News

June 11, 2020—Verve Label Group and UMe announced today the July 31st launch of a new “audiophile grade”, all-analog reissue series supervised by Acoustic Sounds CEO Chad Kassem, featuring iconic titles from the Verve, Impulse!, Philips, EmArcy and Decca catalogs.

Two titles will be released towards the end of each month between July and November, 2020 beginning on July 31st with two legendary collaborations: the Phil Ramone-engineered Getz/Gilberto (1964) and Louis Armstrong Meets Oscar Peterson (1959), recorded in stereo at Capitol Studios in 1957 and issued first in mono that year and in 1959 in stereo.

“Top mastering engineers” (probably chosen in “Kassem style” depending upon who’s in closest proximity to the master tape location), will cut lacquers directly from the original analog tapes, with Quality Record Pressing doing the plating and 180g vinyl pressing, packaged in Stoughton Printing Co. high quality tip-on gatefold jackets.

Pre-order Getz/Gilberto

Pre-order Louis Armstrong Meets Oscar Peterson

“We’re all about the highest possible quality at Acoustic Sounds. So, to work on a reissue series with Verve and UMe that’s about no-expense-spared quality— that’s a great opportunity. It’s wonderful to use the original analog masters of classic records by such legendary artists as Stan Getz & Joao Gilberto, John Coltrane, Peggy Lee, Clifford Brown & Max Roach and many others. Our aim with this series is to create the definitive versions of timeless jazz records, and we can’t wait for people to hear the results.” – Chad Kassem

The Acoustic Sounds Vinyl Reissue Series:

July 31/Verve Records
• Stan Getz/João Gilberto—Getz/Gilberto (1964)
• Louis Armstrong and Oscar Peterson—Louis Armstrong Meets Oscar Peterson (1958)

August 28th/Impulse! Records
• John Coltrane—Ballads (1963)
• John Coltrane—A Love Supreme (1964)

September 25th/Philips Records
• Nina Simone—I Put A Spell On You (1965)
• Nina Simone—Pastel Blues (1965)

October 30th/EmArcy Records
• Sarah Vaughan—Sarah Vaughan (with Clifford Brown) (1954)
• Clifford Brown and Max Roach—A Study in Brown (1959)

November 27/Decca Records
• Peggy Lee—Black Coffee (1956)
• George Russell—New York, N.Y. (1959)

“We are excited to launch our Acoustic Sounds series,” said Bruce Resnikoff, President & CEO of UMe. “Verve and UMe have one of the richest jazz catalogs ever recorded and our goal is to give vinyl and jazz lovers the best possible versions of classic albums. The Acoustic Sounds series is designed to appeal to today's most discriminating fans, looking for the very finest in both artistic content and audio quality.”

From today’s press release:

Louis Armstrong Meets Oscar Peterson is a brilliant undertaking in which Verve’s legendary “house pianist” encountered one of jazz’s most revered giants. A significant part of Peterson’s genius was his ability to be an exceptional pianist and leader, while also being a perfect accompanist when the circumstance demands… and in a situation like this, to be both. Armstrong is not only recognized as one of the most innovative, singular, fascinating and beloved artists of the 20th century, but also one of the most generous in the way he embraced and stimulated his collaborators. Backed by the Oscar Peterson Trio – bassist Ray Brown and guitarist Herb Ellis, and augmented by frequent fourth member Louis Bellson on drums – these peerless heavyweights created an album that is utterly compelling, radiantly jubilant and consummate in artistry. The musicians provided the setting for the jewel that is Pops, with Peterson perfectly embellishing every phrase Armstrong sings, or plays. The focus here is primarily upon his totally personal and thoroughly captivating vocal style, with his occasional trumpet solos limited in all but one case to a single chorus. Essentially culled from the Great American Song Book – Cole Porter, the Gershwins and Harold Arlen among the songwriters – the pieces range from poignant ballads and blues to effusive easy-grooved swing. Each song is an exquisitely crafted gem that will warm the heart and enrich the soul.

Getz/Gilberto is not only a marvelous album, but one which had a profound influence upon the face of jazz and American popular music. This stunning 1964 collaboration between Stan Getz, one of the most popular and respected tenor saxophonists of the era, and the remarkable Brazilian guitarist João Gilberto, launched the bossa nova craze and the career of João’s wife Astrud Gilberto with the hugely popular and iconic hit song, “The Girl from Ipanema (Garota de Ipanema).” Even more impactful, it introduced the famed Brazilian composer Antonio Carlos Jobim to the English-speaking musical world. In addition to playing piano on the album, Jobim also composed six of the eight compositions, including two of his most popular masterpieces, “Desafinado” and “Corcovado,” along with the aforementioned “Garota de Ipanema”.

While Getz had embraced the music of Brazil prior to this with two outstanding Verve albums – Jazz Samba and Big Band Bossa Nova – Getz/Gilberto, with multiple Grammy Awards and a permanent place on various Best Albums of All-time lists is the album that launched a revolution. Regardless of that, the collaborative blending of Getz’s fluid, muscular virtuosity and João’s impeccable acoustic guitar stylings and captivating vocals, Astrud’s enchanting almost-whispered singing on two tracks, all backed by Jobim’s minimalist subtlety on piano and the flawless support of Sebãstio Neto and Milton Banana on bass and drums, make this an utterly momentous musical experience regardless of its lofty place in musical history.