24 Bit Jazz

Miles Davis had publicly called him a madman. Leonard Bernstein found him, for his part, completely awesome. Few were those that didn’t have a definitive opinion on Ornette Coleman. Some kind of outlaw who preferred playing his own compositions rather than jazz classics, the American saxophonist also developed harmolodics, a theory uniting harmonics and melody. This box of ten discs compiles one of the most important era in the career of his author. Between 1959 and 1961, he released six studio albums for the Atlantic label. Six albums that are present here and spiced up with alternative takes and various bonuses, all of this of course impeccably remastered by John Webber. Albums included: The Shape Of Jazz To Come (1959), Change Of The Century (1959), This Is Our Music (1960), Free Jazz: A Collective Improvisation (1960), Ornette! (1961) and Ornette On Tenor (1961), and the compilations The Art Of Improvisers (1970), Twins (1971), To Whom Who Keeps A Record (1975) and The Ornette Coleman Legacy (1993).

12 CD box set collection featuring all of Allan Holdsworth's solo albums from 1982-2003. That title is no hyperbole-it was a proclamation that ran on the cover of Guitar Player Magazine in 2008, and is a feeling shared by fans and guitarists all around the world. Still, though, Holdsworth remains largely under-rated; many who admire his most famous work have overlooked dozens of fascinating finds to be made on his decades of recordings. This collection is a treasure trove of such discoveries, as it brings you all 11 of his albums as a solo artist, producer and group leader since 1980 plus the live-in-Tokyo album Then! And a 40-page booklet full of liner notes and archival photos. You also get previously unreleased bonus tracks, and all these albums have been newly remastered from the original tapes: I.O.U. (1982), Road Games (1983), Metal Fatigue (1985), Atavachron (1986), Sand (1987), Secrets (1989), Wardenclyffe Tower (1992), Hard Hat Area (1993), None Too Soon (1996), The Sixteen Men Of Tain (2000), Flat Tire (2001) and Then! (2003).

A music legend like no other, Ray Charles earned the nickname "Genius" for recording countless jazz, country, R&B and pop masterpieces during a career that spanned seven decades. This Box Set features mono mixes for the seven outstanding solo studio albums he recorded for Atlantic Records. For this new collection, the following albums have been fully remastered from the original mono analog tapes, echoing the experience of the era, when most fans were hearing music on record players, jukeboxes and radios that played music monaurally: "Ray Charles" (1957), "The Great Ray Charles" (1957), "Yes, Indeed!" (1958), "What'd I Say" (1959), "The Genius Of Ray Charles" (1959), "The Genius After Hours" (1961), and "The Genius Sings The Blues" (1961).

was originally released in 1975 on Elec Records and by the Jacquet Record Co. as JRC-11434. It is undoubtedly one of the finest Illinois Jacquet records that has ever been produced.

Commissioned by the Coastal Jazz and Blues Society in Vancouver for a 10-piece jazz ensemble, cellist Peggy Lee is joined a host of well-known Vancouver jazz musicians for this set of original compositions.

is the debut album as leader by jazz musician Bill Evans, released in 1956.

is an album by American jazz pianist Bill Evans, released in 1959.

Vince Guaraldi's name will forever be inextricably linked to Charlie Brown's, thanks to the iconic piano jazz music Guaraldi composed and performed with his trio for 17 Peanuts television specials and a feature film. It all started in 1964, with A Boy Named Charlie Brown, a never-aired documentary on Peanuts creator Charles M. Schulz that first brought Snoopy and the gang to life. Producers wanted a jazz soundtrack and approached Guaraldi after Dave Brubeck said he was too busy. In two weeks Guaraldi came up with Linus And Lucy, the freshness of the music perfectly enhancing the simplicity of the animation.

1959's landscape-shifting "The Shape of Jazz to Come" is true to its title. Switching from tenor to alto sax, Coleman creates free jazz, a language where chords structures are absent and harmony gives way to improvisational whims. Ranked by Rolling Stone in the top 250 Greatest Albums of All Time, the Atlantic set finds Coleman collaborating with Don Cherry, Charlie Haden, and Billy Higgins in making a masterful work free of any identifiable chord structures. Nonetheless, melodies remain, as do engrossing repetitions of main themes.