Prestige Rudy

Red Garland - Red Garland's Piano (1957) {2006 Prestige Rudy Van Gelder Remaster}
EAC rip (secure mode) | FLAC+CUE+LOG -> 262 Mb | MP3 @320 -> 103 Mb
Full Artwork @ 300 dpi (png) -> 32 Mb
© 2006 Concord / Prestige | PRCD-8109-2 | 24-bit remaster
Jazz / Hard Bop / Piano

Red Garland's third session as a leader finds the distinctive pianist investigating eight standards (including "Please Send Me Someone to Love," "Stompin' at the Savoy," "If I Were a Bell," and "Almost Like Being in Love") with his distinctive chord voicings, melodic but creative ideas, and solid sense of swing. Joined by bassist Paul Chambers and drummer Art Taylor, Garland plays up to his usual consistent level, making this an easily recommended disc for straight-ahead fans.

Eric Dolphy Quintet - Outward Bound (1960) {2006 Prestige Rudy Van Gelder Remaster}
EAC rip (secure mode) | FLAC+CUE+LOG -> 446 Mb | MP3 @320 -> 146 Mb
Full Artwork @ 600 dpi (png) -> 152 Mb
© 2006 Prestige / New Jazz / Concord | 0888072300835
Jazz / Hard Bop / Post Bop / Avant-Garde Jazz

Eric Dolphy has sometimes been described as an iconoclast, but in Outward Bound, he was not overturning his idol, Charlie Parker; he was building on Bird’s legacy. So deep was Dolphy’s musicianship, so free his imagination, that he enchanted trailblazers like John Coltrane and Charles Mingus. Partnering in this collection with the brilliant trumpeter Freddie Hubbard and a stunning rhythm section, Dolphy is at a peak of energy and creativity on alto saxophone, bass clarinet, and flute. He and Hubbard work with empathy reminiscent of the young Parker and Dizzy Gillespie. Pianist Jaki Byard, bassist George Tucker, and drummer Roy Haynes were ideal accompanists and co-conspirators in this widely influential work. This edition of Outward Bound contains two alternate takes and “April Fool,” a piece not on the original album.

John Coltrane - Standard Coltrane (1958) {2009 Prestige Rudy Van Gelder Remaster}
EAC rip (secure mode) | FLAC+CUE+LOG -> 253 Mb | MP3 @320 -> 79 Mb
Full Artwork @ 300 dpi (png) -> 41 Mb
© 2009 Concord / Prestige | 0888072312210 | 24-bit remaster
Jazz / Hard Bop / Bop

“The title could not have been more accurate. By 1962, Coltrane’s leadership role was undeniable; he was a standard-bearer of musical commitment, and intense, bold exploration. As well, all four tunes on the album were truly ‘standards’: 32-bar tunes originally crafted for Broadway or Hollywood projects, adopted by jazz instrumentalists to interpret and explore. There’s another meaning to be gleaned from the album’s title. In 1958, when Coltrane recorded the tracks, he often favored melodies that had attained popularity during his teen years—familiar and unfamiliar alike—all in a search to find new structures and fresh inspiration. This indeed was standard Coltrane—in ’58, and well into the ’60s.”

In addition to their positions of importance in the Miles Davis quintet of the mid-fifties, John Coltrane and Red Garland a series of studio dates for Prestige in 1957 and '58. Here, as in several of the others, Paul Chambers is the bassist and Arthur Taylor is the drummer, with Donald Byrd on trumpet making it a quintet. There are only three numbers, the title song "Black Pearls", an extremely swift version of "Lover Come Back To Me", and the fast "Sweet Sapphire Blues" which begins with Garland soloing from the gitgo in a long, upbeat exploration before Trane unfurls his "sheets of sound". Byrd gets into that rapid fire mode, in and among his evenly-cadenced lines and Chambers (plucked) and Taylor (brushes into sticks)…

Boogaloo Joe Jones - Snake Rhythm Rock / Black Whip (1992) {Prestige–BGP CDBGPD 043 rec 1972-1973}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 392 Mb | MP3 @320 -> 171 Mb
Full Artwork @ 300 dpi (jpg) -> 9 Mb | 5% repair rar
© 1972-73, 1992 Prestige / Fantasy / BGP | CDBGPD 043
Jazz / Soul Jazz / Boogaloo / Hard Bop / Jazz Funk / Guitar / Organ

Guitarist Ivan "Boogaloo Joe" Jones two albums were made in the same period (1972-73) as the Funk Inc sides and use the same production /engineering team of Ozzie Cadena and Rudy Van Gelder. Snake Rhythm Rock and Black Whip were originally released as Prestige LPs 10056 and 10072, respectively, and the band expands in size from a quintet on the first album to a septet by the second.

Miles Davis - Cookin' With The Miles Davis Quintet (1956) {2007 Prestige RVG Remasters Series}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 209 Mb | MP3 @320 -> 81 Mb
Full Artwork @ 600 dpi (png) -> 148 Mb | 5% repair rar
© 2007 Concord / Prestige | 08880723015738 | Prestige RVG Remasters Series | 24-bit remaster
Jazz / Bop / Hard Bop / Trumpet

"I was the engineer on the recording sessions and I also made the masters for the original LP issues of these albums. Since the advent of the CD, other people have been making the masters. Mastering is the final step in the process of creating the sound of the finished product. Now, thanks to the folks at the Concord Music Group who have given me the opportunity to remaster these albums, I can present my versions of the music on CD using modern technology. I remember the sessions well, I remember how the musicians wanted to sound, and I remember their reactions to the playbacks. Today, I feel strongly that I am their messenger." —Rudy Van Gelder

Miles Davis - Workin' With The Miles Davis Quintet (1956) {2006 Prestige RVG Remasters Series}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 270 Mb | MP3 @320 -> 100 Mb
Full Artwork @ 300 dpi (png) -> 37 Mb | 5% repair rar
© 1956, 2006 Concord / Prestige | 0888072300804 | Prestige RVG Remasters Series | 24-bit remaster
Jazz / Bop / Hard Bop / Trumpet

“I was the engineer on the recording sessions and I also made the masters for the original LP issues of these albums. Since the advent of the CD, other people have been making the masters. Mastering is the final step in the process of creating the sound of the finished product. Now, thanks to the folks at the Concord Music Group who have given me the opportunity to remaster these albums, I can present my versions of the music on CD using modern technology. I remember the sessions well, I remember how the musicians wanted to sound, and I remember their reactions to the playbacks. Today, I feel strongly that I am their messenger.” —Rudy Van Gelder