Clrk Terry IN Orbit

Recorded in New York in 1958, and released the same year, In Orbit is trumpeter Clark Terry’s sixth album as leader. Featuring Thelonious Monk on Piano, in his only Riverside outing as sideman, the album also features Sam Jones (bass) and Philly Joe Jones (drums). This new edition is released as part of the Original Jazz Classics Series and features remastered audio from the original master tapes. Available on 192/24 hi res digital.

Recorded in New York in 1958, and released the same year, In Orbit is trumpeter Clark Terry’s sixth album as leader. Featuring Thelonious Monk on Piano, in his only Riverside outing as sideman, the album also features Sam Jones (bass) and Philly Joe Jones (drums). This new edition is released as part of the Original Jazz Classics Series and features remastered audio from the original master tapes. Available on 192/24 hi res digital.

AVID Jazz here presents four classic Clark Terry related albums, including original LP liner notes on a finely re-mastered and low priced double CD. “Introducing Clark Terry”; The Dave Bailey Sextet-”One Foot In The Gutter”; “Clark Terry With Thelonious Monk” and Jimmy Hamilton’s- “It’s About Time”…

Emmet Cohen’s time has come. Since his debut Mack Avenue release, "Future Stride," Cohen has toured the world consistently — bringing the joy of music to people in need during a global pandemic — all while hosting weekly livestream concerts from his home in Harlem, NY. These livestreams provided a sense of community and a home to the displaced musicians of New York, reminiscent of the 1920s rent parties. On "Uptown in Orbit," his sophomore release for Mack Avenue, Cohen brings the tradition of jazz to the forefront while providing the modern twist needed for the current times. Featured on this release is trumpeter/educator Sean Jones, saxophonist Patrick Bartley, bassist Russell Hall and drummer Kyle Poole.

Blues in Orbit lacks the intellectual cache of the suites and concept pieces that loomed large in Ellington's recordings of this period, but it's an album worth tracking down, if only to hear the band run through a lighter side of its sound - indeed, it captures the essence of a late-night recording date that was as much a loose jam as a formal studio date, balancing the spontaneity of the former and the technical polish of the latter. Ellington and company were just back from a European tour when the bulk of this album was recorded at one after-midnight session in New York on December 2, 1959 - the arrangements had to be hastily written out when the copyist failed to appear for the gig…