Verve Label Group and UMe Announce "Verve Vault"—A New Audiophile Vinyl Reissue Series

definitive HQ Pressings of essential jazz records from vast, legendary catalog

ALL TITLES MASTERED FROM ORIGINAL ANALOG TAPES BY RYAN K. SMITH AND PRESENTED ON 180-GRAM BLACK VINYL IN HIGH QUALITY PACKAGING

NEW SERIES WILL OFFER TWO TITLES A MONTH, LAUNCHING ON OCTOBER 10 WITH DIZZY GILLESPIE’S SONNY SIDE UP AND ANTONIO CARLOS JOBIM’S
THE COMPOSER OF DESAFINADO PLAYS

INAUGURAL SLATE OF RELEASES INCLUDES CLASSIC ALBUMS FROM ARCHIE SHEPP, BLOSSOM DEARIE, DINAH WASHINGTON, GÁBOR SZABÓ, JIMMY SMITH AND WES MONTGOMERY, MAX ROACH, PHAROAH SANDERS AND STAN GETZ

Los Angeles – August 22, 2025 – Verve Label Group and UMe, the global catalog division of Universal Music Group, are proud to announce Verve Vault, a new audiophile vinyl reissue series highlighting iconic jazz albums as well as overlooked gems from Verve’s vast catalog. The series will offer definitive, all-analog 180-gram vinyl pressings newly-mastered from the original analog master tapes by Ryan K. Smith at Sterling Sound and pressed at Optimal in Germany. Each release will combine exceptional audio fidelity with meticulous attention to detail — from mastering to jacket reproduction. The LPs will be packaged in high-quality tip-on gatefold jackets, replicating the original packaging.

Verve Vault will offer two releases a month from Verve Label Group’s venerated stable of labels, including Verve, Impulse!, Mercury, Decca and others.  The series will launch on October 10 with two of the most requested titles in Verve’s catalog: Dizzy Gillespie’s 1959 album, Sonny Side Up, which sees the jazz legend team up with fellow titans Sonny Stitt and Sonny Rollins for a triple tour de force, and Antonio Carlos Jobim’s 1963 debut album, the instrumental bossa nova classic, The Composer Of Desafinado Plays.

Pre-order Dizzy Gillespie’s Sonny Side Up: DizzyGillespie.lnk.to/SonnySideUpPR
Pre-order Antonio Carlos Jobim’s The Composer Of Desafinado Plays: AntonioCarlosJobim.lnk.to/ComposerOfDesafinadoPR

Verve Vault’s inaugural slate of release includes legendary albums from the likes of Archie Shepp, Blossom Dearie, Dinah Washington, Gábor Szabó, Jimmy Smith and Wes Montgomery, Max Roach, Pharoah Sanders and Stan Getz. See the full schedule and descriptions for each below.

“With the success and popularity of our various vinyl reissue series, we continually receive requests for even more well-curated lines of the best titles from Verve, Impulse, Mercury, and other select catalogs we look after and so our team is thrilled to be rolling out the Verve Vault series,” said Jamie Krents, President & CEO of Verve Label Group. “We’ve spared no time or expense in making sure the audio quality and packaging live up to the brilliant music these titles contain and we are proud to bring this new series to jazz fans new and old.”

“We are excited to launch this new series to celebrate Verve’s extraordinary catalog and to offer definitive audiophile-grade pressings of some of the best and most influential jazz albums in history,” said Bruce Resnikoff, President & CEO of UMe. “Like many of our other vinyl series, these records will be of the utmost quality and sourced from the original analog tapes to offer an unparalleled listening experience. “

VERVE VAULT 2025/2026 SCHEDULE

October 10, 2025
• Dizzy Gillespie – Sonny Side Up (1959)
• Antonio Carlos Jobim – The Composer of Desafinado Plays (1963)

November 14, 2025
• Stan Getz – Focus (1961)
• Jimmy Smith and Wes Montgomery – Jimmy & Wes (The Dynamic Duo) (1966)

December 12, 2025
• Max Roach – Percussion Bitter Sweet (1961)
• Archie Shepp – Four for Trane (1964)

January 9, 2026
• Dinah Washington – What a Diff’rence a Day Makes (1959)
• Blossom Dearie – Give Him The Ooh-La La (1958)

February 13, 2026
• Sonny Rollins – Brass/Trio (1958)
• Stan Getz and the Oscar Peterson Trio - Stan Getz and the Oscar Peterson Trio (1958)

March 13, 2026
• Gábor Szabó – Spellbinder (1966)
• Pharoah Sanders – Elevation (1974)

Dizzy Gillespie – Sonny Side Up (1959)
Sonny Side Up, released in 1959 on Verve Records, is the masterful studio collaboration between trumpeter Dizzy Gillespie and tenor saxophonists Sonny Rollins and Sonny Stitt. Recorded in December 1957 with producer Norman Granz, the album brings together three of modern jazz’s most distinctive musicians in a rare frontline configuration. Gillespie, already a pivotal architect of bebop, trades choruses with two tenor titans of contrasting approach: Rollins, with his thematic development and rhythmic elasticity, and Stitt, with his rapid-fire bebop fluency. The frontline is anchored by a crisp and propulsive rhythm section featuring Ray Bryant on piano, Tommy Bryant on bass, and Charlie Persip on drums — capturing the fire and precision of late-1950s small-group jazz at its peak. It’s rumored that Gillespie playfully pitted Rollins and Stitt against each other ahead of the session which resulted in the bar being raised and the creation of an iconic album. Stitt dives in head-first with fiery intensity on “The Eternal Triangle,” a track frequently cited for its extended form and blistering tempo that stands as one of the definitive examples of the saxophone “cutting sessions” that defined the hard bop era, whereas Rollins counters with what can be seen as a more deliberate approach. Make no mistake, though, the two trade blows throughout the set leaving no doubt that both are heavyweight champions.

Antonio Carlos Jobim – The Composer of Desafinado Plays (1963)
The Composer of Desafinado Plays, released in 1963 on Verve Records, marked the U.S. debut of Brazilian songwriter and pianist Antonio Carlos Jobim as a bandleader and documents the beginning of what would become a long-term creative relationship between Jobim and arranger Claus Ogerman that helped define the international sound of bossa nova. Recorded in New York in 1962 and produced by Creed Taylor, the 12-song instrumental set pairs Jobim’s understated guitar and piano work with Ogerman’s lush orchestral arrangements, backed by a mostly American studio ensemble with select Brazilian contributors, including flutist Leo Wright and drummer Edison Machado. The album presents Jobim’s compositions in refined, jazz-inflected settings aimed at U.S. listeners already discovering bossa nova through artists like Stan Getz and Charlie Byrd. The tracklist features early American recordings of what would become some of Jobim’s best-known songs, including “The Girl From Ipanema,” “Desafinado,” “Corcovado,” and “Agua de Beber.” With its soft textures, streamlined rhythms, and harmonic richness, the record emphasizes the poised intimacy that became a hallmark of Jobim’s songwriting — cementing his role as both architect and ambassador of the bossa nova movement.

Stan Getz – Focus (1961)
Focus, released in 1961 on Verve Records, stands as a singular entry in saxophonist Stan Getz’sdiscography — a chamber jazz suite composed and arranged by Eddie Sauter, with Getz as its sole improviser. Recorded in July 1961 at Webster Hall in New York City, Focus pairs Getz’s expressive tenor saxophone with a string orchestra conducted by Hershy Kay. Sauter’s seven-movement suite — originally envisioned for violinist Jascha Heifetz — unfolds in layered harmonic landscapes and orchestral textures. Getz’s parts were entirely improvised, captured live in single takes without written music, as he navigated pre-composed frameworks with melodic invention and emotional clarity. The album represents a true collaboration between Sauter and Getz, and a radical departure from the conventions of jazz “with strings” albums of the time. Sauter’s charts emphasize contrapuntal writing, rhythmic complexity, and harmonic ambiguity, while Getz — unedited and unrehearsed in the traditional sense — weaves a lyrical, instinctive line throughout. The result remains one of the most original and artistically daring projects in Getz’s recorded legacy; the artist’s favorite of all the records he made.

Jimmy Smith and Wes Montgomery – Jimmy & Wes (The Dynamic Duo) (1966)
Jimmy & Wes (The Dynamic Duo), released in 1966 on Verve Records, captures the only full-length studio collaboration between Hammond B3 organist Jimmy Smith and guitarist Wes Montgomery. Produced by Creed Taylor and arranged by Oliver Nelson, Jimmy & Wes brought together two of jazz’s most distinctive voices in an expansive big band setting. Recorded over three days in September 1966 at Rudy Van Gelder’s Englewood Cliffs studio, the sessions featured a brass-and reed-heavy ensemble and a top-tier rhythm section with drummer Grady Tate and bassist Richard Davis. Montgomery’s melodic guitar lines and Smith’s fiery organ grooves find a vibrant setting in Nelson’s tight, punchy arrangements — rich in harmonic color and rhythmic drive. The program blends originals and standards, including Smith’s bluesy “James and Wes” and a reimagined “Baby, It’s Cold Outside” transformed into a simmering, minor-key vamp. Nelson’s orchestrations give the album cinematic sweep without sacrificing the interplay between its stars. The result is a rare meeting of two jazz giants, captured during a period of broad popular success, with the added presence of one of the era’s most accomplished arrangers.

Max Roach – Percussion Bitter Sweet (1961)
Percussion Bitter Sweet, released in 1961 on Impulse! Records, is one of preeminent jazz drummer Max Roach’s most politically charged and musically expansive recordings. Recorded over two days in September 1960 at Universal Studios in Chicago, the record reflects Roach’s deepening engagement with themes of social justice and Pan-African identity. The ensemble features trumpeter Tommy Turrentine, tenor saxophonist Clifford Jordan, and tuba innovator Ray Draper, alongside Roach’s own commanding blend of cymbal textures, mallets, and explosive rhythmic detail. The inclusion of vocalist Abbey Lincoln — Roach’s artistic and political partner at the time — adds urgency and emotional power to the project’s most pointed statements. While not formally structured as a suite, the album’s six tracks move fluidly between spiritual lament, militant swing, and improvisational abstraction. The opening piece, “Garvey’s Ghost,” sets the tone with Afro-Caribbean rhythmic undercurrents, while “Mendacity” takes aim at hypocrisy with biting horn lines and Lincoln’s dramatic delivery. Elsewhere, “Mama” and “Praise for a Martyr” explore personal and collective grief through dynamic interplay and modal intensity.

Archie Shepp – Four for Trane (1964)
Four for Trane, released in 1964 on Impulse! Records, was saxophonist Archie Shepp’s first major studio statement and remains one of his most influential albums. Co-produced by John Coltrane and recorded at Rudy Van Gelder’s Englewood Cliffs studio, the set presents Shepp performing four Coltrane compositions — “Naima,” “Mr. Syms,” “Syeeda’s Song Flute,” and “Cousin Mary” — alongside Shepp’s own “Rufus.” Rather than offering faithful renditions, Shepp and arranger Roswell Rudd reimagine Coltrane’s material with bold ensemble voicings, fluctuating time signatures, and unfettered improvisation. The result is an album that honors Coltrane’s vision while reframing it through the lens of the emerging avant-garde. The quintet — Shepp on tenor saxophone, Rudd on trombone, Alan Shorter on flugelhorn, Reggie Workmanon bass, and Charles Moffett on drums — bridges the intensity of free jazz with the formal rigor of post-bop. Released at a pivotal moment in Shepp’s artistic development, Four for Trane signaled his arrival as a vital and progressive voice within the new wave of 1960s jazz.

Dinah Washington – What A Diff’rence A Day Makes (1959)
What A Diff’rence A Day Makes, released in 1959 on Mercury Records, marked a turning point in the career of vocalist Dinah Washington — earning her a GRAMMY Award and bringing her rich, blues-informed style into the world of lush orchestral pop. Produced by Clyde Otis and arranged by Belford Hendricks, the album represents Washington’s successful crossover from jazz and R&B into the mainstream pop market. The title track, originally written in Spanish in the 1930s and popularized in English by other vocalists, became Washington’s signature song after her version climbed the Billboard charts and won the 1960 GRAMMY for Best Rhythm & Blues Performance — the first year the award was presented. The album balances Washington’s commanding vocal presence with sophisticated arrangements that blend strings, rhythm section, and light brass. Tracks like “Cry Me a River,” “Manhattan,” and “Time After Time” showcase her ability to deliver emotional nuance and rhythmic phrasing with precision and ease. The result is a seamless fusion of jazz tradition and contemporary production, establishing Washington as one of the most versatile and expressive vocalists of her era.

Blossom Dearie – Give Him The Ooh-La La (1958)
Give Him The Ooh-La La, released in 1958 on Verve Records, captures pianist and vocalist Blossom Dearie’s signature blend of cool understatement, crisp diction, and harmonic finesse. Produced by Norman Granz, the session features Dearie on piano and vocals, leading a quartet with guitarist Herb Ellis, bassist Ray Brown, and drummer Jo Jones. The program includes songs by Cole Porter, Rodgers & Hart, and Noël Coward, along with two Dearie co-writes — “Try Your Wings” and “Bang Goes the Drum (And You’re in Love)” — which showcase her wit and compositional touch. From the sly charm of the title track to the graceful melancholy of “Plus je t’embrasse,” Dearie’s performances balance elegance with rhythmic ease. The intimate arrangements leave space for subtle interplay between her voice and piano, supported by a rhythm section steeped in the language of swing and bop.

Sonny Rollins – Brass/Trio (1958)
Brass/Trio, released in 1958 on Verve Records, is an unusual two-sided statement from saxophonist Sonny Rollins — pairing a full brass ensemble session on one side with a stripped-down saxophone trio on the other. The first half features Rollins with a brass ensemble arranged and conducted by Ernie Wilkins, recorded in New York in July 1958. The lineup includes trumpeter Harry “Sweets” Edison, trombonists J.J. Johnson and Jimmy Cleveland, and tuba player Don Butterfield, supported by a rhythm section of pianist Dick Katz, guitarist Rene Thomas, bassist Henry Grimes, and drummer Roy Haynes. Together, they provide a swinging, harmonically rich backdrop for Rollins on standards like “Who Cares?” and “Love Is A Simple Thing.” The second half was recorded days later in Los Angeles with bassist Henry Grimes and drummer Specs Wright — a pared-down trio setting that emphasizes Rollins’ rhythmic command and melodic elasticity. Tracks like “Raincheck,” “My One and Only Love,” and “Just in Time” showcase his ability to move effortlessly between ballad interpretation and fleet improvisation.

Stan Getz and the Oscar Peterson Trio – Stan Getz and the Oscar Peterson Trio (1958)
Stan Getz and the Oscar Peterson Trio, released in 1958 on Verve Records, documents a rare meeting between two contrasting but complementary jazz greats: the cool-toned tenor saxophonist Stan Getz and the hard-driving Oscar Peterson Trio. Produced by Norman Granz and recorded in Hollywood in October 1957, the session finds Getz joining a veteran rhythm section already regarded as one of the most cohesive in jazz: Peterson on piano, Herb Ellis on guitar, and Ray Brown on bass. With no drummer present, the group maintains a buoyant, propulsive swing, giving Getz the space to stretch out across a program of standards and originals, including “I Want to Be Happy,” “Tour’s End,” and “Bronx Blues.” While Getz was often heard in more subdued or orchestrated contexts during this period, this session highlights his command of bebop language and small-group swing. Peterson’s trio, known for its drive and responsiveness, adapts fluidly to Getz’s tone and phrasing, yielding a session marked by relaxed interplay, rhythmic clarity, and understated virtuosity.

Gábor Szabó – Spellbinder (1966)
Spellbinder, released in 1966 on Impulse! Records, introduced Hungarian guitarist Gábor Szabó to a wider American audience with a set that blends modal jazz, Eastern European folk influences, and 1960s pop textures. Recorded in May 1966 at Rudy Van Gelder’s Englewood Cliffs studio and produced by Bob Thiele,Spellbinder features Szabó in a quintet setting with pianist Chick Corea (in one of his earliest recorded sessions), bassist Albert Stinson, drummer Chico Hamilton, and percussionist Willie Bobo. The group’s hypnotic blend of grooves and drones helped establish Szabó’s signature approach: vamp-based forms, sitar-like guitar articulation, and modal lines shaped by his Eastern European heritage. The title track, a slow-building vamp, showcases Szabó’s minimalist phrasing and rhythmic sensitivity. The record’s standout moment is a reimagining of Sonny Bono’s “Bang Bang (My Baby Shot Me Down),” which Szabó transforms into a darkly lyrical modal meditation. Elsewhere, the group blurs the lines between jazz improvisation and global rhythms, bridging bop vocabulary with the expanding musical frontiers of the mid-1960s.

Pharoah Sanders – Elevation (1974)
Elevation, released in 1974 on Impulse! Records, finds tenor saxophonist Pharoah Sanders expanding his spiritual jazz vision on an album that balances ecstatic expression with focused ensemble interplay. Produced by Ed Michel and recorded in 1973 across a live performance and studio sessions, Elevationfeatures a dynamic ensemble including Joe Bonner on piano, John Heard on bass, and Michael Carvin on drums. Leon Thomas contributes vocals on the opening live track, “Greeting to Saud (Brother McCoy),” recorded at the Ash Grove in Los Angeles, while Kenneth Nash adds layered percussion and Michael White appears on violin. The album’s open forms, modal grooves, and spiritual themes underscore Sanders’s ongoing search for transcendence and cultural affirmation through sound. With chant-like melodies, circular motifs, and immersive rhythmic textures, pieces like “The Gathering” and the title track reflect a more meditative and exploratory side of Sanders’s aesthetic. Elevation marks the culmination of his Impulse! discography — a cohesive and spiritually resonant final studio statement that bridges the raw fire of earlier albums with a deeper, more spacious sound.

With these new best-in-class pressings, the new Verve Vault series is sure to appeal to both the most discriminating fans looking for quality pressings sourced from the original master tapes and seasoned crate diggers looking for their next discovery.