/p/CVTa4xzPmlE/?utm_medium=tumblr

[3rdstreetjazz]

Getting this on vinyl the other day because it had been on my bucket list ever since I started back purchasing albums again was something special. Especially when I had just been listening to “Dat Dere” on my drive over to the record store about 20 minutes before I arrived. The Bobby Timmons Trio “In Person” was recorded on October 1, 1961, at the Village Vanguard in New York City for the Riverside Record Label featuring #BobbyTimmons on piano, #RonCarter and Albert “Tootie” Heath on drums. Although this classic had been in my CD collection for years it’s a welcomed addition to my vinyl collection and I want to thank the folks at @mlwl2809 for their hospitality on Sunday as well. . . . . . #Igjazzvinyl #vinyljazz #jazzvinylcollector #JazzRecordCollector #JazzVinyl #hardbop https://www.instagram.com/p/CVQdTgYJAGf/?utm_medium=tumblr

[3rdstreetjazz]

Getting this on vinyl the other day because it had been on my bucket list ever since I started back purchasing albums again was something special. Especially when I had just been listening to “Dat Dere” on my drive over to the record store about 20 minutes before I arrived. The Bobby Timmons Trio “In Person” was recorded on October 1, 1961, at the Village Vanguard in New York City for the Riverside Record Label featuring #BobbyTimmons on piano, #RonCarter and Albert “Tootie” Heath on drums. Although this classic had been in my CD collection for years it’s a welcomed addition to my vinyl collection and I want to thank the folks at @mlwl2809 for their hospitality on Sunday as well. . . . . . #Igjazzvinyl #vinyljazz #jazzvinylcollector #JazzRecordCollector #JazzVinyl #hardbop https://www.instagram.com/p/CVQdAg0gLID/?utm_medium=tumblr

[3rdstreetjazz]

Getting this on vinyl the other day because it had been on my bucket list ever since I started back purchasing albums again was something special. Especially when I had just been listening to “Dat Dere” on my drive over to the record store about 20 minutes before I arrived. The Bobby Timmons Trio “In Person” was recorded on October 1, 1961, at the Village Vanguard in New York City for the Riverside Record Label featuring #BobbyTimmons on piano, #RonCarter and Albert “Tootie” Heath on drums. Although this classic had been in my CD collection for years it’s a welcomed addition to my vinyl collection and I want to thank the folks at @mlwl2809 for their hospitality on Sunday as well. . . . . . #Igjazzvinyl #vinyljazz #jazzvinylcollector #JazzRecordCollector #JazzVinyl #hardbop https://www.instagram.com/p/CVQcu7QAztW/?utm_medium=tumblr

[3rdstreetjazz]

Getting this on vinyl the other day because it had been on my bucket list ever since I started back purchasing albums again was something special. Especially when I had just been listening to “Dat Dere” on my drive over to the record store about 20 minutes before I arrived. The Bobby Timmons Trio “In Person” was recorded on October 1, 1961, at the Village Vanguard in New York City for the Riverside Record Label featuring #BobbyTimmons on piano, #RonCarter and Albert “Tootie” Heath on drums. Although this classic had been in my CD collection for years it’s a welcomed addition to my vinyl collection and I want to thank the folks at @mlwl2809 for their hospitality on Sunday as well. . . . . . #Igjazzvinyl #vinyljazz #jazzvinylcollector #JazzRecordCollector #JazzVinyl #hardbop https://www.instagram.com/p/CVQb7Spg17w/?utm_medium=tumblr

[3rdstreetjazz]

“The Jazz Messengers at The Café Bohemia Volume 1” featuring #HoraceSilver on piano, #ArtBlakey on drums, #HankMobley on tenor, #KennyDurham on trumpet and #DougWatkins on bass. It was recorded on November 23, 1955, at The Café Bohemia, the famous night club in Greenwich Village in New York City and released on Blue Note Records. I’ve had been waiting on @MusicMattersJazz to get Volume 1 and 2 back in stock for some time. I found a blue labeled UA copy a few months ago, but I passed on it because I still listen to both CDs on the Jukebox in my car. I finally found this deep groove West 63rd NYC copy at @mlwl2809 this past Sunday. This album was the first version of The Jazz Messengers on record although some will say the “Live at Birdland” which was recorded the year before with #CliffordBrown and #LouDonaldson was. But Lou Donaldson stated in an interview that Art Blakey paid the announcer Pee Wee Marquette to announce the band in his name. This is a great sounding album with minor ticks and hardly any surface noise, but I know the MMJ copy would have been a cleaner copy. . . . . #Igjazzvinyl #vinyljazz #jazzvinylcollector #JazzRecordCollector #JazzVinyl #hardbop https://www.instagram.com/p/CVOCYqVpvHW/?utm_medium=tumblr

[3rdstreetjazz]

The other day I was on iTunes Movies and downloaded several classics that I loved watching as a kid when they came on usually as the late-night movie of the week, “Carmen Jones”, “Bye Bye Birdie” and “West Side Story” and I tired watching all three but had to tap out midway through “West Side Story”. Mainly because every song they sang I stopped the movie to listen to #OscarPeterson version on my @RoonLabs app on my iPad. Recorded for Verve Records on January 24-25, 1962, featuring The Big O on piano, #RayBrown on bass and Ed Thigpen on drums. If you know the music from “West Side Story” you will truly enjoy this album. I have several favorites on this album, so it was a little hard to choose my favorite, but I would say “Jet Song” because the trio added a little hipness to this selection with Ray Brown’s solo followed by The Big O’s ending statement. I can listen to this entire album over and over. . . . . #Igjazzvinyl #vinyljazz #jazzvinylcollector #JazzRecordCollector #JazzVinyl #hardbop https://www.instagram.com/p/CVLgnoFJzfy/?utm_medium=tumblr

[3rdstreetjazz]

“Charisma” by #LeeMorgan was recorded on September 29, 1966, at the Van Gelder Studio in Englewood Cliffs, New Jersey featuring Morgan on trumpet, Jackie McLean on alto, Hank Mobley on tenor, Cedar Walton on piano, Paul Chambers on bass and Billy Higgins on drums. Although it was recorded in 1966, it wasn’t released until May of 1969. With a powerful frontline of Morgan, McLean and Mobley and the stellar rhythm section of Higgins, Chambers and Walton makes this an outstanding session. Not sure why Blue Note Records decided to shelve this for three years because this is one of my favorite Lee Morgan albums. If you don’t have this in your collection, I highly recommend it. . . . . #Igjazzvinyl #vinyljazz #jazzvinylcollector #JazzRecordCollector #JazzVinyl #hardbop https://www.instagram.com/p/CVJZ2mwsHZ7/?utm_medium=tumblr

[3rdstreetjazz]

Growing up in Camden, New Jersey in the late 70’s early 80’s there was this jazz fusion radio station out of Philly simply called “98” mainly because it was located 98.3 on the FM dial and this station and its style of music turned me onto a lot of artist I probably would have never heard listening to the other jazz radio station out of Philly, Temple University’s WRTI or “The Point” that I still listen to every day. But, on “98” I got my first taste of the Brazilian Jazz-Funk band #Azymuth. I played “Outubro” almost every day in my dorm room when I was stationed at Dover Air Force Base and couldn’t wait until I upgraded my American copy with a Japanese copy when I arrived in Okinawa, Japan. After listening to their new collaboration with #AdrianYounge and #AliShaheedMuhammad on #JazzIsDead I just wanted to listen to some of their stuff that got me hooked on this amazing band back in the day, so I pulled out both “Telecommunication” and “Aquia Nao Come Mosca” and started listening to the Azymuth I’m used to listening too with that Latin flavor. Memories! If “Jazz Is Dead” could have captured the magic that tunes like “Voo Sobre O Horizonte” and the title song “Aguia Nao Come Mosca” did back in the late 70’s, I think I would have liked their JID004 a little more. . . . . . #Igjazzvinyl #vinyljazz #jazzvinylcollector #JazzRecordCollector #JazzVinyl #LatinJazz @ivancontimamao https://www.instagram.com/p/CVHCnFEsmK4/?utm_medium=tumblr

[3rdstreetjazz]

I’m trying to get the entire @JazzIsDead Series, but a few have disappointed me in the way they are showcasing the featured artist, but this #GaryBartz “JID006” and his collaboration with #AdrianYounge and #AliShaheedMuhammad is the best I’ve heard so far. It combines Bartz smooth alto sound with a more modern sound. As he explained in a recent interview, “I believe there has never been an innovation in this particular music that has not come through a working band that was a mix of young and older musicians. The older musicians have the experience, the know-how and the knowledge. The younger musicians are learning that, but they bring a new energy, a new experience, a new sound. So, it’s a very good combination. Art Blakey saw that many years ago.” I’ve listened to this album since it arrived in the mail a few days ago multiple times either on the turntable or through my @Roonlabs app on my iPad. The first tune on side 1 “Spiritual Ideation” sets the mode on how the rest of the album is going to be, but my favorite piece of the session is “Visions of Love”. Overall, this is an enjoyable album that I highly recommend. . . . . #Igjazzvinyl #vinyljazz #jazzvinylcollector #JazzRecordCollector #JazzVinyl https://www.instagram.com/p/CVGp_OBPd5V/?utm_medium=tumblr

[3rdstreetjazz]

I was a little under the weather today when this album arrived in the mail by @JazzIsDead #Azymuth which is the 4th album in their Jazz Is Dead series. Growing up in Camden, New Jersey in the late 70’s there were two jazz radio stations out of Philly, Temple University’s #WRTI “The Point” which was on in my house and my dad’s car daily and a new jazz fusion station simply call “98” because it was 98.3 on your FM dial. During that time, I listened to mostly “98” because they played fusion and is where I first heard Azymuth and their album “Aquia Nao Come Mosca” which I still have in my collection. The most famous album that got a lot of air play during that time was their album “Outobro” and the hit “Dear Limmertz”. I was fortunate to buy three of their albums in Okinawa which were played all the time during my time there in that country. This album Azymuth JID004 I had been listening to all week on my @Roonlabs app on my iPad that brought back pleasant memories of my time when I listened to them a lot. I wasn’t very familiar with the “Jazz Is Dead” series and Adrian Younger, but I was well aware of “Ali Shaheed Muhammad” because the work he did with “Tribe”. I’m a little disappointed with this album because it doesn’t hit me like the albums Azymuth put out in the late 70’s and early 80’s with that heavy Brazilian flavor as this sounds more modern than Latin. I think they missed their mark with this because Azymuth had that distinct sound back in the day and this album to me doesn’t capture it. So yes I’m a little disappointed with this. . . . . #Igjazzvinyl #vinyljazz #jazzvinylcollector #JazzRecordCollector #JazzVinyl #LatinJazz https://www.instagram.com/p/CVEyVp_sZs8/?utm_medium=tumblr

[3rdstreetjazz]

I was a little under the weather today when this album arrived in the mail by @JazzIsDead #Azymuth which is the 4th album in their Jazz Is Dead series. Growing up in Camden, New Jersey in the late 70’s there were two jazz radio stations out of Philly, Temple University’s #WRTI “The Point” which was on in my house and my dad’s car daily and a new jazz fusion station simply call “98” because it was 98.3 on your FM dial. During that time, I listened to mostly “98” because they played fusion and is where I first heard Azymuth and their album “Aquia Nao Come Mosca” which I still have in my collection. The most famous album that got a lot of air play during that time was their album “Outobro” and the hit “Dear Limmertz”. I was fortunate to buy three of their albums in Okinawa which were played all the time during my time there in that country. This album Azymuth JID004 I had been listening to all week on my @Roonlabs app on my iPad that brought back pleasant memories of my time when I listened to them a lot. I wasn’t very familiar with the “Jazz Is Dead” series and Adrian Younger, but I was well aware of “Ali Shaheed Muhammad” because the work he did with “Tribe”. I’m a little disappointed with this album because it doesn’t hit me like the albums Azymuth put out in the late 70’s and early 80’s with that heavy Brazilian flavor as this sounds more modern than Latin. I think they missed their mark with this because Azymuth had that distinct sound back in the day and this album to me doesn’t capture it. So yes I’m a little disappointed with this. . . . . #Igjazzvinyl #vinyljazz #jazzvinylcollector #JazzRecordCollector #JazzVinyl #LatinJazz https://www.instagram.com/p/CVEyGH5sYpK/?utm_medium=tumblr

[3rdstreetjazz]

“Lee-Way” by the great #LeeMorgan was recorded on April 28, 1960, at the Van Gelder Studio in Englewood Cliffs, New Jersey featuring Morgan on trumpet, Jackie McLean on alto, Bobby Timmons on piano, Paul Chambers on bass and Art Blake on drums. This is one of my favorite Morgan sessions with my favorite piece of the session “These Are Soulful Days”. Much of the album’s beauty is how Morgan and J-Mac blend there sounds together. Lee’s machine gun style mellows against J-Mac’s sharp alto edge. This is a @MusicMattersJazz reissue which I also have a Liberty and UA copy with the Music Matters copy sounding the best. . . . . #Igjazzvinyl #vinyljazz #jazzvinylcollector #JazzRecordCollector #JazzVinyl #hardbop https://www.instagram.com/p/CVBhayqvHmW/?utm_medium=tumblr

[3rdstreetjazz]

“Lee-Way” by the great #LeeMorgan was recorded on April 28, 1960, at the Van Gelder Studio in Englewood Cliffs, New Jersey featuring Morgan on trumpet, Jackie McLean on alto, Bobby Timmons on piano, Paul Chambers on bass and Art Blake on drums. This is one of my favorite Morgan sessions with my favorite piece of the session “These Are Soulful Days”. Much of the album’s beauty is how Morgan and J-Mac blend there sounds together. Lee’s machine gun style mellows against J-Mac’s sharp alto edge. This is a @MusicMattersJazz reissue which I also have a Liberty and UA copy with the Music Matters copy sounding the best. . . . . #Igjazzvinyl #vinyljazz #jazzvinylcollector #JazzRecordCollector #JazzVinyl #hardbop https://www.instagram.com/p/CVBgxBMPv-0/?utm_medium=tumblr

[3rdstreetjazz]

Today we wished the great #PharoahSanders a Happiest 81st birthday as I contemplated which album to post from his great body of work and what I have in my collection. Since “The Creator Has a Master Plan” is my favorite piece by Pharoah, I decided to post “Karma”. Recorded on February 14 and 19, 1969 at the RCA Studios in New York City for Impulse! Records. Featuring various artist such as Leon Thomas on vocals, James Spaulding on flute, Lonnie Liston Smith on piano, Reggie Workman, Richard Davis and Ron Carter on bass, Billy Hart and Freddie Waits on drums and Nathaniel Bettis on percussion. Because #JohnColtrane was a major influence in his development, Pharoah began exploring new thematic and musical ideas, often associated with non-western religious and musical traditions. This was Pharoah’s third recording as a leader and is among a number of spiritually-themed albums he released on Impulse! during the late 60’s and 70’s. My favorite piece “The Creator Has a Master Plan” back in the day some said was his sequel to Trane’s “A Love Supreme”. The version and Leon Thomas’ version on his “Leon Thomas in Berlin” album I can listen to over and over again. This copy I purchased in the late 70’s is one of those rainbow colored ABC Impulse version that I would love to upgrade if I ever come across a later version of one. But I will continue to enjoy this. Do you have this in your collection? . . . . #Igjazzvinyl #vinyljazz #jazzvinylcollector #JazzRecordCollector #JazzVinyl #hardbop https://www.instagram.com/p/CU_YNZ1syhE/?utm_medium=tumblr

[3rdstreetjazz]

Back in the day #DougCarn was a fixture in my house with albums like “Infant Eyes”, “Spirit of the New Land”, “Revelation” and “Adam's Apple” as my older sister used to play his music all the time. Once I started my collection I added these classics to my collection as well, but by the late 70’s my music world had shifted to Fusion where most of my album buying shifted to as well. I wasn’t familiar with the @jazzisdead series until I noticed my daughter had a few in her collection. Now I’m playing catchup with the series. This isn’t my first of the collection, but the first that I’m posting since it arrived in the mail a few hours ago. It’s a 2-LP 45 RPM copy that sounds awesome. Hopefully I can get my hands on the entire collection before they are out of print. Are you collecting them and which do you have in your collection? . . . . #Igjazzvinyl #vinyljazz #jazzvinylcollector #JazzRecordCollector #JazzVinyl #JazzIsDead https://www.instagram.com/p/CU7_0MvJVXl/?utm_medium=tumblr

[3rdstreetjazz]

Today would have been the great #ArtBlakey 102nd birthday and to celebrate it I listened to almost everything I have in my collection, but “Moanin’” is the album I listed to multiple times. Recorded on October 30, 1958, at the Van Gelder Studio in Hackensack, New Jersey featuring Blakey on drums, #LeeMorgan on trumpet, Bobby Timmons on piano, Benny Golson on tenor and Jymie Merritt on bass. Art surrounded himself with an all-Philly crew. This is on my Mount Rushmore of all time favorite albums purchasing my Japanese copy in Okinawa, Japan in the early 80’s and my Music Matters Jazz SRX series copy last year. The album starts with my favorite, Bobby Timmon’s “Moanin’” probably the best and perhaps one of the catchiest jazz compositions ever written. With Timmons funky piano opening and my favorite Lee Morgan solo ever and then the rhythm that Blakey is providing makes this one of my all-time favorite pieces. The quietness of the vinyl formula of the SRX series makes this an even more enjoyable listen. I haven’t listened to my Japanese copy since this reissue arrived in the mail last year. . . . . . #Igjazzvinyl #vinyljazz #jazzvinylcollector #JazzRecordCollector #JazzVinyl https://www.instagram.com/p/CU6RMEYsFLw/?utm_medium=tumblr