Ruskaval Early Press

John Coltrane - Coltrane Time (1958) {LIBERTY, CP32-5189, Japan Early Press, Black Triangle}
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© 1958, 1986 Liberty / Toshiba-EMI | CP32-5189
Jazz / Avant-Garde Jazz / Hard Bop / Saxophone

This is a most unusual LP due to the inclusion of Cecil Taylor on piano. Although Taylor and John Coltrane got along well, trumpeter Kenny Dorham (who is also on this quintet date) hated the avant-garde pianist's playing and was clearly bothered by Taylor's dissonant comping behind his solos. With bassist Chuck Israels and drummer Louis Hayes doing their best to ignore the discord, the group manages to perform two blues and two standards with Dorham playing strictly bop, Taylor coming up with fairly free abstractions, and Coltrane sounding somewhere in between. The results are unintentionally fascinating.

Billie Holiday - The Greatest Interpretations - Complete Edition (1939-1944) {Commodore Japan, K32Y-6138, Early Press}
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© 1939-44, 1986 Commodore / King Record Japan | K32Y-6138
Jazz / Vocal Jazz / Swing / Torch Songs

Holiday never singed an exclusive contract with Commodore — she only freelanced for the label, and the ultra-influential jazz singer spent a lot more time recording for Columbia in the 1930s and early 1940s, and for Decca from 1944-1950. But her Commodore output was first-rate, and Lady Day excels whether she’s joined by trumpeter Frankie Newton’s octet at a 1939 session or by pianist Eddie Heywood’s orchestra at three sessions in 1944.

Art Tatum, Red Callender, Jo Jones - The Tatum Group Masterpieces (1956) {Pablo Japan, J33J-20035, Early Press}
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© 1956, 1985 Pablo Records / Polydor K.K. Japan | J33J-20035
Jazz / Mainstream Jazz / Swing / Stride / Piano

For this set Art Tatum's group recordings for Norman Granz in the 1950s, the remarkable pianist is teamed with bassist Red Callender and drummer Jo Jones. Due to the presence of his sidemen, Tatum is slightly restricted as far as changing keys and tempos at will, but his playing is still often stunning. Highlights of the trio performances include "Just One of Those Things," "Blue Lou," "I'll Never Be the Same," and "More Than You Know."

Billie Holiday - Summer Of '49 (1949) {Bandstand Japan, TKCB-30026, Early Press}
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© 1949, 1990 Bandstand Japan | TKCB-30026
Jazz / Vocal Jazz / Swing / Torch Songs

Recorded in New York, New York and Los Angeles, California between June 2, 1949 and September 3, 1949. Includes liner notes by Barry McRea. Personnel includes: Billie Holiday (vocals); Herbie Steward (tenor saxophone, clarinet); Ernie Caceres (baritone saxophone); Neal Hefti, Hot Lips Page, Wild Bill Davison (trumpet) and others.

John Coltrane - A Love Supreme (1964) {Impulse! Japan, 32XD-595, Early Press}
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© 1964, 1987 Impulse! / MCA Records / Warner-Pioneer Japan | 32XD-595
Jazz / Free Jazz / Post Bop / Avant-Garde Jazz / Modal Music / Saxophone

Maybe one of the greatest jazz albums of all time – a real breakthrough moment for the legendary John Coltrane, and the blueprint for generations of jazz records to come! Trane was already breaking down plenty of boundaries before Love Supreme – but he knocked it out of the park for the album – which is a full-length suite of spiritual expression, one that gives even greater focus and message to Coltrane's long-spiralling style of soloing on the tenor sax!

Art Tatum & Ben Webster - The Art Tatum Group Masterpieces (1956) {Pablo Japan, VDJ-28009, Early Press}
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© 1956, 1987 Pablo Records / Victor Japan | VDJ-28009
Jazz / Mainstream Jazz / Swing / Stride / Piano

The quartet set with tenor-saxophonist Ben Webster. Webster lets Tatum fill the background with an infinite number of notes while emphasizing his warm tenor tone in the forefront on a variety of melodic ballads and standards. The combination works very well.

Charlie Parker - Bird With Strings: Live At The Apollo, Carnegie Hall & Birdland (1950) {CBS-Sony Japan 25DP 5302, Early Press}
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© 1950-52, 1988 CBS-Sony Japan | 25DP 5302
Jazz / BeBop / Bop / Saxophone

During 1949-54 Charlie Parker often recorded and performed with a string section. This LP contains a cross section of Bird's live performances from 1950-52 and, although the string arrangements are the same as for the studio recordings, Parker's solos are quite a bit different.

Nat King Cole - After Midnight (1956) {Capitol Japan Black Triangle, CP32-5308, Early Press}
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© 1956, 1986 Capitol / Toshiba EMI Japan | CP32-5308
Jazz / Swing / Vocal Jazz / Jump Blues / Traditional Pop / Piano

Once Nat King Cole gave up playing piano on a regular basis and instead focused on a series of easy listening vocal albums, jazz fans longed for him to return to his first love. These 1956 studio sessions made up Cole's last jazz-oriented disc, where he played piano and sang on every number, joined by several guest soloists. Cole's vocals are impeccable and swinging, while his piano alternates between providing subdued backgrounds and light solos that don't reveal his true potential on the instrument.

Art Blakey Quintet - A Night at Birdland Vol.2 (1954) {Blue Note Japan, CP32-5202, Early Press}
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© 1954, 1986 Blue Note / Toshiba EMI Japan | CP32-5202
Jazz / Hard Bop

During Blue Note vault research in 1975, four additional full performances from this historic Birdland recording were discovered. three of them were issued in the U.S. in 1978 as part of a Blakey double album. All four were issued in 1983 in Japan as A NIGHT AT BIRDLAND, Volume Three, which had a short playing time. Due to the expanded time limitations of the CD, half of these discoveries have been added to each of the original Birdland volumes. -Michael Cuscuna

Art Blakey Quintet - A Night at Birdland Vol.1 (1954) {Blue Note Japan, CP32-5201, Early Press}
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© 1954, 1986 Blue Note / Toshiba EMI Japan | CP32-5201
Jazz / Hard Bop

During Blue Note vault research in 1975, four additional full performances from this historic Birdland recording were discovered. three of them were issued in the U.S. in 1978 as part of a Blakey double album. All four were issued in 1983 in Japan as A NIGHT AT BIRDLAND, Volume Three, which had a short playing time. Due to the expanded time limitations of the CD, half of these discoveries have been added to each of the original Birdland volumes. -Michael Cuscuna