MusicStack has partnered with a vinyl to CD conversion service who will convert the LP 180 Gram to recordable CD for you. It will sound great with no annoying clicks, pops or background noise. All recordable CDs come in a standard jewel case with artwork printed on glossy paper.
How does this service work?
The seller will ship the LP 180 Gram to the digital conversion center in Arizona, USA where it will be format shifted onto a recordable CD directly from the LP 180 Gram only for your ears. The LP 180 Gram and the recordable CD will then be mailed to you. The digital conversion center will not retain any copies of the item.
What does it cost?
Price of the LP 180 Gram + $35 USD for the conversion to recordable CD + cost of shipping of the LP 180 Gram to Arizona + cost of shipping of the LP 180 Gram from Arizona to your location paid in advance.
General opinion has it that Sonny Stitt always stood in Charlie Parker’s shadow. That, however, is unjustifiable. The legendary jazz critic Nat Hentoff wrote, for example: »Sonny has been one of the wholly involved players, well known and admired for his soul and the earthiness of his message only by musicians who feel and play like he does and by that part of the jazz audience that is most moved by naked, open emotion. He has made his mark with them as an honest yea-sayer who can’t help but play what he knows and feels.« The present recording is proof of this – a session which shouldn’t really have worked out so well. Sonny Stitt’s alto saxophone presides over a seven-man-strong brass group, and although the prospect of a Sonny Stitt big band does not sound too promising initially, this rendezvous is really enjoyable, thanks in part to Stitt’s superb solos. At this time he was on the top of his form and he plays freely over the basis provided by the brass section consisting of Blue Mitchell, Jimmy Cleveland and Willie Ruff. The arrangements by Tadd Dameron and Jimmy Mundy are closely-knit yet offer enough room for swing and a generous pinch of soul. Special highlights are contributed by the unknown, female organist Perri Lee –, little groovy additions that are really successful and infuse the arrangements with a slender sound and sparkle. Although "Sonny Stitt & The Top Brass" may not stand in the limelight like "Boss Tenors" or "Salt And Pepper", it is certainly on a par with these from an artistic point of view. This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under . All royalties and mechanical rights have been paid.
Es ist gängige Meinung, dass Sonny Stitt immer im Schatten Charlie Parkers stand. Unberechtigterweise, der legendäre Jazzkritiker Nat Hentoff schrieb zum Beispiel: »Sonny war einer der vollständig involvierten Musiker, für den Soul und die Ursprünglichkeit seiner Botschaft bekannt und bewundert nur von Musikern, die wie er fühlen und spielen und bei dem Teil des Jazz-Publikums, der am meisten von nackten, offenen Gefühlen bewegt wird. Er hat sich einen Namen gemacht als ehrlicher Optimist, der einfach nicht anders kann als zu spielen, was er weiß und fühlt.« Die vorliegende Aufnahme ist Beweis für diese Feststellung, eine Session, die eigentlich nicht so gut funktionieren sollte. Sonny Stitts Altsaxophon steht einer sieben Mann starken Bläsergruppe vor, und auch wenn die Aussicht auf eine Sonny Stitt Bigband zunächst nicht so verheißungsvoll klingt - dieses Date macht wirklich Spaß, auch wegen Stitts großartiger Soloarbeit. Er ist zu diesem Zeitpunkt perfekt in Form und spielt frei über der Basis der brass section um Blue Mitchell, Jimmy Cleveland, und Willie Ruff. Die Arrangements von Tadd Dameron und Jimmy Mundy sind straff, bieten aber genug Raum für Swing mit einer guten Prise Soul. Ein Highlight sind die Beiträge der unbekannten Organistin Perri Lee, kleine Groover, die gut gelungen sind und mit schlankem Sound die Arrangements durchdringen und funkeln lassen. "Sonny Stitt & The Top Brass" steht vielleicht nicht so im Blickpunkt wie "Boss Tenors" oder "Salt And Pepper", ist künstlerisch aber auf jeden Fall mit diesen in einem Atemzug zu nennen. Diese Speakers Corner Produktion wurde unter Verwendung von analogem Masterband und Mastering 100% rein analog gefertigt. Mehr Informationen unter . Alle Lizenzen und GEMA-Beiträge wurden abgeführt. Speakers Corne
Barcode and Identifiers Barcode: 4 260019 715913 BarcodeScanned from sticker, EAN-13: 4260019715913 Matrix / RunoutLabel side A: ST-A-62449 Matrix / RunoutLabel side B: ST-A-62450 Label Code: LC 00121 Rights SocietyA1, A4, B1, B3, B5: BMI Rights SocietyA2, A3, B2, B4: ASCAP Matrix / RunoutSide A runout: SD1395.A KPG@CA -51513- Matrix / RunoutSide B runout: SD1395.B KPG@CA -51513-
Credits Alto Saxophone [Alto Sax] - Sonny Stitt Arranged By - Jimmy Mundy (Tracks: A1, A2, B1, B2), Tadd Dameron (Tracks: A3, B3 to B5) Bass - Joe Benjamin Conductor [Conducted By] - Jimmy Mundy, Tadd Dameron Cover [Cover Design], Design [Cover Design] - Loring Eutemey Drums - "Philly" Joe Jones (Tracks: A1, A3 to A4, B2, B4), Frank Brown (Tracks: A2, B1, B3, B5) Engineer [Recording Engineer] - Phil Iehle French Horn - Willie Ruff Lacquer Cut By - Kevin Gray Liner Notes - Nat Hentoff Organ - Perri Lee (Tracks: A1, A3 to A4, B2, B4) Photography By [Cover Photo] - Lee Friedlander Piano - Duke Jordan (Tracks: A2, B1, B3, B5) Supervised By [Supervision] - Ahmet Ertegun Trombone - Jimmy Cleveland, Matthew Gee Trumpet - Blue Mitchell, Dick Vance, Reunald Jones
Notes Issued with a plain white poly-lined inner sleeve and a Speakers Corner Catalogue.
Titles are "Sonny Stitt & The Top Brass" on front and back covers and labels, and "The Top Brass" on spine. First Catalog # appears on front and back covers and spine, second on the labels, and third on the hype sticker. Matrices on the labels are in parentheses.
[From Speakers Corner hype sticker] This LP is an entirely analogue production! Made from the original, analogue mastertapes Only the best mastering studios worldwide Pure analogue, audiophile mastering 180g virgin vinyl pressings from Pallas / Germany Faithful reproduction of original artwork and labels All licences and mechanical rights paid
[Publishers] A1, A4, B3: Progressive-Charrich A2: Leo Feist A3, B2: Mabreeze B1: E. B. Marks B4: Walden-Mabreeze B5: Charrich
Runouts are etched except '-51513-' is stamped on both sides.
Note Tracklisting is supplied by a third party and matched by catalogue number or barcode. Tracks on the release may differ from what is being sold.
SEPEA audio (Slovakia)
Overall Rating:
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Vinyl
Absolutely perfect in every way. Certainly never been played, possibly even still sealed. Should be used sparingly as a grade, if at all.
CD
Perfect. No scuffs/scratches, unplayed - possibly still sealed.
Insert/Inlay/Booklet/Sleeve/Digipak: Perfect. No wear, marks, or any other imperfections - possibly still sealed.
Cassette
J-Card is crisp, clean and perfect in every way. Likely sealed. Cassette is brand new, and professionally produced. Used sparingly as a grade, should be free of even the slightest blemishes and/or defects. This grade should be used sparingly, if at all.
Near Mint (NM or M-)
Vinyl
A nearly perfect record. A NM- record has more than likely never been played, and the vinyl will play perfectly, with no imperfections during playback. Many dealers won't give a grade higher than this implying (perhaps correctly) that no record is ever truly perfect. The record should show no obvious signs of wear. A 45 RPM or EP sleeve should have no more than the most minor defects, such as any sign of slight handling. An LP cover should have no creases, folds, seam splits, cut-out holes, or other noticeable similar defects. The same should be true of any other inserts, such as posters, lyric sleeves, etc.
CD
Near perfect. No obvious signs of use, it may have been played - but it has been handled very carefully.
Insert/Inlay/Booklet/Sleeve/Digipak: Near Perfect. No obvious wear, it may have only the slightest of marks from handling.
Cassette
Sleeve should be totally crisp and clean with only the slightest evidence of handling. Tape is likely new, free of any wear or damage.
Very Good Plus (VG+)
Vinyl
Generally worth 50% of the Near Mint value. A Very Good Plus record will show some signs that it was played and otherwise handled by a previous owner who took good care of it. Defects should be more of a cosmetic nature, not affecting the actual playback as a whole. Record surfaces may show some signs of wear and may have slight scuffs or very light scratches that don't affect one's listening experiences. Slight warps that do not affect the sound are "OK". The label may have some ring wear or discoloration, but it should be barely noticeable. Spindle marks may be present. Picture sleeves and inner sleeves will have some slight wear, slightly turned-up corners, or a slight seam split. An LP cover may have slight signs of wear, and may be marred by a cut-out hole, indentation, or cut corner. In general, if not for a couple of minor things wrong with it, this would be Near Mint.
CD
A few minor scuffs/scratches. This has been played, but handled with good care - and certainly not abused.
Insert/Inlay/Booklet/Sleeve/Digipak: Slight wear, marks, indentations, it may possibly have a cut-out hole (or similar).
Cassette
Sleeve has slight wear, marks, indentations, and/or may possibly have a cut-out hole (or similar). Tape has been taken very good care of and may have light marks or spindle wear. Should play cleanly with minimal noise or degradation.
Very Good (VG)
Vinyl
Generally worth 25% of Near Mint value. Many of the defects found in a VG+ record will be more pronounced in a VG disc. Surface noise will be evident upon playing, especially in soft passages and during a song's intro and fade, but will not overpower the music otherwise. Groove wear will start to be noticeable, as with light scratches (deep enough to feel with a fingernail) that will affect the sound. Labels may be marred by writing, or have tape or stickers (or their residue) attached. The same will be true of picture sleeves or LP covers. However, it will not have all of these problems at the same time. Goldmine price guides with more than one price will list Very Good as the lowest price.
CD
Quite a few light scuffs/scratches, or several more-pronounced scratches. This has obviously been played, but not handled as carefully as a VG+.
Insert/Inlay/Booklet/Sleeve/Digipak: More wear, marks, indentations than a VG+. May have slight fading, a small tear/rip, or some writing.
Cassette
Sleeve will contain more wear, marks, and/or indentations than a VG+. May have slight fading, a small tear/rip, or some writing. Shell may have heavier marks and wear than VG including plastic discoloration. Should play with some stronger hiss or degradation, but not enough to overpower music.
Good (G), Good Plus (G+)
Vinyl
Generally worth 10-15% of the Near Mint value. A record in Good or Good Plus condition can be played through without skipping. But it will have significant surface noise, scratches, and visible groove wear. A cover or sleeve will have seam splits, especially at the bottom or on the spine. Tape, writing, ring wear, or other defects will be present. While the record will be playable without skipping, noticeable surface noise and "ticks" will almost certainly accompany the playback.
CD
There are a lot of scuffs/scratches. However it will still play through without problems. This has not been handled with much care at all.
Insert/Inlay/Booklet/Sleeve/Digipak: Well worn, marked, more obvious indentations, fading, writing, than a VG - possibly a more significant tear/rip.
Cassette
Sleeve will be well worn, marked, and contain obvious indentations, fading, and/or writing, more so than a VG grade - possibly a more significant tear/rip. Tape will have heavy wear on shell. Felt stopper may be missing. Tape may have minor creasing, but not broken. Must play through, may have heavier degradation that will overpower music.
Poor (P), Fair (F)
Vinyl
Generally worth 0-5% of the Near Mint price. The record is cracked, badly warped, and won't play through without skipping or repeating. The picture sleeve is water damaged, split on all three seams and heavily marred by wear and writing. The LP cover barely keeps the LP inside it. Inner sleeves are fully split, crinkled, and written upon.
CD
The CD (if it is included) may or may not play some or all of the tracks. See the seller's comments for details.
Insert/Inlay/Booklet/Sleeve/Digipak: Very worn. It may have obvious writing on it, it may be ripped/torn, or significantly faded, or water damaged.
Cassette
Sleeve will be torn, heavily stained, showing general heavy damage, or will be partially missing. Likewise, tape will be heavily damaged, showing complete fading on the face, crinkled tape, missing screws or teeth, staining, and other heavy wear. Cassette will more than likely not play through.
Standard Jewel Cases
Standard Jewel Cases are not graded as they are replaceable.
Generic
The term "generic" refers to a type of sleeve that is not specific to the release. A generic sleeve is either a plain sleeve or a company sleeve with standard company artwork. A sleeve that is graded as "generic" needs no further grading, as a generic sleeve generally adds little value to the item and can be easily replaced. Sellers can further specify a generic sleeve's condition in the listing.
Payment Methods Accepted
PayPal
Shipping Costs
Economy shipping
Economy international shipping / 22€
Return Policy
If your order is lost, stolen or never arrives we will replace the order or refund your money 100%. If your order is damaged in transit please claim the damage to the forwarder in the moment of delivery and we will replace the order or refund your money 100% We accept returns within the period of 14 days in the same condition we sent them to you. Buyer pays all return shipping costs. No unsealed media returns If we make a mistake we will pay all return shipping costs and correct the order or refund you. Used or refurbished products has no return policy.
Seller Information
2 year warranty. Our operations are fully GDPR compliant.
Shipping to United States
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