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INVENTORY LAST UPDATED:  April 12, 2014 at 12:00 PM PST

Hate those wasteful Jewel Boxes? Running out of room for your ever-growing CD collection? Check out our Space-Saving CD Sleeves and save up to 70% more space. Over a 2.6 million sold to date! We will continue to sell these sleeves even after we close down the music shop.  Stay tuned.

Check out these featured titles!
Singularly gifted drummer/composer Mike Pride is prolifically active as a leader/accompanist in a wide variety of groups and genres: metal, noise, avant-garde rock, free music, and modern jazz. This May, AUM Fidelity presents two of the most profound and potent albums he has created to date. The 33-minute maximum intensity transformative epic Drummer’s Corpse was recorded within the same month as the diametrically opposed (in concept, content, and title) Birthing Days, and no pair of records better represent his multifarious artistic nature. Their simultaneous release is a major artistic statement from Mike Pride; together, they musically reflect the dichotomy of life itself. The other composition included here, “Some Will Die Animals,” is composed of a serialized tone row for double bass and a graphic score for guitar, bass drums, and tom-toms, and is dedicated to his late friend Gen Makino.

“Drummer Mike Pride has epitomized versatility for much of his highly prolific career thus far. With an almost unparalleled work ethic, great technical proficiency, and a healthy balance of the absurd and the dead serious, Pride has maintained a steady flow of compelling and innovative work.” — NEW YORK CITY JAZZ RECORD

“There’s a lot stirring in the hidden recesses of Brooklyn, as new generations of players take the reins and throw preconceptions about genre and style to the wind. Foremost among these is percussionist Mike Pride, who’s earned his propers with heavyweight veterans and is becoming an ever more distinctive leader.” — SIGNAL TO NOISE
Regular Price: $14.95
On Sale For: $7.48 

Mastered from the Near Original Master Tapes at Abbey Road Studios by Original Engineer/Producer John Wood

Featuring an Original Shop Poster, Live Mini-Poster & Reprint of Drake's Handwritten Set List

Following the huge success of Nick Drake's third album Pink Moon on deluxe vinyl - comes his second album Bryter Layter in a similar deluxe vinyl offering. The album is an exact replica of the original 1970 release and is pressed on heavyweight audiophile vinyl, and remastered from near-original master tapes by the album's original engineer/producer John Wood. Although the original tapes were unusable, Wood had made a safety copy of the album in 1970 and it is from this that the new album has been made. 

The album comes in a box containing the original shop poster, a smaller 'Live' poster/brochure and a reprint of Nick's handwritten set list used for his live appearances, together with reproductions of the master tape and box lids. It is housed in an Island card inner bag in a single pocket textured sleeve just as the original release would have been. Most recent vinyl pressings of Bryter Layter have been of poor quality and/or illegal counterfeits; this edition is as close to an original pressing as it is possible to get. Original copies change hands for high collectors prices.

After crafting a debut album full of beauteous, somber chamber-folk, Nick Drake pulled something of an about-face in 1970 with the follow-up, Bryter Layter. With a bright, sparkling production and orchestrations that occasionally border on Easy Listening, the framework is light and airy where Five Leaves Left was dark and foreboding. 

The key, however, is that Drake's artfully expressed inner turmoil peeks through at every turn in the lyrics and in his understated-but-heartfelt vocal delivery. "At the Chime of a City Clock" finds Drake facing existential despair at every turn, despite an almost-lugubrious string arrangement. Perhaps the crucial moment of Bryter Layter occurs on "Poor Boy," where female backing vocalists literally mock the singers anguished laments. 

Clearly, for as much as Drake's heart and soul were bared in every note of his music, he was self-aware enough to know that his disillusioned-romantic view of the world was one that put him on the fringes of society. Of course, over 40 years later, his early-1970s work would find a much wider audience, even though the initial era of the sensitive singer/songwriter had long since passed.

"Compared to the gloomy, vinegary, autumnal Five Leaves Left and the reportedly stark Pink Moon, Drake's second album is a relatively pleasant collection. "Bryter Layter" and "Sunday" are light, carefree flute instrumentals, and the cantering "Hazey Jane II" is positively brisk. "Northern Sky" gently details how a loved one has enhanced his appreciation of life.

"Even in his best moods, though, Drake seems to be reaching out from a position of isolation to a like soul, as in "Hazey Jane I." More characteristic is the intensely considered solitude of "Poor Boy," "One of These Things First" and "Fly," which features John Cale's moaning viola...It's a measure of his instinct for maintaining a sense of mystery that Bryter Layter's reflections are as ephemeral as a man's breath on a mirror." - Rolling Stone

- Mastered from the near original master tapes at Abbey Road Studios by original engineer/producer John Wood
- Pressed on heavyweight audiophile vinyl
- Gatefold sleeve, inner sleeve, paper labels
- Original shop poster
- Live mini-poster (full color both sides)
- Reprint of Nick's handwritten set list
Regular Price: $54.95
On Sale For: $35.72 

Nobody plays Monk like Schlippenbach. In the same way Monk worked on a composition for weeks, Schlippenbach has involved himself with Monk's work for many years. Listening, analysing, playing and with the greatest conceivable respect. Already the 3 CD-recordings of Thelonious Monk's complete works from Alexander von Schlippenbach together with the band Die Enttäuschung (Intakt CD 100) are a most impressive documentation of this involvement. 

With this present production for which Alexander von Schlippenbach chose some of his "Monk-favourites" – including some of the more rarely performed pieces – to him it was not about working on, re-harmonising or consciously changing the original forms of Monk's compositions. Their themes are so multifaceted and complex that it was Alexander von Schlippenbach's first and foremost concern to keep very close to these themes and to concentrate his focus on dealing "freely" with the melodies and the rhythmic torque. 

Monk and Schlippenbach: A stimulated conversation going on and they get along brilliantly, these brothers in spirit! Ulf Drechsel, Liner Notes

Recorded November 22, 23, 2011.
Regular Price: $18.95
On Sale For: $9.48 

Aki Takase's phenomenal technique and her talent for improvisation is well known, as is her love for the jazz classics. She has already paid tribute to Fats Waller and recorded with saxophonist Silke Eberhard an "Ornette Coleman Anthology". Now she takes a close look at the arguably most influential jazz pianist of the jazz tradition: Duke Ellington.

Aki Takase examines Ellington's playing from numerous angles throughout the album and within each track. Rather than quote or paraphrase Ellington compositions to contextualize this idea, Takase concentrates on the building blocks of his piano vocabulary – the articulations, voicings and devices that convey colors and fragrances. As a result, she sets a wealth of stylistic markers afloat, untethered to an Ellington composition, where they can be heard anew. Bill Shoemaker writes in the liner notes: "What cannot be overstated is Takase's depth of feeling here and throughout My Ellington; it is something rare and profound." 
Regular Price: $18.95
On Sale For: $9.48 

M B V is My Bloody Valentine's long awaited third full-length, the band's first new album in 22 years and the eagerly anticipated follow-up to their critically acclaimed releases Isn't Anything (1988) and Loveless (1991). The 9-song set was produced by vocalist/guitarist Kevin Shields which he describes "sounds like what we sounded like - different but not radically different" and as being comprised of "the '96/'97 half-finished record, and then a compilation of stuff we did before that in 1993–94, and a little bit of new stuff."

"To digest 'MBV' properly it is helpful to split it into three parts. The first shares the most common ground with Loveless, particularly 'Who Sees You,' with its climbing melodies that hark back to 'Come In Alone,' wrapped in the same vice grip of distortion, reverb, compression and god knows what else.

"The second third is where the mould is broken. Whilst there is a recognizable feel that only Kevin Shields knows how to create despite the best intentions of hundreds the lazy synth-led 'Is This and Yes' has only the barest roots in their Tremolo EP, which long looked like a farewell. 

"The final third screws up the formula entirely. 'In Another Way' is the albums, and perhaps the years highlight, with a verse not too dissimilar to Blonde Redhead's anthemic '23' being pulverised by Seefeel or Autechre in a forgiving mood that bleeds into a chorus that transplants the snakecharming melody of Godspeed You! Black Emperor's 'Gamelan' into an end of the world rave." - Contact Music 

180 gram vinyl in a gatefold sleeve with the CD in a card wallet. This vinyl album has been recorded as an analogue album. It was recorded on 2 inch 24 track analogue tape and mixed onto half inch analogue tape and mastered with no digital processing involved.  
Regular Price: $44.95
On Sale For: $29.22 


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