The Jacket

First 2,000 pressings are numbered on the back of the jacket and pressed at Quality Record Pressings.
Unnumbered copies may be pressed at either Quality Record Pressings or RTI, which is only identified by the sticker on the outer plastic bag. Issued in a dual pocket gatefold jacket. Includes a double sided insert for "Atlantic Records 75th Anniversary" and an Acoustic Sounds catalog. Each LP comes in a "Quality Record Pressings" rice paper inner sleeve. There are 2 stickers on the front of the outer plastic bag - a "75 Atlantic Audiophile Series" hype sticker and "Quality Record Pressings". Some copies have an additional sticker with "AAPA 005-45A" and a barcode on the back of the plastic bag. The gatefold interior has 2 photos of Otis Redding.

First 2,000 pressings are numbered on the back of the jacket and pressed at Quality Record Pressings.
Unnumbered copies may be pressed at either Quality Record Pressings or RTI, which is only identified by the sticker on the outer plastic bag. Issued in a dual pocket gatefold jacket. Includes a double sided insert for "Atlantic Records 75th Anniversary" and an Acoustic Sounds catalog. Each LP comes in a "Quality Record Pressings" rice paper inner sleeve. There are 2 stickers on the front of the outer plastic bag - a "75 Atlantic Audiophile Series" hype sticker and "Quality Record Pressings". Some copies have an additional sticker with "AAPA 005-45A" and a barcode on the back of the plastic bag. The gatefold interior has 2 photos of Otis Redding.

New Englander Henry Jamison comes from an ancestry of writers and composers, making him a natural fit for the brand of thoughtful, literate indie folk he delivers. After stints in college, folk choirs, and various bands, the Burlington native set about demo'ing a handful of solo songs on an old Korg 8-track recording his father gave to him.

Perhaps the perfect starting point for a reappraisal of Duke Pearson’s underrated career is his fantastic and aptly titled 1967 album The Right Touch. The album stands as perhaps the finest in Pearson’s discography and is a showcase of his sublime talents as a pianist, composer, and arranger. The Right Touch is comprised of six memorable Pearson compositions arranged for a dynamic 8-piece band featuring trumpeter Freddie Hubbard, trombonist Garnett Brown, alto saxophonist James Spaulding, alto saxophonist/flutist Jerry Dodgion, tenor saxophonist Stanley Turrentine, bassist Gene Taylor, and drummer Grady Tate. Highlights of the set include the picante opener “Chili Peppers,” the lightly swinging “Make It Good” (a feature for Pearson’s elegant piano stylings), the exquisite bossa nova ballad “My Love Waits (O Meu Amor Espera)” on which Hubbard’s flugelhorn takes the lead, the down-home blues “Scrap Iron” which seems to have been custom made for Turrentine’s soulful tenor, and the whirling album closer “Rotary” which swings round and round as the soloists each make their emphatic closing statements.

Perhaps the perfect starting point for a reappraisal of Duke Pearson’s underrated career is his fantastic and aptly titled 1967 album The Right Touch. The album stands as perhaps the finest in Pearson’s discography and is a showcase of his sublime talents as a pianist, composer, and arranger. The Right Touch is comprised of six memorable Pearson compositions arranged for a dynamic 8-piece band featuring trumpeter Freddie Hubbard, trombonist Garnett Brown, alto saxophonist James Spaulding, alto saxophonist/flutist Jerry Dodgion, tenor saxophonist Stanley Turrentine, bassist Gene Taylor, and drummer Grady Tate. Highlights of the set include the picante opener “Chili Peppers,” the lightly swinging “Make It Good” (a feature for Pearson’s elegant piano stylings), the exquisite bossa nova ballad “My Love Waits (O Meu Amor Espera)” on which Hubbard’s flugelhorn takes the lead, the down-home blues “Scrap Iron” which seems to have been custom made for Turrentine’s soulful tenor, and the whirling album closer “Rotary” which swings round and round as the soloists each make their emphatic closing statements.