{"id":17709,"date":"2022-08-25T10:37:12","date_gmt":"2022-08-25T14:37:12","guid":{"rendered":"https:\/\/www.mosaicrecords.com\/?post_type=product&p=17709"},"modified":"2024-04-26T09:19:55","modified_gmt":"2024-04-26T13:19:55","slug":"freddie-hubbard-blue-note-impulse","status":"publish","type":"product","link":"https:\/\/www.mosaicrecords.com\/product\/freddie-hubbard-blue-note-impulse\/","title":{"rendered":"The Complete Freddie Hubbard Blue Note & Impulse Studio Sessions Limited Edition Box Set (#274 – 7 CDs)"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”17733″ animation=”Fade In” hover_animation=”none” alignment=”” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default”][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”3\/4″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

One Of The Most Original Jazz Trumpeters
\nOf The Last 40 Years<\/h2>\n

Stunning Audio Quality<\/strong><\/h3>\n

Mastered from hi-res files of the original analog masters by Malcolm Addey. Thanks to current 24 bit\/192 hKz technology and dramatic improvement in analog to digital converters, the sound on this set is far superior to any previous CD issues and is astonishingly close to that of audiophile vinyl.<\/p>\n

Ten Classic Studio Albums on Seven CDs<\/strong><\/h3>\n

This limited edition collection traces Hubbard\u2019s rise to prominence by collecting the entire ten studio albums recorded during his first six years as a leader. All of the music gives evidence of a brilliant player with an ever-more-personal voice, a budding composer who would go on to pen several jazz classics.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_zigzag color=”black” el_border_width=”10″][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

“From the moment he played one note you knew that was Freddie Hubbard. He had a sound that was as distinctive as Miles Davis, as Louis Armstrong, as Clifford Brown. I mean, he’s one of those trumpet players.”<\/em> –<\/strong> Stanley Crouch<\/h3>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][tabbed_section style=”default” alignment=”left” spacing=”default” tab_color=”Extra-Color-1″ el_class=”mosaic-tabs”][tab icon_family=”none” title=”Description & Audio Clips” id=”1696943075641-2″ tab_id=”1696943075641-9″ el_class=”border-tab”][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left”][vc_column_inner column_padding=”padding-2-percent” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/6″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”17731″ animation=”Fade In” hover_animation=”none” alignment=”center” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default”][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” column_border_width=”none” column_border_color=”#d3d3d3″ column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

Freddie Hubbard
\nRarely Was A Trumpeter As Accomplished<\/h2>\n[\/vc_column_text][vc_column_text]Freddie Hubbard didn\u2019t just play trumpet, he played THE trumpet \u2013 he played with commanding strength and a rich, broad tone, he played with warmth and seduction, he played its entire spectrum from low register to high. Knowing it to be an instrument designed to respond well to dexterity, he became a virtuoso capable of dizzying 16th-note runs through surprising chord inversions, each the exact right note in the moment.<\/p>\n

He used his embouchure in new ways to bend and caress the sound, something more associated with saxophone players than brass. There wasn\u2019t one aspect of trumpet playing that Freddie Hubbard didn\u2019t master on the road to becoming one of the most consummate jazz soloists in the music\u2019s history.<\/p>\n

Even at the start of his career, Hubbard\u2019s command over his tone was exceptional. He could achieve deep and moving warmth, yet also unleash a ringing, brilliant call-to-attention when the composition demanded. As for his soloing, it\u2019s possible that his experience with the Jazz Messengers \u2013 which featured an expanded front line leading to shorter solos \u2013 taught him the value of what one writer called his \u201cnarrative clarity.\u201d Hubbard seemed to say more, and more coherently, without losing the thread in his solo statements.<\/p>\n

A broad spectrum of leaders wanted his power, his weight, his taste, and his inventiveness.<\/strong><\/p>\n

No wonder he was busy almost continuously from the moment he hit New York at the age of 20, already a working musician and immediately in demand. He became known mostly for a sound associated with Blue Note Records and hard bop, but quickly he was everywhere doing everything — with Eric Dolphy (his roommate) on \u201cOutward Bound,\u201d Ornette Coleman on \u201cFree Jazz,\u201d Herbie Hancock on \u201cMaiden Voyage,\u201d John Coltrane on \u201cAscension,\u201d Wayne Shorter on \u201cSpeak No Evil,\u201d and Oliver Nelson on \u201cThe Blues and the Abstract Truth.\u201d<\/p>\n

His work with Art Blakey\u2019s sextet from 1961 to \u201864 catapulted his compositional and improvisational talents to the world stage. That relationship yielded ten albums and introduced such Hubbard classics as \u201cDown Under,\u201d \u201cCrisis,\u201d \u201cUp Jumped Spring\u201d and \u201cThermo.\u201d<\/p>\n

Hubbard\u2019s collaborators on these Blue Note and Impulse! dates run the gamut from newcomers (in 1960) like Clifford Jarvis and McCoy Tyner, with the always-underrated Tina Brooks, to established royalty like Paul Chambers, Philly Jo Jones, and Hank Mobley just a year later. Other groupings through the years include Sam Jones, Cedar Walton, Larry Ridley, Jimmy Heath, Julian Priester, Elvin Jones, Art Davis, Wayne Shorter, Bernard McKinney, John Gilmore, Tommy Flanagan, Louis Hayes, Curtis Fuller, Art Davis, Reggie Workman, James Spaulding, Herbie Hancock, Eric Dolphy, Ronnie Mathews, Eddie Khan, Joe Chambers, Joe Henderson, Harold Mabern, Big Black, and Kiane Zawadi.<\/p>\n

Each album has treats for the listener<\/strong><\/p>\n

Now at last Freddie gets his own seven-CD box set, with a special twist. Thanks to a special arrangement with the labels, we were able to package \u201cThe Complete Freddie Hubbard Blue Note & Impulse \u201860s Studio Sessions\u201d in one box, representing every studio date he led from 1960 to 1966.<\/p>\n

There\u2019s never been a better way to trace his development as an artist or own some of the most significant music of his long career. It was an era when musicians like Hubbard weren\u2019t only making great music. They were making music history.<\/p>\n

With exceptional arrangements by Wayne Shorter in three distinctive settings (big band, strings and small group), the album \u201cThe Body & The Soul\u201d is a window into the work of a musician in complete control. From the flawless rendition of \u201cBody And Soul\u201d which he embraces, completely subduing the instrument\u2019s brassiness, to the sharper and more piercing approach to Ellington\u2019s \u201cChocolate Shake\u201d and the experimental vibe of \u201cClarence\u2019s Place\u201d featuring Eric Dolphy\u2019s jabs and jolts.<\/p>\n

His ballad mastery on \u201cBut Beautiful,\u201d his sensitivity on \u201cCry Me Not,\u201d the simmering intensity of \u201cLuana,\u201d and taut blowing on \u201cEarmon Jr.\u201d stand out, as does his cheerful, bright approach to \u201cHappy Times\u201d and his fleet, sure-footed flurry on \u201cPhilly Mignon.\u201d It\u2019s hard to imagine one musician leading four dates in the span of 16 months, while simultaneously participating on \u201cDoin\u2019 Alright\u201d with Dexter Gordon, \u201cAfrica\/Brass\u201d and \u201cOle Coltrane\u201d with John Coltrane, and holding down the trumpet chair with Art Blakey, but that was Hubbard at his finest.<\/p>\n

The Mosaic Treatment<\/strong><\/p>\n

Our box includes our exclusive Mosaic booklet featuring a complete discography and an essay and track-by-track analysis from our Blue Note chronicler Bob Blumenthal.<\/p>\n

The 12 x 12 booklet is rich with beautifully reproduced images from master photographer Francis Wolff. With over 30 photographs, many from the actual sessions, Wolff\u2019s images capture great musicians making history.<\/p>\n

All sessions are sourced from the original analog masters. Thanks to current 24 bit\/192 hKz technology and dramatic improvement in analog to digital converters, the sound on this set is far superior to any previous CD issues and is astonishingly close to that of audiophile vinyl.[\/vc_column_text][vc_column_text]\u201cFreddie Hubbard was, I believe, the greatest jazz trumpet stylists of my generation. His influence is still being felt in the sound of many young trumpeters today. His warm tone and formidable technique will be considered marvels well into the future.\u201d –<\/strong> <\/em>Herbie Hancock[\/vc_column_text][vc_zigzag color=”black” el_border_width=”10″][vc_column_text]\n

Selected Audio Clips<\/strong><\/span><\/h2>\n

Bob Blumenthal, liner note excerpts<\/p>\n[\/vc_column_text][divider line_type=”No Line”][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/6″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][\/vc_column_inner][\/vc_row_inner][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”17735″ animation=”Fade In” hover_animation=”none” alignment=”center” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default”][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”3\/4″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

Album: Open Sesame
\nAudio Clip: Open Sesame<\/h3>\n

Freddie Hubbard began his career on Blue Note leading a quintet that included two emerging players also making their first appearance on the label, pianist McCoy Tyner and drummer Clifford Jarvis. The veterans completing the group were bassist Sam Jones and tenor saxophonist Tina Brooks. Brooks is another of the many jazz musicians only fully appreciated posthumously. This is one of his most essential dates, highlighting his strengths as both composer and soloist.<\/p>\n

Brooks authored the title track, a minor key opus in extended (64 bar) AABA form that has a Horace Silverish main strain and a more relaxed bridge. Hubbard immediately establishes a strong, centered sound, great harmonic assurance, flawless execution when he enters the upper register and great rhythmic agility. Brooks is an ideal contrast with his light-heavyweight sound and ability to break the flow, then seamlessly recover. Tyner\u2019s chorus is single line, without the weight and pentatonic proclivities that would come to define his style.<\/p>\n\n

Album: Hub-tones
\nAudio Clip: Hub-tones<\/h3>\n

Freddie Hubbard had served as a Jazz Messenger for more than a year at this point, but his notions of what a working Freddie Hubbard band would sound like were quite clear to judge from this greatly undervalued album. It features a one-time ensemble of independently established associates.<\/p>\n

Herbie Hancock and Hubbard blend as effectively as they did on the pianist\u2019s Takin\u2019 Off, Reggie Workman had recently replaced Jymie Merritt with Blakey, and Clifford Jarvis returns from Hubbard\u2019s Open Sesame debut. James Spaulding, a constant companion for the remainder of the decade, is another Indianapolis native who worked alongside Hubbard in the Jazz Contemporaries band.<\/p>\n

After an introduction, \u201cHub-Tones\u201d employs a hectoring line to disguise its blues structure. This is our first chance to hear the distinctive trumpet\/alto blend that Hubbard and Spaulding were able to create, a sound that set them apart from other similarly constructed front lines.<\/p>\nhttps:\/\/www.mosaicrecords.com\/wp-content\/uploads\/2022\/08\/Hubbard-Highlights-02-online-audio-converter.com_.mp3<\/a><\/audio>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”17741″ animation=”Fade In” hover_animation=”none” alignment=”center” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default”][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”3\/4″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

Album: Breaking Point
\nAudio Clip: Mirrors<\/h3>\n

The 1964 \u201cBreaking Point\u201d introduced Freddie Hubbard\u2019s first working band with James Spaulding, Ronnie Mathews, Eddie Khan and Joe Chambers. The music played came from Hubbard and his drummer Joe Chambers.<\/p>\n

Joe Chambers\u2019 \u201cMirrors\u201d gave the record-buying public an introduction to a composer whose work would soon be extensively featured on Bobby Hutcherson\u2019s albums. Hutcherson had actually recorded the piece five months earlier, but the resulting album (The Kicker) was not released until 1999. The touching melody is presented in overlapping trumpet and flute lines and inspires Hubbard\u2019s warmest playing in the entire collection.<\/p>\nhttps:\/\/www.mosaicrecords.com\/wp-content\/uploads\/2022\/08\/Hubbard-Highlights-03-online-audio-converter.com_.mp3<\/a><\/audio>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”17742″ animation=”Fade In” hover_animation=”none” alignment=”center” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default”][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”3\/4″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

Album: Blue Spirits
\nAudio Clip: Outer Forces<\/h3>\n

Only Kiane Zawadi and James Spaulding returned for the second session of \u201cBlue Spirits\u201d. Conga drums were omitted, Hank Mobley and McCoy Tyner replaced Joe Henderson and Harold Mabern, and Pete LaRoca (also a member of Hubbard\u2019s working band) and Bob Cranshaw complete the rhythm section. The originals here are more complex and the voicings richer, yet they remain constructed around the affinity of Hubbard and Spaulding that made the pair\u2019s previous quintet albums so memorable.<\/p>\n

\u201cOuter Forces\u201d got its name, according to the composer, \u201cbecause the first chord is really out.\u201d Once the melody arrives, we have \u201cLove for Sale\u201d changes disguised by a funhouse-mirror foreshortening of the bridge. Hubbard, shifting and jabbing, never loses the rhythm section, and Spaulding\u2019s alto lands at some explosive midpoint between Lou Donaldson fatback and Eric Dolphy fringe. Mobley\u2019s solo reveals that the transition to his final, more declarative phase was not quite complete, though he\u2019s on the path.<\/p>\nhttps:\/\/www.mosaicrecords.com\/wp-content\/uploads\/2022\/08\/Hubbard-Highlights-04-online-audio-converter.com_.mp3<\/a><\/audio>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”17744″ animation=”Fade In” hover_animation=”none” alignment=”center” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default”][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”3\/4″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

Album: The Body And The Soul
\nAudio Clip: Dedicated to You<\/h3>\n

The album\u2019s third session is in a septet setting comprising all current Messengers save Blakey, Louis Hayes back on drums from the previous Impulse! album, and Dolphy on flute and alto sax. Shorter again provides arrangements, with the focus remaining on ballads.<\/p>\n

Flute is once again prominent at the opening of \u201cDedicated to You,\u201d a single-chorus performance that brings the ensemble back to launch the final eight bars. Hubbard is at his most direct here, with spare but effective Walton\u2019s support.<\/p>\nhttps:\/\/www.mosaicrecords.com\/wp-content\/uploads\/2022\/08\/Hubbard-Highlights-05-online-audio-converter.com_.mp3<\/a><\/audio>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

Additional Albums Included<\/h2>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/5″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”17750″ animation=”Fade In” hover_animation=”none” alignment=”center” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default”][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/5″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”17751″ animation=”Fade In” hover_animation=”none” alignment=”center” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default”][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/5″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”17752″ animation=”Fade In” hover_animation=”none” alignment=”center” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default”][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/5″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”17753″ animation=”Fade In” hover_animation=”none” alignment=”center” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default”][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/5″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”17754″ animation=”Fade In” hover_animation=”none” alignment=”center” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default”][\/vc_column_inner][\/vc_row_inner][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line”][vc_zigzag color=”black” el_border_width=”10″][vc_column_text]\n

Limited Edition:<\/strong>\u00a05000
\n(#274- 7 CDs)<\/strong><\/h2>\n

Freddie Hubbard made a lasting impression with these recordings alongside recognized leaders and future superstars. It\u2019s a collection that has never before been possible and will never be available again in this form when it sells out. We urge you to order yours today.[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][\/vc_column_inner][\/vc_row_inner][\/tab][tab icon_family=”none” title=”Discography” id=”1696943076115-4″ tab_id=”1696943076116-6″ sub_desc=”Audio Quality” el_class=”border-tab”][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left”][vc_column_inner column_padding=”padding-15-percent” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

THE COMPLETE FREDDIE HUBBARD BLUE NOTE & IMPULSE \u201860s STUDIO SESSIONS
\nMosaic MD7-274 (7 CDs)<\/h2>\n

Disc One:
\n1. Open Sesame (A) 7:08
\n(Tina Brooks)
\n2. But Beautiful (A) 6:24
\n(J. Burke-J. Van Heusen)
\n3. Gypsy Blue (A) 6:22
\n(Tina Brooks)
\n4. All Or Nothing At All (A) 5:33
\n(J. Lawrence-A. Altman)
\n5. One Mint Julep (A) 6:00
\n(Rudolph Toombs)
\n6. Hub\u2019s Nub (A) 6:52
\n(Freddie Hubbard)
\n7. Open Sesame (alt tk) (A) 7:14
\n(Tina Brooks)
\n8. Gypsy Blue (alt tk) (A) 7:32
\n(Tina Brooks)
\n9. Asiatic Raes (B) 6:43
\n(Kenny Dorham)
\n10. The Changing Scene (B) 5:46
\n(Hank Mobley)
\n11. Karioka (B) 6:12
\n(Kenny Dorham)<\/p>\n

Disc Two:
\n1. A Peck A Sec (B) 5:46
\n(Hank Mobley)
\n2. I Wished I Knew (B) 7:44
\n(Billy Smith)
\n3. Blues For Brenda (B) 6:59
\n(Freddie Hubbard)
\n4. Hub Cap (C) 5:14
\n(Freddie Hubbard)
\n5. Cry Me Not (C) 4:46
\n(Randy Weston)
\n6. Luana (C) 10:03
\n(Freddie Hubbard)
\n7. Osie Mae (C) 6:49
\n(Freddie Hubbard)
\n8. Plexus (C) 8:59
\n(Cedar Walton)
\n9. Earmon Jr. (C) 6:15
\n(Freddie Hubbard)
\n10. Plexus (alt tk) (C) 9:06
\n(Cedar Walton)<\/p>\n

Disc Three:
\n1. Arietis (D) 6:39
\n(Freddie Hubbard)
\n2. Weaver Of Dreams (D) 6:34
\n(V. Young-J. Elliott)
\n3. Marie Antoinette (D) 6:38
\n(Wayne Shorter)
\n4. Birdlike (D) 10:15
\n(Freddie Hubbard)
\n5. Crisis (D) 11:40
\n(Freddie Hubbard)
\n6. Arietis (alt tk) (D) 5:49
\n(Freddie Hubbard
\n7. Marie Anoinette (alt tk) (D) 6:13
\n(Wayne Shorter)
\n8. Caravan (E) 7:25
\n(Tizol-Ellington-Mills)
\n9. Bob\u2019s Place (E) 10:01
\n(Freddie Hubbard)
\n10. Happy Times (E) 4:26
\n(Freddie Hubbard)<\/p>\n

Disc Four:
\n1. Summertime (E) 10:03
\n(Gershwin-Gershwin-Heywood)
\n2. The 7th Day (E) 10:29
\n(Freddie Hubbard)
\n3. Philly Mignon (G) 5:27
\n(Freddie Hubbard)
\n4. Father And Son (G) 6:34
\n(Cal Massey)
\n5. Body And Soul (G) 6:26
\n(Green-Sour-Heyman-Eyton)
\n6. Nostrand And Fulton (G) 7:07
\n(Freddie Hubbard)
\n7. Full Moon And Empty Arms (G) 5:25
\n(B. Kaye-T. Mossman)
\n8. Assunta (G) 7:04
\n(Cal Massey)<\/p>\n

Disc Five:
\n1. You\u2019re My Everything (F) 6:33
\n(Dixon-Warren-Young)
\n2. Prophet Jennings (F) 5:27
\n(Freddie Hubbard)
\n3. Hub-tones (F) 8:20
\n(Freddie Hubbard)
\n4. Lament For Booker (F) 9:38
\n(Freddie Hubbard)
\n5. For Spee\u2019s Sake (F) 8:34
\n(Freddie Hubbard)
\n6. You\u2019re My Everything (alt tk) (F) 6:26
\n(Dixon-Warren-Young)
\n7. Hub-tones (alt tk) (F) 7:57
\n(Freddie Hubbard)
\n8. For Spee\u2019s Sake (alt tk) (F) 7:49
\n(Freddie Hubbard)
\n9. Body And Soul (J) 4:36
\n(Green-Sour-Heyman-Eyton)
\n10. Dedicated To You (J) 3:21
\n(Cahn-Chaplin-Zaret)
\n11. Clarence\u2019s Place (J) 3:26
\n(Freddie Hubbard)<\/p>\n

Disc Six:
\n1. Chocolate Shake (H) 3:54
\n(D. Ellington-P.F. Webster)
\n2. I Got It Bad (And That Ain\u2019t Good) (H) 3:38
\n(D. Ellington-P.F. Webster)
\n3. Skylark (H) 4:29
\n(H. Carmichael-J. Mercer)
\n4. Aries (I) 3:03
\n(Freddie Hubbard)
\n5. Carnival (Manha De Carnaval) (I) 5:17
\n(Bonfa-Peretti-Creatore-Weiss)
\n6. Thermo (I) 4:12
\n(Freddie Hubbard)
\n7. Breaking Point (K) 10:15
\n(Freddie Hubbard)
\n8. Far Away (K) 10:54
\n(Freddie Hubbard)
\n9. Blue Frenzy (K) 6:20
\n(Freddie Hubbard)
\n10. D Minor Mint (K) 6:22
\n(Freddie Hubbard)
\n11. Mirrors (K) 6:05
\n(Joe Chambers)
\n12. Blue Frenzy (45 tk) (K) 3:15
\n(Freddie Hubbard)
\n13. Mirrors (45 tk) (K) 3:21
\n(Joe Chambers)<\/p>\n

Disc Seven:
\n1. Soul Surge (L) 10:13
\n(Freddie Hubbard)
\n2. Cunga Black (L) 5:12
\n(Freddie Hubbard)
\n3. Blue Spirits (M) 12:11
\n(Freddie Hubbard)
\n4. Outer Forces (M) 9:32
\n(Freddie Hubbard)
\n5. Jodo (M) 7:05
\n(Freddie Hubbard)
\n6. The Melting Pot (N) 7:33
\n(Freddie Hubbard)
\n7. True Colors (N) 9:52
\n(Freddie Hubbard)<\/p>\n

 <\/p>\n

DISCOGRAPHY<\/strong>
\nThis discography only includes the first release of each performance.<\/p>\n

(A) OPEN SESAME
\nFreddie Hubbard, trumpet; Tina Brooks, tenor sax; McCoy Tyner, piano; Sam Jones, bass; Clifford Jarvis, drums.
\nVan Gelder Studio, Englewood Cliffs, NJ, June 19, 1960
\nTk. 3 Hub\u2019s Nub BST 84040
\nTk. 5 Gypsy Blue (alt tk) CD 7-84040-2
\nTk. 6 Gypsy Blue BST 84040
\nTk. 8 Open Sesame (alt tk) CD 7-84040-2
\nTk. 9 Open Sesame BST 84040
\nTk. 11 One Mint Julep –
\nTk. 17 But Beautiful –
\nTk. 22 All Or Nothing At All –<\/p>\n

(B) GOIN\u201d UP
\nFreddie Hubbard, trumpet; Hank Mobley, tenor sax; McCoy Tyner, piano; Paul Chambers, bass; Philly Joe Jones, drums.
\nVan Gelder Studio, Englewood Cliffs, NJ, November 6, 1960
\nTk. 2 Blues For Brenda BST 84056
\nTk. 9 Karioka –
\nTk. 17 Asiatic Raes (aka Lotus Blossum) –
\nTk. 19 A Peck A Sec (aka The Latest) –
\nTk. 21 The Changing Scene –
\nTk. 24 I Wished I Knew –<\/p>\n

(C) HUB CAP
\nFreddie Hubbard, trumpet; Julian Priester, trombone; Jimmy Heath, tenor sax; Cedar Walton, piano; Larry Ridley, bass; Philly Joe Jones. drums.
\nVan Gelder Studio, Englewood Cliffs, NJ, April 9, 1961
\nTk. 3 Earmon Jr. BST 84073
\nTk. 6 Hub Cap –
\nTk. 11 Cry Me Not –
\nTk. 14 Plexus (alt tk) CD 7-84073-2
\nTk. 15 Plexus BST 84073
\nTk. 18 Luana –
\nTk. 21 Osie Mae –<\/p>\n

(D) READY FOR FREDDIE
\nFreddie Hubbard, trumpet; Kiane Zawadi (Bernard McKinney), euphonium; Wayne Shorter, tenor sax; McCoy Tyner, piano; Art Davis, bass; Elvin Jones, drums.
\nVan Gelder Studio, Englewood Cliffs, NJ, August 21, 1961
\nTk. 5 Arietis BST 84085
\nTk. 6 Arietis (alt tk) CD 8-32094-2
\nTk. 7 Marie Antoinette BST 84085
\nTk. 10 Marie Antoinette (alt tk) CD 8-32094-2
\nTk. 12 Crisis BST 84085
\nTk. 13 Weaver Of Dreams –
\nTk. 16 Birdlike –<\/p>\n

(E) THE ARTISTRY OF FREDDIE HUBBARD
\nFreddie Hubbard, trumpet; Curtis Fuller, trombone; John Gilmore, tenor sax; Tommy Flanagan, piano; Art Davis, bass; Louis Hayes, drums.
\nVan Gelder Studio, Englewood Cliffs, NJ, July 2, 1962
\n10994 Caravan AS-27
\n10995 Happy Times –
\n10996 Summertime –
\n10997 Bob\u2019s Place –
\n10998 The 7th Day –<\/p>\n

(F) HUB-TONES
\nFreddie Hubbard, trumpet; James Spaulding, alto sax, flute; Herbie Hancock, piano; Reggie Workman, bass; Clifford Jarvis, drums.
\nVan Gelder Studio, Englewood Cliffs, NJ, October 10, 1962
\nTk. 3 You\u2019re My Everything BST-84115
\nTk. 4 You\u2019re My Everything (alt tk) CD 7-84115-2
\nTk. 5 Lament For Booker BST-84115
\nTk. 7 For Spee\u2019s Sake –
\nTk. 8 For Spee\u2019s Sake (alt tk) CD 7-84115-2
\nTk. 14 Prophet Jennings BST 84115
\nTk. 19 Hub-tones (alt tk) CD 7-84115-2
\nTk. 20 Hub-tones BST 84115<\/p>\n

(G) HERE TO STAY
\nFreddie Hubbard, trumpet; Wayne Shorter, tenor sax; Cedar Walton, piano; Reggie Workman, bass, Philly Joe Jones, drums.
\nVan Gelder Studio, Englewood Cliffs, NJ, December 27, 1962
\nTk. 4 Full Moon And Empty Arms BN-LA 496-2
\nTk. 9 Assunta –
\nTk. 18 Father And Son –
\nTk. 20 Nostrand And Fulton –
\nTk. 23 Body And Soul –
\nTk. 25 Philly Mignon –<\/p>\n

Note: This album was given the catalog number BST 84135 and a cover in 1963, but was not released at the time.<\/p>\n

(H) THE BODY AND THE SOUL (strings session)
\nFreddie Hubbard, Ed Armour, Richard Williams, trumpets; Melba Liston, Curtis Fuller, trombones; Bob Northern, Julius Watkins, French horns; Eric Dolphy, alto sax, flute; Jerome Richardson, baritone sax; Cedar Walton, piano; Reggie Workman, bass; Philly Joe Jones, drums; Harry Cykman, Morris Stonzek, Arnold Eidus, Sol Shapiro, Charles McCracken, Harry Katzman, Harry Lookofsky, Gene Orloff, Julius Held, Raoul Poliakin, strings. Arranged and conducted by Wayne Shorter
\nCapitol Studios, NYC, March 8, 1963
\n11412 Skylark AS-38
\n11413 I Got It Bad –
\n11414 Chocolate Shake –
\n11415 Body And Soul unissued or rejected \u2013 tape no longer exists<\/p>\n

(I) THE BODY AND THE SOUL (big band session)
\nFreddie Hubbard, Al DeRisi, Ernie Royal, Clark Terry, trumpets; Melba Liston, Curtis Fuller, trombones; Eric Dolphy, alto sax, flute; Seldon Powell, Jerome Richardson, tenor saxes; Charles Davis,, baritone sax; Bob Northern, French horn; , tuba; Cedar Walton, piano; Reggie Workman, bass; Philly Joe Jones, drums. Arranged and conducted by Wayne Shorter
\nVan Gelder Studio, Englewood Cliffs, NJ, March 11, 1963
\n11416 Carnival (Manha De Carnaval) AS-38
\n11417 Thermo –
\n11418 Aries –
\n11419 Far Away Blues unissued or rejected \u2013 tape no longer exists<\/p>\n

(J) THE BODY AND THE SOUL (small group)
\nFreddie Hubbard, trumpet; Curtis Fuller, trombone; Eric Dolphy, alto sax, flute; Wayne Shorter, tenor sax; Cedar Walton, piano; Reggie Workman, bass; Louis Hayes, drums.
\nVan Gelder Studio, Englewood Cliffs, NJ, May 2, 1963
\n11480 Body And Soul AS-38
\n11481 Dedicated To You –
\n11482 Clarence\u2019s Place –<\/p>\n

(K) BREAKING POINT
\nFreddie Hubbard, trumpet; James Spaulding, alto sax, flute; Ronnie Mathews, piano; Eddie Khan, bass; Joe Chambers, drums.
\nVan Gelder Studio, Englewood Cliffs, NJ, May 7, 1964
\n1345 Tk. 3 D Minor Mint BST 84172
\n1346 Tk. 10 Far Away –
\n1347 Tk. 11 Breaking Point –
\n1348 Tk. 14 Blue Frenzy –
\n1348 Tk. 15 Blue Frenzy (45 tk) 45-1908
\n1349 Tk. 23 Mirrors BST 84172
\n1349 Tk. 24 Mirrors (45 tk) 45-1908<\/p>\n

(L) BLUE SPIRITS (first session)
\nFreddie Hubbard, trumpet; Kiane Zawadi (Bernard McKinney), euphonium; James Spaulding, alto sax, flute; Joe Henderson, tenor sax; Harold Mabern, piano; Larry Ridley, bass; Clifford Jarvis, drums, Big Black, conga.
\nVan Gelder Studio, Englewood Cliffs NJ, February 19, 1965
\n1524 Outer Forces rejected
\n1525 Tk. 24 Soul Surge BST 84196
\n1526 Tk. 26 Cunga Black –<\/p>\n

(M) BLUE SPIRITS (second session)
\nFreddie Hubbard, trumpet; Kiane Zawadi (Bernard McKinney), euphonium; James Spaulding, alto sax, flute; Hank Mobley, tenor sax; McCoy Tyner, piano; Bob Cranshaw, bass; Pete LaRoca, drums.
\nVan Gelder Studio, Englewood Cliffs NJ, February 26, 1965
\n1527 Tk. 3 Jodo BST 84196
\n1528 Tk. 11 Blue Spirits –
\n1529 Tk. 15 Outer Forces –<\/p>\n

(N) Final studio session
\nFreddie Hubbard, trumpet; Joe Henderson, tenor sax; Hosea Taylor, alto sax -1, bassoon -2, Herbie Hancock, piano -1, celeste -2, Reggie Workman, bass, Elvin Jones, drums.
\nVan Gelder Studio, Englewood Cliffs, NJ, March 5, 1966
\n1706 Tk. 6 The Melting Pot -1 CD 7-46545-2
\n1707 Tk. 10 True Colors -2 –
\nFor B. P. -1 incomplete, rejected<\/p>\n

Album index:
\nLP:
\nOpen Sesame Blue Note BST 84040 (rel. September 1960)
\nGoin\u2019 Up Blue Note BST 84056 (rel. April 1961)
\nHub Cap Blue Note BST 84073 (rel. c. September 1961)
\nReady For Freddie Blue Note BST 84085 (rel. April 1962)
\nThe Artistry Of Freddie Hubbard Impulse AS 27 (rel. February 1963)
\nHub-Tones Blue Note BST 84115 (rel. October 1963)
\nHere To Stay Blue Note BNLA 496-2 (rel. 1976)
\nThe Body And The Soul Impulse AS-38 (rel. September 1964)
\nBreaking Point Blue Note BST 84172 (rel. August 1964)
\nBlue Spirits Blue Note BST 84196 (rel. January 1967)<\/p>\n

CD:
\nOpen Sesame Blue Note CD 7-84040-2 (rel. 1988)
\nHub Cap Blue Note CD 7-84073-2 (rel. 1988)
\nReady For Freddie Blue Note CD 8-32094-2 (rel. 1995)
\nHub-Tones Blue Note CD 7-84115-2 (rel. 1988)
\nBlue Spirits Blue Note CD 7-46545-2 (rel. 1987)<\/p>\n

Produced for release by Michael Cuscuna
\nOriginal sessions produced by Bob Thiele (E, H, I, J) and Alfred Lion (all others)
\nRecording engineers: Frank Abbey (H) and Rudy Van Gelder (all others)
\nMastered from hi-res files of the original analog masters by Malcolm Addey, Malcolm Addey Studio, NYC
\nAll photographs by Francis Wolff<\/p>\n

24-bit technology was utilized at all stages of the production of this Mosaic release.<\/p>\n

PRODUCER\u2019S NOTE:<\/strong>
\nSessions G through J appear slightly out of chronological sequence in order to keep each session
\nintact within a given disc as much as possible.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/tab][\/tabbed_section][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

\u201cRemastered to the highest standards, pressed on top-quality vinyl or CD, and sumptuously packaged, these editions are designed to please the most demanding of collectors.\u201d<\/strong><\/em><\/h3>\n

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