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2LP
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B 3429101LP
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Originally released in 2021. "Double vinyl LP. This newly discovered live-recording of a performance of the Love Supreme suite is a revelation. Recorded at The Penthouse in Seattle on October 2, 1965, this recording transports the listener to a prime seat for piece of musical history. While not studio-quality audio, the power of the performance shines through. This version is also of the full suite and features an expanded band that includes the same Classic Quartet and Pharoah Sanders in his first official gig as part of Coltrane's group."
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LP
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IMP 5363048LP
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Originally released in 2016. "Treasure Island, released in early 1974, was the second of two albums pianist and composer Keith Jarrett recorded for Impulse Records -- the first was Fort Yawuh, issued a year earlier. Cut at Generation Sound Studios in New York City, the band consisted of Jarrett on piano and soprano saxophone, Dewey Redman on tenor, bassist Charlie Haden, and drummer Paul Motian."
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LP
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IMP 7757490LP
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Originally released in 2019. "The piano pioneer's 1962 debut solo album was a groundbreaking trio date featuring Art Davis on bass and his John Coltrane Quartet bandmate Elvin Jones on drums. Concentrating mainly on original compositions, Inception also featured inspired takes on 'Speak Low' and 'There Is No Greater Love.'"
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LP
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IMP 7746433LP
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Originally released in 2019. "The saxist/composer/arranger offers up six unique takes on the blues for this 1961 classic, alongside one of the great pick-up bands in jazz history: Eric Dolphy, Freddie Hubbard, Bill Evans, Paul Chambers, and Roy Haynes."
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LP
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IMP 7746429LP
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Originally released in 2019. "A classic big-band album and one of the first-ever releases on the Impulse! Label, this 1961 recording features a superb line-up including Jimmy Knepper on trombone, Ron Carter, on bass and a fiery Elvin Jones on drums."
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LP
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IMP 57384LP
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2023 restock; originally released in 1965. 2019 reissue. "One of forward-looking tenor man Archie Shepp's definitive early albums, 1965's Fire Music set the tone for much of what was to come over the next several years, both in Shepp's own career and in the jazz scene as a whole. Moving far beyond bebop toward more avant-garde realms, Fire Music was simultaneously a central document of the mid-'60s 'New Thing' school of jazz and an arrow that pointed towards the subsequent explorations of Cecil Taylor, Ornette Coleman, et al. The title refers to an African ceremony, and there's an urgency here that's fueled by the civil rights unrest of the day and aimed towards the burgeoning Black Power movement, both of which would remain key jazz subtexts for some time. Fire Music is far from the first free jazz album; Coleman and others had already experimented with free-form improvisation before this. But it subverts the conventions of the bebop generation thoroughly, turning melodies and harmonies both inward and outward upon themselves, throwing open the doors to open-ended structures and tonal experimentation. Even the "straight" tunes interpreted here are given a funhouse-mirror treatment, stretching them beyond expectations. Just as psychedelia expanded rock's palette in the '60s, so Shepp's Fire Music helped broaden the possibilities of jazz." --Jim Allen (All Music Guide)
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IMP 9155HLP
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2022 restock. Originally released 1967; exact reissue, 180 Gram, Gatefold sleeve. Part of the Back To Black series. Including digital download code. "During 1967-69 avant-garde innovator Albert Ayler recorded a series of albums for Impulse that started on a high level and gradually declined in quality. This LP, Ayler's first Impulse set, was probably his best for that label. There are two selections apiece from a pair of live appearances with Ayler having a rare outing on alto on the emotional 'For John Coltrane' and the more violent 'Change Has Come' while backed by cellist Joel Friedman, both Alan Silva and Bill Folwell on basses and drummer Beaver Harris. The other set (with trumpeter Donald Ayler, violinist Michel Sampson, Folwell and Henry Grimes on basses and Harris) has a strong contrast between the simple childlike melodies and the intense solos. However this LP (which was augmented later on by the two-LP set The Village Concerts) will be difficult to find." --Scott Yanow, All Music
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LP
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IMP 9183HLP
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2023 restock. Originally released 1970; exact reissue, 180 Gram, Gatefold sleeve. Part of the Back To Black series. Including digital download code. "A fascinating reissue that comfortably straddles the lines of jazz, folk, and world music, working up a storm by way of a jazz protest album that points toward the Spanish Civil War in particular and the Vietnam War in passing. Haden leads the charge and contributes material, but the real star here may in fact be Carla Bley, who arranged numbers, wrote several, and contributed typically brilliant piano work. Also of particular note in a particularly talented crew is guitarist Sam Brown, the standout of 'El Quinto Regimiento/Los Cuatro Generales/Viva la Quince Brigada,' a 21-minute marathon. Reissue producer Michael Cuscuna has done his best with the mastering here, but listeners will note a roughness to the sound -- one that is in keeping with the album's tone and attitude." -- Steven McDonald, All Music
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GR 155HLP
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2024 restock; gatefold 180 gram vinyl reissue, originally released in 1965. Featuring John Coltrane (tenor sax), McCoy Tyner (piano), Jimmy Garrison (bass) and Elvin Jones (drums). "...A Love Supreme remains a remarkable, challenging listen...It's the definitive version of a definitive moment..." -- Mojo
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IMP 9134HLP
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2018 repress. Gatefold 180 gram exact repro reissue, originally released on Impulse! in 1966. Officially licensed through Verve/Universal. Features one of Shepp's finest moments, the intricate, 18+ minute epic three-part suite "A Portrait Of Robert Thompson (as a young man)." Features: Tommy Turrentine, Roswell Rudd, Grachan Moncus III, Perry Robinson, Charlie Haden, Howard Johnson, Beaver Harris. "It was my intention to couple, in this album, the poignancy of the blues and the jubilant irreverence of a marching band returning from a funeral. It is my interpretation of a slave and neo-slave experience; rather like the feeling of being subjected to a 'haunt.' But the victims have their ghosts too. Where my own dreams sufficed, I disregarded the western musical tradition all together. After all, the 'forms' we are working with are relatively new (I challenge the thesis that they are substantially new)." -- Archie Shepp
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