JazzLoft Home | Shopping Cart Shopping Cart | My Wish List | Customer Service




Welcome to The Jazz Loft  




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!
Recorded by Todd Carter May 15th, 2011, live at the Hungry Brain, Chicago.

It was with great sadness that I heard of John Tchicai’s passing in October of 2012. I’d been familiar with his music since the early 1990’s, when as a high school saxophonist I first heard him on recordings with John Coltrane, Archie Shepp, Albert Ayler, and Don Cherry that truly changed my own life path. But it wasn’t until the spring of 2008 that I actually heard him in person, and had the opportunity to get to know him more personally. 

At that time, I had just left for my first tour of Europe leading one of my own bands, the Rempis Percussion Quartet, on a double bill tour with Mike Reed’s band Loose Assembly. Our first concert was in Hasselt, Belgium at Kunstcentrum Belgie – one of my favorite venues in Europe. As I didn’t have all of the details about the trip until we arrived, I didn’t realize that evening’s concert would be a triple bill with a band led by John until we walked into the soundcheck, and I heard that incredibly personal sound that I knew from so many different records. The experience was similar to seeing a famous painting or statue in person…some sense of disbelief that this presence could actually exist before you. 

Also at that time, Mike and I were helping to organize the Umbrella Music Festival in Chicago, and had been searching for someone special to feature that year. Having not heard John in recent years, I didn’t know what to expect from the concert. The brief soundcheck was great, but maybe he wasn’t playing as well as he used to – many musicians don’t meet expectations after decades of work. As the concert began, Mike and I stood across the bar from each other. After twenty minutes our eyes met. Nothing needed to be said. 

After the concert John and I talked a bit, particularly about the incredible record John made with Johnny Dyani – “Witchdoctor’s Son” - one of my favorite recordings. (The front line of John and Dudu Pukwana on that record is one of the great alto pairings of all time…) His calm and gentle presence, warm eyes, and deep laugh as he described how “energetic” those particular South African musicians had been (perhaps an understatement based on other anecdotes about Pukwana….) made a perfect match for the gorgeously honest and understated saxophone sound I knew so well. 

So it was a huge pleasure when John accepted our invitation to come to Chicago that fall. That visit would be the first of two that John made to Chicago in his last few years – once for the festival, and once as a guest of this working quartet. Both times he made an impression on musicians and audiences here that still resonates.
As you can hear on this recording, the expressive strength of John’s sound endures - the tender, searching, bittersweet, yet playful lilt of his phrasing; the tart crispness of his tone; the meandering yet purposeful sense of pitch. All of these were a part of the vision that enabled him to stand up to the sheer force of players like Coltrane, Ayler, and Shepp; not by out-muscling them, but by presenting a completely different idea of what was possible on the instrument. A conception unique enough that although it wasn’t about force or power, it carved out a space in the music that was strong enough to create its own gravitational field. 

This uncompromised sense of self in the presence of some of the most compelling artistic visions of the last century is what will keep John’s own vision alive for many years to come. That vision stands unflinchingly, shoulder to shoulder amongst his peers, and his presence in the music, and among the musicians, will be greatly missed. 

Regular Price: $18.95
On Sale For: $9.48 

3-LP 180-gram audiophile box set!

On December 10, 2007, Led Zeppelin took the stage at London’s O2 Arena to headline a tribute concert for dear friend and Atlantic Records founder Ahmet Ertegun. What followed was a two-hour-plus tour de force of the band’s signature blues-infused rock ’n’ roll that instantly became part of the legend of Led Zeppelin.

Founding members John Paul Jones, Jimmy Page and Robert Plant are joined by Jason Bonham, the son of their late drummer John Bonham and perform 16 songs from their celebrated catalog including landmark tracks “Whole Lotta Love,” “Rock And Roll,” “Kashmir,” and “Stairway To Heaven.”

This 180g 3LP pressing from Atlantic Records features incredibly dynamic sound. You've waited nearly three decades. Don't wait another second. It's time to rock and roll!

Regular Price: $49.95
On Sale For: $34.97 

"By 1975, the Art Ensemble of Chicago was enjoying an unusual popularity. Originally an outgrowth of the Roscoe Mitchell Quartet, the group was among the few free jazz ensembles in the world to attract a significant audience. If the AEC formed a key part of Mitchell's expression, this group would permit him to emphasize the purely sonic interests apparent in his earlier work" - Stuart Broomer, from the CD liner notes. The album features AACM founder Muhal Richard Abrams on piano and newcomers (at the time) George Lewis on trombone (making his recording debut) and Detroit native Spencer Barefield on guitar. This new version of the album features over twenty minutes of additional previously unissued material including Prelude to "Naima", "Naima", "Duet With Spencer" and "Nonaah".
Regular Price: $14.95
On Sale For: $7.48 

Recorded October 11, 2011 at Maggie's Farm.
Regular Price: $13.95
On Sale For: $6.98 

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 


Powered by JAZZLOFT.COM Copyright 1999-2011. All Rights Reserved.