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Through our hardships, we will emerge stronger - everything is going to be ok. \u003c\/p\u003e\n","brand":"GoGo Penguin","offers":[{"title":"Default Title","offer_id":44593611833624,"sku":"19658769951","price":26.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/4297\/9608\/files\/gogoblackvinyl_1.png?v=1747948821"},{"product_id":"everything-is-going-to-be-okay-cd","title":"Everything Is Going To Be Okay: CD","description":"\u003cp\u003eEmotive, break beat minimalist trio GoGo Penguin are back with their brand new album ‘Everything Is Going to Be OK’. Bursting with the optimism of new beginnings, with a new drummer, their new record label (Sony Records' electronica and classical imprint XXIM Records) and a subtly updated and developed sound, the band are ushering in a more ambient era. \u003c\/p\u003e\n\n\u003cp\u003e‘Everything Is Going to Be OK’ is born from a time of turbulence and loss. 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Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian 'Cannonball' Adderley with Wyton Kelly playing piano on Freddy the \u003cem\u003eFreeloader\u003c\/em\u003e.\u003c\/p\u003e\n","brand":"Miles Davis","offers":[{"title":"Default Title","offer_id":44659593642264,"sku":"88875111921","price":22.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/4297\/9608\/files\/SharedImage-138436.jpg?v=1778161145"},{"product_id":"bitches-brew-vinyl-2lp","title":"Bitches Brew: Vinyl 2LP","description":"\u003cp\u003eLegendary Miles jazz-rock-fusion opus, originally released in 1970. 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Blue Train: The Complete Masters will also be released as a 2-CD set and digital collection.\u003c\/p\u003e\n\n\u003cp\u003e“Few studio experiences I’ve had can compare with the thrill of listening to the original master tapes—mono, stereo and alternate takes—of Blue Train,” says Harley. “I consider these two new versions the definitive editions of this masterpiece performance by John Coltrane.”\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eLP 1 : Side A\u003c\/strong\u003e\u003cbr\u003e\n1    Blue Train     \u003cbr\u003e\n2    Moment’s Notice \u003cbr\u003e\n    \u003cbr\u003e\n\u003cstrong\u003eLP 1: Side B\u003c\/strong\u003e\u003cbr\u003e\n1    Locomotion     \u003cbr\u003e\n2    I’m Old Fashioned     \u003cbr\u003e\n3    Lazy Bird  \u003cbr\u003e\n  \u003cbr\u003e\n\u003cstrong\u003eLP 2 : Side A\u003c\/strong\u003e\u003cbr\u003e\n1    Blue Train (false start)     \u003cbr\u003e\n2    Blue Train (take 7)     \u003cbr\u003e\n3    Moment’s Notice (alternate take 4)     \u003cbr\u003e\n4    Lazy Bird (take 1)\u003cbr\u003e\n     \u003cbr\u003e\n\u003cstrong\u003eLP 2: Side B\u003c\/strong\u003e\u003cbr\u003e\n1    Blue Train (alternate take)     \u003cbr\u003e\n2    Moment’s Notice (incomplete alternate take 5A)     \u003cbr\u003e\n3    Lazy Bird (alternate take)\u003c\/p\u003e\n","brand":"John Coltrane","offers":[{"title":"Default Title","offer_id":45010583585048,"sku":"4548107","price":55.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/4297\/9608\/files\/SharedImage-139991.png?v=1772025482"},{"product_id":"blue-train-tone-poet-series-vinyl-lp","title":"Blue Train (Tone Poet Series): Vinyl LP","description":"\u003cp\u003eTo mark the 65th anniversary of the album’s recording, Blue Train will be released in two special editions on September 16 as part of Blue Note’s acclaimed Tone Poet Audiophile Vinyl Reissue Series. A 1-LP mono pressing of the original album will be presented in a deluxe gatefold tip-on jacket, while the 2-LP stereo collection Blue Train: The Complete Masters will include a second disc featuring seven alternate and incomplete takes, none of which have been released previously on vinyl, and four of which have never been released before on any format. The Complete Masters comes with a booklet featuring never-before-seen session photos by Francis Wolff and an essay by Coltrane expert Ashley Kahn. Both Tone Poet Vinyl Editions were produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, and pressed on 180g vinyl at RTI. Blue Train: The Complete Masters will also be released as a 2-CD set and digital collection.\u003cbr\u003e\u003cbr\u003e“Few studio experiences I’ve had can compare with the thrill of listening to the original master tapes—mono, stereo and alternate takes—of Blue Train,” says Harley. “I consider these two new versions the definitive editions of this masterpiece performance by John Coltrane.”\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTracklist:\u003cbr\u003eSide A\u003c\/strong\u003e\u003cbr\u003e1. Blue Train\u003cbr\u003e2. Moment’s Notice|\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eSide B\u003c\/strong\u003e\u003cbr\u003e1. Locomotion\u003cbr\u003e2. I’m Old Fashioned\u003cbr\u003e3. 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The album featured 3 compositions by Shorter (“Backstage Sally” “Contemplation” “Reincarnation Blues”) along with 1 each by Fuller (“Bu’s Delight”) and Walton (“Shaky Jake”), closing with an high-intensity arrangement of “Moon River.”\u003c\/p\u003e\n\n\u003cp\u003eThis Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003eA1: Backstage Sally\u003cbr\u003e\nA2: Contemplation\u003cbr\u003e\nA3: Bu's Delight\u003cbr\u003e\n \u003cbr\u003e\nB1: Reincarnation Blues\u003cbr\u003e\nB2: Shaky Jake\u003cbr\u003e\nB3: Moon River\u003c\/p\u003e\n","brand":"Art Blakey \u0026 The Jazz Messengers","offers":[{"title":"Default Title","offer_id":45010590597400,"sku":"838208","price":22.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/4297\/9608\/files\/SharedImage-97871_7bdb36ce-daca-4205-96bb-b69fcf690ab2.webp?v=1772025332"},{"product_id":"come-away-with-me-vinyl-lp","title":"Come Away With Me: Vinyl LP","description":"\u003cp\u003eIn 1999 a 20-year-old Norah Jones came to New York from Texas and was quickly gigging around town with a home-made demo recording in her pocket. In the spring of 2000 she came to the attention of Bruce Lundvall, the head of Blue Note Records. Impressed by her grasp of the standards and her originality, Lundvall offered her a demo deal with the option for the label to extend this to a full album deal. Norah mixed up the record with a focus on originals she and her band had written rounded out with a few jazz standards she loved. The collection of 13 songs, recorded over three days at Sorcerer Sound in Soho was engineered by Jay Newland who had worked on Etta James’ Billie Holiday tribute record ‘Mystery Girl’. The band: the same as that she had been gigging with—Jesse Harris on guitar, Lee Alexander on bass, and Dan Reiser on drums. Adam Rogers and Tony Scherr played guitar on a few additional songs and tabla player Vikram Gosh joined for one cut on the demo. Lundvall signed Norah as a Blue Note artist off the back of the thirteen tracks submitted.\u003c\/p\u003e\u003cp\u003ePrior to cutting the album, the best of these demos were released as a limited-edition promotional EP, titled First Sessions. Norah and band started to play fewer and fewer straight jazz gigs turning their focus to original music while mixing in the covers and standards. Cassandra Wilson’s New Moon Daughter had been a favourite album of Norah’s and was a big inspiration for the kind of record she wanted to make so she asked Lundvall if she could work with producer Craig Street. Street agreed and they headed to Allaire Studios in upstate NY. Street brought in Bill Frisell and Kevin Breit on guitars, Brian Blade and Kenny Wollesen on drums, and Rob Burger on accordion and organ. Lee Alexander stayed on the bass, and Husky Höskulds, who had a love for vintage equipment and a knack for capturing a vibe on tape, recorded everything. Most of the songs from the demos were re-recorded as Norah explored where else she could take them while some new originals and a few covers were also tracked.\u003c\/p\u003e\u003cp\u003eThe label latterly rejected the 19 songs as being too far removed from what had made the demos so special and Lundvall suggested that Norah return to Sorcerer Sound Studios with legendary producer, Arif Mardin, who had worked with Aretha Franklin and Donny Hathaway among others. Mardin and Jones chose the best of the demos and the Craig Street sessions—'Don’t Know Why’ and ‘Turn Me On’ from the demo sessions and ‘The Long Day Is Over,’ ‘Feeling The Same Way,’ and ‘Seven Years’ from the Allaire sessions, all with a few new overdubs and new mixes—and recorded nine additional songs in the same spirit of the demos, with the original trio of Harris, Alexander and Reisler, plus Brian Blade back on drums, Adam Levy on guitar, and Jenny Scheinman on violin.\u003cbr\u003e\u003cbr\u003eUltimately, all three sessions played a unique part in making the record what it ended up being: An eight-time Grammy Award®-winning album that Rolling Stone described as ‘One of the best debut albums of all time,’ that has gone on to sell close to 30 million units to date. ‘In the end I was so thankful that I got to explore a few different paths before putting them all together. No one, including the label, had any idea it would reach the success that it did. I’m forever grateful to Bruce and the very special team at Blue Note for giving me the chance to find my sound through all of it and for never telling me who I had to be.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eNorah Jones’\u003c\/strong\u003e seminal debut album \u003cem\u003eCome Away With Me\u003c\/em\u003e became a global phenomenon, reaching #1 in 20 countries, selling nearly 30 million copies, and sweeping the 2003 GRAMMY Awards. The 20th Anniversary Super Deluxe Edition captures the emergence of a singular talent and the full story of the making of this now-classic album. In addition to a remaster of the original album, there are 22 previously unreleased tracks, including early demos and the never-before-heard first version of the album.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTracklist:\u003cbr\u003eSide A\u003c\/strong\u003e\u003cbr\u003e1. Don’t Know Why\u003cbr\u003e2. Seven Years\u003cbr\u003e3. Cold Cold Heart\u003cbr\u003e4. 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In the spring of 2000 she came to the attention of Bruce Lundvall, the head of Blue Note Records. Impressed by her grasp of the standards and her originality, Lundvall offered her a demo deal with the option for the label to extend this to a full album deal. Norah mixed up the record with a focus on originals she and her band had written rounded out with a few jazz standards she loved. The collection of 13 songs, recorded over three days at Sorcerer Sound in Soho was engineered by Jay Newland who had worked on Etta James’ Billie Holiday tribute record ‘Mystery Girl’. The band: the same as that she had been gigging with—Jesse Harris on guitar, Lee Alexander on bass, and Dan Reiser on drums. Adam Rogers and Tony Scherr played guitar on a few additional songs and tabla player Vikram Gosh joined for one cut on the demo. Lundvall signed Norah as a Blue Note artist off the back of the thirteen tracks submitted.\u003c\/p\u003e\n\n\u003cp\u003ePrior to cutting the album, the best of these demos were released as a limited-edition promotional EP, titled First Sessions. Norah and band started to play fewer and fewer straight jazz gigs turning their focus to original music while mixing in the covers and standards. Cassandra Wilson’s New Moon Daughter had been a favourite album of Norah’s and was a big inspiration for the kind of record she wanted to make so she asked Lundvall if she could work with producer Craig Street. Street agreed and they headed to Allaire Studios in upstate NY. Street brought in Bill Frisell and Kevin Breit on guitars, Brian Blade and Kenny Wollesen on drums, and Rob Burger on accordion and organ. Lee Alexander stayed on the bass, and Husky Höskulds, who had a love for vintage equipment and a knack for capturing a vibe on tape, recorded everything. Most of the songs from the demos were re-recorded as Norah explored where else she could take them while some new originals and a few covers were also tracked.\u003c\/p\u003e\n\n\u003cp\u003eThe label latterly rejected the 19 songs as being too far removed from what had made the demos so special and Lundvall suggested that Norah return to Sorcerer Sound Studios with legendary producer, Arif Mardin, who had worked with Aretha Franklin and Donny Hathaway among others. Mardin and Jones chose the best of the demos and the Craig Street sessions—'Don’t Know Why’ and ‘Turn Me On’ from the demo sessions and ‘The Long Day Is Over,’ ‘Feeling The Same Way,’ and ‘Seven Years’ from the Allaire sessions, all with a few new overdubs and new mixes—and recorded nine additional songs in the same spirit of the demos, with the original trio of Harris, Alexander and Reisler, plus Brian Blade back on drums, Adam Levy on guitar, and Jenny Scheinman on violin.\u003c\/p\u003e\n\n\u003cp\u003eUltimately, all three sessions played a unique part in making the record what it ended up being: An eight-time Grammy Award®-winning album that Rolling Stone described as ‘One of the best debut albums of all time,’ that has gone on to sell close to 30 million units to date. ‘In the end I was so thankful that I got to explore a few different paths before putting them all together. No one, including the label, had any idea it would reach the success that it did. I’m forever grateful to Bruce and the very special team at Blue Note for giving me the chance to find my sound through all of it and for never telling me who I had to be.\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cbr\u003e\n1    Don’t Know Why     \u003cbr\u003e\n2    Seven Years     \u003cbr\u003e\n3    Cold Cold Heart     \u003cbr\u003e\n4    Feellin’ The Same Way     \u003cbr\u003e\n5    Come Away With Me     \u003cbr\u003e\n6    Shoot The Moon     \u003cbr\u003e\n7    Turn Me On     \u003cbr\u003e\n8    Lonestar     \u003cbr\u003e\n9    I’ve Got To See You Again     \u003cbr\u003e\n10    Painter Song     \u003cbr\u003e\n11    One Flight Down     \u003cbr\u003e\n12    Nightingale     \u003cbr\u003e\n13    The Long Day Is Over     \u003cbr\u003e\n14    The Nearness Of You\u003c\/p\u003e\n","brand":"Norah Jones","offers":[{"title":"Default Title","offer_id":45010599641368,"sku":"4507763","price":10.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/4297\/9608\/files\/SharedImage-131765.png?v=1772025750"},{"product_id":"come-away-with-me-deluxe-3cd","title":"Come Away With Me: Deluxe 3CD","description":"\u003cp\u003e3 CD Deluxe Edition Contains\u003c\/p\u003e\n\n\u003cp\u003eIn 1999 a 20-year-old Norah Jones came to New York from Texas and was quickly gigging around town with a home-made demo recording in her pocket. In the spring of 2000 she came to the attention of Bruce Lundvall, the head of Blue Note Records. Impressed by her grasp of the standards and her originality, Lundvall offered her a demo deal with the option for the label to extend this to a full album deal. Norah mixed up the record with a focus on originals she and her band had written rounded out with a few jazz standards she loved. The collection of 13 songs, recorded over three days at Sorcerer Sound in Soho was engineered by Jay Newland who had worked on Etta James’ Billie Holiday tribute record ‘Mystery Girl’. The band: the same as that she had been gigging with—Jesse Harris on guitar, Lee Alexander on bass, and Dan Reiser on drums. Adam Rogers and Tony Scherr played guitar on a few additional songs and tabla player Vikram Gosh joined for one cut on the demo. Lundvall signed Norah as a Blue Note artist off the back of the thirteen tracks submitted.\u003c\/p\u003e\n\n\u003cp\u003ePrior to cutting the album, the best of these demos were released as a limited-edition promotional EP, titled First Sessions. Norah and band started to play fewer and fewer straight jazz gigs turning their focus to original music while mixing in the covers and standards. Cassandra Wilson’s New Moon Daughter had been a favourite album of Norah’s and was a big inspiration for the kind of record she wanted to make so she asked Lundvall if she could work with producer Craig Street. Street agreed and they headed to Allaire Studios in upstate NY. Street brought in Bill Frisell and Kevin Breit on guitars, Brian Blade and Kenny Wollesen on drums, and Rob Burger on accordion and organ. Lee Alexander stayed on the bass, and Husky Höskulds, who had a love for vintage equipment and a knack for capturing a vibe on tape, recorded everything. Most of the songs from the demos were re-recorded as Norah explored where else she could take them while some new originals and a few covers were also tracked.\u003c\/p\u003e\n\n\u003cp\u003eThe label latterly rejected the 19 songs as being too far removed from what had made the demos so special and Lundvall suggested that Norah return to Sorcerer Sound Studios with legendary producer, Arif Mardin, who had worked with Aretha Franklin and Donny Hathaway among others. Mardin and Jones chose the best of the demos and the Craig Street sessions—'Don’t Know Why’ and ‘Turn Me On’ from the demo sessions and ‘The Long Day Is Over,’ ‘Feeling The Same Way,’ and ‘Seven Years’ from the Allaire sessions, all with a few new overdubs and new mixes—and recorded nine additional songs in the same spirit of the demos, with the original trio of Harris, Alexander and Reisler, plus Brian Blade back on drums, Adam Levy on guitar, and Jenny Scheinman on violin.\u003c\/p\u003e\n\n\u003cp\u003eUltimately, all three sessions played a unique part in making the record what it ended up being: An eight-time Grammy Award®-winning album that Rolling Stone described as ‘One of the best debut albums of all time,’ that has gone on to sell close to 30 million units to date. ‘In the end I was so thankful that I got to explore a few different paths before putting them all together. No one, including the label, had any idea it would reach the success that it did. I’m forever grateful to Bruce and the very special team at Blue Note for giving me the chance to find my sound through all of it and for never telling me who I had to be.\u003c\/p\u003e\n\n\u003cul\u003e\n\t\u003cli\u003enew remastering of the eight-time Grammy®-winning album by Ted Jensen at Sterling Sound, engineer on the original album\u003c\/li\u003e\n\t\u003cli\u003e11 unreleased demos (including Norah’s home-made demos, and the demos cut for Blue Note\u003c\/li\u003e\n\t\u003cli\u003e6 rare tracks only previously released on the promo-only First Sessions EP\u003c\/li\u003e\n\t\u003cli\u003e13 tracks from the Allaire Sessions—the original version of the album, produced by Craig Street, which was never released—including 11 previously unreleased tracks (9 alternate versions\/mixes alternate versions), all now newly-mixed by Tony Maserati\u003c\/li\u003e\n\t\u003cli\u003enew liner notes by Norah Jones\u003c\/li\u003e\n\t\u003cli\u003erare session photos \u0026amp; detailed track annotations\u003c\/li\u003e\n\u003c\/ul\u003e\n\n\u003cp\u003e\u003cbr\u003e\n\u003cstrong\u003eCD 1 | Come Away With Me - 20th Anniversary Remaster\u003c\/strong\u003e\u003cbr\u003e\n1    Don’t Know Why     \u003cbr\u003e\n2    Seven Years     \u003cbr\u003e\n3    Cold Cold Heart     \u003cbr\u003e\n4    Feelin’ The Same Way     \u003cbr\u003e\n5    Come Away With Me     \u003cbr\u003e\n6    Shoot The Moon     \u003cbr\u003e\n7    Turn Me On     \u003cbr\u003e\n8    Lonestar     \u003cbr\u003e\n9    I’ve Got To See You Again     \u003cbr\u003e\n10    Painter Song     \u003cbr\u003e\n11    One Flight Down     \u003cbr\u003e\n12    Nightingale     \u003cbr\u003e\n13    The Long Day Is Over     \u003cbr\u003e\n14    The Nearness Of You \u003cbr\u003e\n    \u003cbr\u003e\n\u003cstrong\u003eCD 2 | The Demos \/ First Sessions Outtakes \/ First Sessions EP\u003c\/strong\u003e\u003cbr\u003e\n1    Spring Can Really Hang You Up the Most     \u003cbr\u003e\n2    Walkin’ My Baby Back Home     \u003cbr\u003e\n3    World of Trouble     \u003cbr\u003e\n4    The Only Time     \u003cbr\u003e\n5    I Didn’t Know About You     \u003cbr\u003e\n6    Something Is Calling You tabla version     \u003cbr\u003e\n7    Just Like A Dream Today     \u003cbr\u003e\n8    When Sunny Gets Blue     \u003cbr\u003e\n9    What Am I To You     \u003cbr\u003e\n10    Hallelujah I Love Him So     \u003cbr\u003e\n11    Daydream     \u003cbr\u003e\n12    Don’t Know Why     \u003cbr\u003e\n13    Come Away With Me     \u003cbr\u003e\n14    Something Is Calling You     \u003cbr\u003e\n15    Turn Me On     \u003cbr\u003e\n16    Lonestar     \u003cbr\u003e\n17    Peace\u003cbr\u003e\n     \u003cbr\u003e\n\u003cstrong\u003eCD 3 | The Allaire Sessions\u003c\/strong\u003e\u003cbr\u003e\n1    I’ll Be Your Baby Tonight     \u003cbr\u003e\n2    I’ve Got To See You Again     \u003cbr\u003e\n3    What Would I Do     \u003cbr\u003e\n4    Come Away With Me     \u003cbr\u003e\n5    Picture In A Frame     \u003cbr\u003e\n6    Nightingale     \u003cbr\u003e\n7    Peace     \u003cbr\u003e\n8    What Am I To You     \u003cbr\u003e\n9    Painter Song     \u003cbr\u003e\n10    Turn Me On     \u003cbr\u003e\n11    A Little At A Time     \u003cbr\u003e\n12    One Flight Down     \u003cbr\u003e\n13    Fragile\u003c\/p\u003e\n","brand":"Norah Jones","offers":[{"title":"Default Title","offer_id":45010600493336,"sku":"4507772","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/4297\/9608\/files\/SharedImage-131815_copy.webp?v=1772025306"},{"product_id":"day-breaks","title":"Day Breaks","description":"\u003cp\u003eDay Breaks, the stunning sixth solo album which is a kindred spirit to Norah Jones' breakout debut Come Away With Me and finds the 9-time GRAMMY-winner returning to the piano and her roots.\u003cbr\u003e\nThe album features jazz luminaries including her Blue Note label mates saxophonist Wayne Shorter, organist Dr. Lonnie Smith, and drummer Brian Blade on a 12-song set that presents 9 new originals alongside covers of songs by Horace Silver, Duke Ellington and Neil Young.\u003cbr\u003e\n\"This new album feels full circle because I'm going back to my early influences,\" says Norah. \"After the first record, I drifted away from the piano a little bit. I still played it, but was more inspired to write on guitar. I really loved playing piano on this record.\"\u003cbr\u003e\n\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e1. Burn\u003cbr\u003e\n2. Tragedy\u003cbr\u003e\n3. Flipside\u003cbr\u003e\n4. It's A Wonderful Time For Love\u003cbr\u003e\n5. And Then There Was You\u003cbr\u003e\n6. Don't Be Denied\u003cbr\u003e\n7. Day Breaks\u003cbr\u003e\n8. Peace\u003cbr\u003e\n9. Once I Had A Laugh\u003cbr\u003e\n10. Sleeping Wild\u003cbr\u003e\n11. Carry On\u003cbr\u003e\n12. 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McCraven’s mastery of the loop is akin to hip-hop’s most celebrated beatmakers like J Dilla \u0026amp; Madlib, both of whom have also remixed Blue Note classics, but McCraven’s unique approach also incorporates newly recorded elements including his own drums, \u003cstrong\u003eJoel Ross\u003c\/strong\u003e’ vibraphone, \u003cstrong\u003eJeff Parker\u003c\/strong\u003e’s guitar, \u003cstrong\u003eMarquis Hill\u003c\/strong\u003e’s trumpet \u0026amp; more.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cu\u003eTracklisting:\u003c\/u\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003col style=\"list-style-type:decimal\"\u003e\n\t\u003cli\u003eA Slice Of The Top (AKA \"Sliced Off The Top)\u003c\/li\u003e\n\t\u003cli\u003eSunset (AKA \"Son Set\")\u003c\/li\u003e\n\t\u003cli\u003eWhen Your Lover Has Gone (AKA \"When You've Left Your Lover\")\u003c\/li\u003e\n\t\u003cli\u003eEcaroh (AKA \"Revlis\")\u003c\/li\u003e\n\t\u003cli\u003eTranquillity (AKA \"Corner Of The World\")\u003c\/li\u003e\n\t\u003cli\u003eWail Bait (AKA \"Wait Bail\")\u003c\/li\u003e\n\t\u003cli\u003eCoppin' The Haven (AKA \"At The Haven Coppin\")\u003c\/li\u003e\n\t\u003cli\u003eFrank's Tune (AKA \"De'Jeff's Tune)\u003c\/li\u003e\n\t\u003cli\u003eAutumn In New York (AKA \"Spring In Chicago\")\u003c\/li\u003e\n\t\u003cli\u003eMonaco (AKA \"Monte Negro\")\u003c\/li\u003e\n\t\u003cli\u003eMr.Jin (AKA \"Mr. Gin\")\u003c\/li\u003e\n\t\u003cli\u003eC.F.D. 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While Deciphering The Message collects songs from several years of Blue Note history, it plays like a continuous set taking place in one show at one venue. “Pee Wee” Marquette, Birdland Jazz Club’s master of ceremonies from 1949 to 1965, narrates this album, and his inclusion places the LP somewhere on the timeline between jazz music’s transition from bebop to hard bop. “When piecing everything together, I wanted to create a narrative that made the listener feel like they were falling into this space or a movement,” McCraven says. “I was really trying to make a record out of it, not just a series of tracks.” McCraven has always been a collaborative artist who prefers the energy of in-person sessions over the isolation of creating alone. That’s no different here: Deciphering The Message features new recorded elements from vibraphonist Joel Ross, trumpeter Marquis Hill, alto saxophonist Greg Ward, guitarists Matt Gold and Jeff Parker, bassist Junius Paul, and De’Sean Jones on tenor saxophone and flute. In that way, Deciphering The Message connects the past and present, proving that musicians become legends by trekking the same roads with like-minded creators all moving toward the same goal. To that end, McCraven hopes the album is both educational and an outright good listen. “I always want to make music that will connect with people in one way, where it makes them nod or feel something or transport them somewhere,” he says. “I also hope this makes them check out the source of this music if they have it. 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The Jazz Messengers were among the first modern jazz groups to tour the country, and adoring Japanese audiences were enthralled by one of the band’s all-time great line-ups featuring the legendary drummer with \u003cstrong\u003eLee Morgan \u003c\/strong\u003eon trumpet, \u003cstrong\u003eWayne Shorter\u003c\/strong\u003e on tenor saxophone, \u003cstrong\u003eBobby Timmons\u003c\/strong\u003e on piano, and \u003cstrong\u003eJymie Merritt\u003c\/strong\u003e on bass. The concert featured soaring performances of well-known jazz staples including Charlie Parker’s “Now’s the Time,” Thelonious Monk’s “Round About Midnight,” and Jazz Messenger hits including “Blues March,” “Dat Dere,” and “Moanin’.” \u003cem\u003eFirst Flight to Tokyo \u003c\/em\u003ewas co-produced by \u003cstrong\u003eZev Feldman\u003c\/strong\u003e and \u003cstrong\u003eDavid Weiss\u003c\/strong\u003e. 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