Verve Label Group is getting into the subscription vinyl game with the recently-announced Verve Record Club. The new monthly venture will offer fans new vinyl pressings of classic albums from the Verve, Impulse!, Mercury, CTI, Decca and MGM label catalogues, promising titles by John Coltrane, Nina Simone, Louis Armstrong, Ella Fitzgerald, Bill Evans, Billie Holiday, Ahmad Jamal and Sarah Vaughan, to name a few.

The new pressings will all be remastered from the original analog tapes by Ryan K. Smith at Sterling Sound. Each title will be pressed on 180-gram vinyl at RTI and packaged in deluxe, numbered tip-on LP jackets. Limited to 2,500 copies apiece, the Club also promises annual exclusive releases and merchandise down the road. (Initial orders will receive an exclusive turntable slipmat.) Monthly subscriptions are $47, with savings offered to those who subscribe in three, six or 12-month increments.

"Jazz vinyl collecting has never been more vibrant," Ken Druker, Verve's senior vice president of jazz development, said in a statement. "We're thrilled to bring these classics--and some hidden gems--back to life with an exhaustive attention to detail. It's an exciting time for jazz fans everywhere."

The Verve Record Club has already announced its releases from February to August, which we're detailing below. You can learn more and sign up here.

February: John Coltrane Quartette, Coltrane (Impulse!, 1962)

Though overlooked by critics at the time of release, Coltrane - the late saxophonist's third album for Impulse! - was the first anywhere to feature the ensemble of Trane, pianist McCoy Tyner, bassist Jimmy Garrison and drummer Elvin Jones. Featuring modal variations on Arlen and Mercer ("Out of This World") and Loesser ("The Inch Worm") alongside originals "Tunji" and "Miles' Mode," Coltrane is a fine example of the man's work.

March: Nina Simone, High Priestess of Soul (Philips, 1967)

A moniker that would become shorthand for the iconoclastic singer/pianist, this lively album (featuring Miss Simone accompanied by an orchestra arranged and conducted by Hal Mooney) dabbles in jazz, folk and rock, interpreting songwriters like Chuck Berry's "Brown Eyed Handsome Man" and Nat Adderley and Oscar Brown, Jr.'s "Work Song" along with originals "Come Ye" and "Take Me to the Water." (Fun fact: tracks "I Hold No Grudge" and "He Ain't Comin' Home No More" were co-written by John Clifford and a man credited as Andy Badale - who'd become immensely regarded under his real name of Angelo Badalamenti, longtime composer for the films of the late director David Lynch.)

April: Louis Armstrong, Hello, Dolly! (Kapp, 1964)

Satchmo singing standards was nothing new in 1964: "A Kiss to Build a Dream On" and "Jeepers Creepers" were long part of the trumpeter's vocal catalogue, and numbers like "Blueberry Hill" and "Moon River" fit nicely with his unmistakable voice. But no one could have expected the popularity of Jerry Herman's title song to the new Broadway musical. His jaunty rendition topped the Billboard Hot 100 for a week in the spring of 1964, ending the imperial 14-week reign of The Beatles in the top spot and securing his position as a jazz icon for a whole new generation.

May: Bill Evans, Empathy (Verve, 1962)

A terrific meeting of the minds between two respected bandleaders - pianist Evans and drummer Shelly Manne (with Manne's bassist Monty Budwig rounding out the trio setting) - Empathy is all lighthearted takes on standards. Irvin Berlin ("Let's Go Back to the Waltz," "The Washington Twist"), Rodgers and Hart ("With a Song in My Heart"), Frank Loesser ("I Believe in You") and the sentimental "Danny Boy" are all tackled here.

June: Ella Fitzgerald, Ella Swings Gently with Nelson (Verve, 1962)

True to its name (a companion LP released that same year was titled Ella Swings Brightly), the First Lady and arranger Nelson Riddle bring endless grace to a baker's dozen of ballads, including "Georgia on My Mind," "I Can't Get Started" and "Body and Soul."

July: Stan Getz, (title TBA)

August: Billie Holiday, Stay with Me (Verve, 1958)

Recorded in 1955 - four years before Holiday's tragic death at the age of 44 - this session with Tony Scott and His Orchestra captures among the final prime recordings of Lady Day, including renditions of "Always," "Ain't Misbehavin'," "I've Got My Love to Keep Me Warm" and "Do Nothing Till You Hear from Me."