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Format > 180 Gram Jazz Vinyl
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 A Night In Tunisia
Art Blakey
$14.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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The lengthy title track on this LP easily overshadows the rest of the program for it is one of the most exciting versions ever recorded of Dizzy Gillespie's "A Night in Tunisia." Trumpeter Lee Morgan (then only in his early 20s), tenor saxophonist Wayne Shorter, pianist Bobby Timmons and bassist Jymie Merritt formed one of the strongest of the many versions of Art Blakey & the Jazz Messengers and are actually in fine form during the remainder of this amazing set.
Musicians:
Art Blakey — drums
Jackie McLean — alto saxophone
Johnny Griffin — tenor saxophone
Bill Hardman — trumpet
Sam Dockery — piano
Spanky DeBrest — bass
Track Listing:
1. A Night in Tunisia
2. Off the Wall
3.Theory of Art
4. Couldn't It Be You?
5. Evans
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 Angels And Demons At Play
Sun Ra
$14.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Sun Ra and his Myth-Science Arkestra
Track Listing:
1. Tiny Pyramids (Ra, Allen)
2. Between Two Worlds (Ra)
3. Music From The World Tomorrow (Ra)
4. Angels and Demons At Play (Ra)
5. Urnack (Priester)
6. Medicine For A Nightmare (Ra)
7. A Call For All Demons (Ra)
8. Demon's Lullaby (Ra)
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 Art Forms OF Dimensions Tomorrow
Sun Ra
$14.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Sun Ra and his Solar Arkestra
Track Listing:
1. CLUSTER OF GALAXIES
2. ANKH
3. SOLAR DRUMS
4. THE OUTER HEAVENS
5. INFINITY OF THE UNIVERSE
6. LIGHTS ON A SATELLITE
7. KOSMOS IN BLUE
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 Backlash
Freddie Hubbard
$17.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Track Listing:
1. Backlash - Donald Pickett
2. The Return Of The Prodigal Son - Harold Ousley
3. Little Sunflower - Freddie Hubbard
4. On The Que-Tee - Freddie Hubbard
5. Up Jumped Spring - Freddie Hubbard
6. Echoes Of Blue
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 Ballads
John Coltrane
$19.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Before this ballad album was released, John Coltrane’s critics and jazz fans classed him as an 'avant-gardist', a modernist, an angry, wild young man who made his tenor saxophone scream out. Tongues wagged that free jazz could be made by just anyone who hung a horn around his neck.
These eight ballads made people stop and listen with real pleasure. "Have you heard him? He can blow the notes properly, the pianist knows all the harmonies, and the drummer does far more than just bash!" These words were to be heard and read everywhere, in the specialist magazines, and in the jazz clubs from New York to Tokyo. All the themes are taken from the American Songbook, from musicals, and well-known numbers performed by Frank Sinatra, Johnny Mathis, Ella Fitzgerald and Peggy Lee among others. All of them have been performed time and time again and although the musicians played the themes for the very first time at the recording session, their interpretation was well structured while at the same time fresh and intense. With the exception of just one number, all the titles were a complete success at the very first take; but that is not merely that which underlines the high musical standard of the quartet. Fans and critics alike have continued to hold this early Impulse production in high esteem to this very day, which is certainly due to the producer Bob Thiele. But a great part of the album’s success is also due to the excellent work of the recording engineer Rudy Van Gelder, who has captured the intimate atmosphere with his microphones.
Musicians:
- John Coltrane (tenor saxophone)
- McCoy Tyner (piano)
- Jimmy Garrison (bass)
- Elvin Jones (drums)
Recording: December 1961, September and November 1962 at Englewood Cliffs, NJ, by Rudy Van Gelder
Production: Bob Thiele
Track Listing:
1. Say It (Over And Over Again)
2. You Don't Know What Love Is
3. Too Young To Go Steady
4. All Or Nothing At All
5. I Wish I Knew
6. What's New
7. It's Easy To Remember
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 Blues & Roots (Out of Stock)
Charles Mingus
$14.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
Temporarily out of stock
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Track Listing:
1. WEDNESDAY NIGHT PRAYER MEETING 2. CRYIN' BLUES 3. MOANIN' 4. TENSIONS 5. MY JELLY ROLL SOUL 6. E'S FLAT AH'S FLAT TOO
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 Change Of The Century
Ornette Coleman
$14.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Track Listing:
1. Ramblin' 6:34
2. Free 6:20
3. The Face Of The Bass 6:53
4. Forerunner 5:13
5. Bird Food 5:25
6. Uma Muy Bonita 5:51
7. Change Of The Century 4:41
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 Coltrane Jazz
John Coltrane
$15.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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The first album to hit the shelves after Giant Steps, Coltrane Jazz was largely recorded in late 1959, although one of the eight songs ("Village Blues") was done in late 1960. On everything save the aforementioned "Village Blues," Coltrane used the Miles Davis rhythm section of pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb. While not the groundbreaker that Giant Steps was, Coltrane Jazz was a good consolidation of his gains as he prepared to launch into his peak years of the 1960s. There are three standards aboard, but the group reaches their peak on Coltrane's original material, particularly "Harmonique" with its melodic leaps and upper-register saxophone strains and the winding, slightly Eastern-flavored principal riffs of "Like Sonny," dedicated to Sonny Rollins. The moody "Village Blues" features the lineup of McCoy Tyner on piano, Elvin Jones on drums, and Steve Davis on bass; with the substitution of Jimmy Garrison on bass, that personnel would play on Coltrane's most influential and beloved 1960s albums.
Musicians:
John Coltrane — tenor saxophone
Wynton Kelly — piano
Paul Chambers — bass
Jimmy Cobb — drums
McCoy Tyner — piano on "Village Blues"
Steve Davis — bass on "Village Blues"
Elvin Jones — drums on "Village Blues"
Cedar Walton — piano on "Like Sonny" alternate versions
Lex Humphries — drums on "Like Sonny" alternate versions
Track Listing:
1. Little Old Lady
2. Village Blues
3. My Shining Hour
4. Fifth House
5. Harmonique
6. Like Sonny
7. I'll Wait And Pray
8. Some Other Blues
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 Cosmic Tones For Mental Therapy
Sun Ra
$14.99
Vinyl LP Reissue - Sealed
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Track Listing:
1. AND OTHERNESS 2. THITHER AND YON 3. ADVENTURE-EQUATION 4. MOON DANCE 5. VOICE OF SPACE
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 Crescent
John Coltrane
$16.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
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John Coltrane's 1964 release, Crescent brilliantly represents the musical values 'Trane' was reaching for at a very crucial time in the tenor legend's career. The album not only re-emphasizes Coltrane's expressive power as a composer, it further underlines the fact that his lyricism is as direct and as free of posturing as any in jazz history. In excellent support here are Jimmy Garrison on double bass, Elvin Jones on drums and McCoy Tyner on piano.
Track Listing:
1. Crescent 2. Wise One 3. Bessie's Blues 4. Lonnie's Lament 5. The Drum Thing
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 Crossings
Herbie Hancock
$14.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Track Listing:
1. SLEEPING GIANT 2. QUASAR 3. WATER TORTURE
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 Duke Ellington & John Coltrane
John Coltrane
$19.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Track Listing:
1. In A Sentimental Mood 2. Take The Coltrane 3. Big Nick 4. Stevie 5. My Little Brown Book 6. Angelica 7. The Feeling Of Jazz
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 Fat Albert Rotunda
Herbie Hancock
$14.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Track Listing:
1. Wiggle-Waggle
2. Fat Mama
3. Tell Me A Bedtime Story
4. Oh! Oh! Here He comes
5. Jessica
6. Fat Albert Rotunda
7. Lil' Brother
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 Fate In A Pleasant Mood
Sun Ra
$13.99
Vinyl LP Reissue - Sealed
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Sun Ra and his Myth-Science Arkestra
Track Listing:
1. THE OTHERS IN THEIR WORLD
2. SPACE MATES
3. LIGHTS ON A SATELLITE
4. DISTANT STARS
5. KINGDOM OF THUNDER
6. FATE IN A PLEASANT MOOD
7. ANKHNATON
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 First Impressions Of Earth
The Strokes
$18.99
Vinyl LP - Sealed
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Track Listing:
1. You Only Live Once
2. Juicebox
3. Heart In A Cage
4. Razorblade
5. On The Other Side
6. Vision Of Division
7. Ask Me Anything
8. Electricityscape
9. Killing Lies
10. Fear Of Sleep
11. 15 Minutes
12. Ize Of The World
13. Evening Sun
14. Red Light
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 Free Jazz
Ornette Coleman
$14.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Track Listing:
1. FREE JAZZ - Part 1 Ornette Coleman
2. FREE JAZZ - Part 2 Ornette Coleman
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 Funky Skull
Melvin Jackson
$14.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Track Listing:
1. Funky Skull-Parts 1 & 2
2. Ma, She's Makin' Eyes At Me
3. Bold And Black
4. Dance Of The Dervish
5. Everybody Loves My Baby
6. Cold Duck Time-Parts 1 & 2
7. Say What
8. Funky Doo
9. Silver Cycles
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 Holiday For Soul Dance
Sun Ra
$14.99
Vinyl LP Reissue - Sealed
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Track Listing:
Sun Ra and his Astro-Infinity Arkestra
1. BUT NOT FOR ME 2. DAY BY DAY 3. HOLIDAY FOR STRINGS 4. DOROTHY'S DANCE 5. EARLY AUTUMN (Vocal by R. Murry) 6. PORGY 7. BODY AND SOUL 8. KEEP YOUR SUNNY SIDE UP
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 Inside Hi-Fi
Lee Konitz
$14.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Track Listing:
1. Kary's Trance
2. Everything Happens To Me
3. Sweet And Lovely
4. Cork 'N' Bib
5. All Of Me
6. Star Eyes
7. Nesuhi's Instant
8. Indiana
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 Interstellar Low Ways
Sun Ra
$14.99
Vinyl LP Reissue - Sealed
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Track Listing:
1. ONWARD
2. SOMEWHERE IN SPACE
3. INTERPLANETARY MUSIC
4. INTERSTELLAR LOW WAYS
5. SPACE LONELINESS
6. SPACE AURA
7. ROCKET NUMBER NINE TAKE
8. OFF FOR THE PLANET VENUS
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 It's Just Begun
Jimmy Castor Bunch
$14.99
Colored Vinyl LP Reissue - Sealed
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Track Listing:
Creation (Prologue)
It's Just Begun
Troglodyte
You Better Be Good
Psychee
LTD
My Brightest Day
Bad
I Promise to Remember
Creation (Epilogue)
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 John Coltrane & Johnny Hartman
John Coltrane
$19.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
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Track Listing:
1. They Say It's Wonderful 2. Dedicated To You 3. My One And Only Love 4. Lush Life 5. You Are Too Beautiful 6. Autumn Serenade
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 Journey in Satchidananda
Alice Coltrane
$15.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Track Listing:
1. Journey In Satchidanada
2. Shiva-Loka
3. Stopover Bombay
4. Something About John Coltrane
5. Isis & Osiris
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 Lanquidity
Sun Ra
$14.99
Vinyl LP Reissue - Sealed
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Track Listing:
1. LANQUIDITY 2. WHERE PATHWAYS MEET 3. THAT'S HOW I FEEL 4. TWIN STARS OF THENCE 5. THERE ARE OTHER WORLDS (THEY HAVE NOT TOLD YOU ABOUT)
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 Lanquidity
Sun Ra
$15.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Track Listing:
1. LANQUIDITY 2. WHERE PATHWAYS MEET 3. THAT'S HOW I FEEL 4. TWIN STARS OF THENCE 5. THERE ARE OTHER WORLDS (THEY HAVE NOT TOLD YOU ABOUT)
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 Lee Konitz & Warne Marsh
Lee Konitz
$14.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
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Track Listing:
1. TOPSY 2. THERE WILL NEVER BE ANOTHER YOU 3. I CAN'T GET STARTED 4. DONNA LEE 5. TWO NOT ONE 6. DON'T SQUAWK 7. RONNIE'S LINE 8. BACKGROUND MUSIC
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 Live At Montreux
Sun Ra
$14.99
Vinyl LP Reissue - Sealed
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Track Listing:
1. For The Sunrise
2. Of The Other Tomorrow
3. From Out Where Others Dwell
4. The House Of Eternal Being
5. God Of The Thunder Realm
6. Lights On A Satellite
7. Piano Intro
8. Take The A Train
9. Prelude
10. El Is The Sound Of Joy
11. Encore 1
12. Encore 2
13. We Travel The Spaceways
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 Live At The Panafrican Festival
Archie Shepp
$14.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
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Track Listing:
1. BROTHERHOOD AT KETCHAOUA (Shepp)
2.WE HAVE COME BACK - Part I (Joans-Shepp)
3. WE HAVE COME BACK - Part 2 (Joans-Shepp)
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 Live At The Village Vanguard Again!
John Coltrane
$19.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
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Live At The Village Vanguard Again! is a jazz album by saxophonist John Coltrane. Recorded in May 1966, the album shows Coltrane playing in the free jazz style that characterized his final recordings.
Out of all the recordings made during the session, only three pieces remain: "Naima", originally from the album Giant Steps, "My Favorite Things", from the album of the same name, and a bass solo by Jimmy Garrison entitled, "Introduction to My Favorite Things". The line up consists of the augmented quartet of the time, featuring Alice Coltrane on piano, Jimmy Garrison on bass and Rashied Ali on drums. Additionally, Pharoah Sanders contributes on flute and tenor saxophone, while Emanuel Rahim plays percussion.
Track Listing:
1. Naima 2. Introduction to My Favorite Things 3. My Favorite Things
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 Live In Antibes(Vol. 1)
Archie Shepp
$14.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
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Track Listing:
1. THE EARLY BIRD Part I 2. THE EARLY BIRD Part 2
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 Live In Antibes(Vol. 2)
Archie Shepp
$14.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Track Listing:
1. HURU Part I 2. HURU Part 2
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 Monorails And Satellites
Sun Ra
$13.99
Vinyl LP Reissue - Sealed
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Track Listing:
1. Space Towers 2. Cogitation 3. Skylight 4. The Alter Destiny 5. Easy Street 6. Blue Differentials 7. Monorails and Satellites 8. The Galaxy Way
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 Monorails And Satellites
Sun Ra
$14.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
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Track Listing:
1. Space Towers 2. Cogitation 3. Skylight 4. The Alter Destiny 5. Easy Street 6. Blue Differentials 7. Monorails and Satellites 8. The Galaxy Way
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 Music Of My Mind
Stevie Wonder
$29.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
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Ranked 284/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Music of My Mind features a 21-year-old Stevie Wonder deploying an array of styles and influences including his earliest fusions of soul and rock. Originally released in 1972, the landmark album marked the first of five consecutive Stevie Wonder releases that would become hailed as his 'Classic Period.' Standout tracks like Superwoman (Where Were You When I Needed You), Happier Than The Morning Sun and the funky jam, I Love Everything About You are some of the first indicators of Wonder's true potential and ambitions as a trailblazing artist. Reissued on 180g Vinyl!
Track Listing:
1. Love Having You Around
2. Superwoman (Where Were You When I Needed You)
3. I Love Every Little Thing About You
4. Sweet Little Girl
5. Happier Than The Morning Sun
6. Girl Blue
7. Seems So Long
8. Keep On Running
9. Evil
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 Mwandishi
Herbie Hancock
$14.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Track Listing:
1. OSTINATO 13:05 (Suite For Angela) 2. YOU'LL KNOW WHEN YOU GET THERE 10:15 3. WANDERING SPIRIT SONG 21:20 (Julian Priester)
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 My Brother The Wind Vol. 1
Sun Ra
$13.99
Vinyl LP Reissue - Sealed
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Sun Ra & His Astro Infinity Arkestra
Track Listing:
1. My Brother The Wind 2. Intergalactic II 3. To Nature's God 4. The Code of Interdependence
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 My Brother The Wind Vol. 2
Sun Ra
$13.99
Vinyl LP Reissue - Sealed
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Sun Ra and his Astro-Infinity Arkestrabr
Track Listing:
1. SOMEWHERE ELSE 2. CONTRAST 3. THE WIND SPEAKS 4. SUN THOUGHTS 5. JOURNEY TO THE STARS 6. WORLD OF THE MYTH I 7. THE DESIGN-COSMOS II 8. OTHERNESS BLUES 9. SOMEBODY ELSE'S WORLD 10. PLEASANT TWILIGHT 11. WALKING ON THE MOON
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 Oh Yeah
Charles Mingus
$14.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
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Track Listing:
1. HOG CALLIN'BLUES 2. DEVIL WOMAN 3. WHAM BAM THANK YOU MA'AM 4. ECCLUSIATICS 5. OH LORD DON'T LET THEM DROP THAT ATOMIC BOMB ON ME 6. EAT THAT CHICKEN 7. PASSIONS OF A MAN
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 Ornette On Tenor
Ornette Coleman
$14.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Track Listing:
1. CROSS BREEDING 2. MAPA 3. ENFANT 4. EOS 5. ECARS
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 Ornette!
Ornette Coleman
$14.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
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Track Listing:
1. W.R.U. (16:25) 2. T & T (4:35) 3. C.& D. (13:10) 4. R.P.D.D. (9:39)
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 Other Planes Of There
Sun Ra
$13.99
Vinyl LP Reissue - Sealed
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Sun Ra and his Solar Arkestra
Track Listing:
1. OTHER PLANES OF THERE
2. SOUND SPECTRA
3. SKETCH
4. PLEASURE
5. SPIRAL GALAXY
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 Other Planes Of There
Sun Ra
$17.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
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Sun Ra and his Solar Arkestra
Track Listing:
1. OTHER PLANES OF THERE
2. SOUND SPECTRA
3. SKETCH
4. PLEASURE
5. SPIRAL GALAXY
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 Pithecanthropus Erectus
Charles Mingus
$14.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
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Track Listing:
1. PITHECANTHROPUS ERECTUS 10:41 2. A FOGGY DAY 7:53 3. PROFILE OF JACKIE 3:07 4. LOVE CHANT 14:56
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 Poem For Malcom
Archie Shepp
$14.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
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Track Listing:
1. Mamarose (Poem for Malcom) 2. Rain Forest (Oleo)
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 Skies Of America
Ornette Coleman
$19.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
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Track Listing:
1. Skies of America (Part 1): 21:17
Skies of America
Native Americans
The Good Life
Birthdays and Funerals
Dreams
Sounds of Sculpture
Holiday For Heroes
All of my Life
Dancers
The Soul Within Woman
The Artist in America
2. Skies of America (Part 2): 20:15
The New Anthem
Place in Space
Foreigner in a Free Land
Silver Screen
Poetry
The Men Who Live in the White House
Love Life
The Military
Jam Session
Sunday in America
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 Soul Fountain
Clifford Jordan
$14.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Track Listing:
1. T.N.T. (2:36)
2. IVE GOT A FEELING FOR YOU (2:57)
3. H. N. I. C. (3:28)
4. I GOT YOU (I Feel Good) (2:35)
5. CARIBBEAN CRUISE (2:05)
6. SENOR BLUES (5:39)
7. EEH BAH LICKEY DOO (4:02)
8. RETRIBUTION (4:32)
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 Sound Sun Pleasure
Sun Ra
$15.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
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Sun Ra & His Astro-Infinity Arkestra
Track Listing:
1. ROUND MIDNIGHT 2. YOU NEVER TOLD ME THAT YOU CARE 3. HOUR OF PARTING 4. BACK IN YOUR OWN BACK YARD 5. ENLIGHTENMENT 6. I COULD HAVE DANCED ALL NIGHT
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 Strange Celestial Road
Sun Ra
$14.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
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Track Listing:
1. Celestial Road 2. Say 3. I'll Wait for You
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 Strange Strings
Sun Ra
$14.99
Vinyl LP Reissue - Sealed
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Sun Ra and his Astro-Infinity Arkestra
Track Listing:
1. WORLDS APPROACHING 2. STRINGS STRANGE (Vocal by Art Jenkins) 3. STRANGE STRANGE (With Lightning Drums)
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 Strictly Powell
Bud Powell
$14.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
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Track Listing:
1. THERE WILL NEVER BE ANOTHER YOU (Mackgordon-H. Warren) 2. CROSCRANE (B. Powell) 3. OVER THE RAINBOW (H. Arlen) 4. BLUES FOR BESSIE (B. Powell) 5. TIME WAS (S.K. Russel-M. Prado) 6. TOPSY TURVEY (B. Powell) 7. LUSH LIFE (B. Strayhorn) 8. ELEGY (B. Powell)
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 Sun Ra Visits Planet Earth
Sun Ra
$14.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
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Sun Ra and his Solar Arkestra
Track Listing:
1. PLANET EARTH 2. EVE 3. OVERTONES OF CHINA 4. REFLECTIONS IN BLUE (Ra) 5. TWO TONES (Davis - Patrick) 6. EL VIKTOR (Ra) 7. SATURN (Ra)
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 Sun Ra Visits Planet Earth
Sun Ra
$13.99
Vinyl LP Reissue - Sealed
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Sun Ra and his Solar Arkestra
Track Listing:
1. PLANET EARTH 2. EVE 3. OVERTONES OF CHINA 4. REFLECTIONS IN BLUE (Ra) 5. TWO TONES (Davis - Patrick) 6. EL VIKTOR (Ra) 7. SATURN (Ra)
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 Sun Ship
John Coltrane
$19.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
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Sun Ship is a jazz album recorded on August 26, 1965, by tenor saxophonist John Coltrane. The album extended the free jazz ideas of Transition. The relaxed, serene feel of earlier ballads like "Welcome" was transformed into a new style of ballad on "Dearly Beloved" and "Attaining". This style involved very slow tempos, drum rolls and fills, and a louder, more intense feel than traditional jazz ballads. Like "Psalm" (from A Love Supreme), there is no real tune, just a scale or series of tones used to build an improvised theme.
Coltrane's solos on the other tracks are also more extreme than on his earlier albums, and are reminiscent of the style of Albert Ayler and Pharaoh Sanders in their extensive use of altissimo and multiphonics. The title "Sun Ship" may have been inspired by Sun Ra's conception of free jazz as having an affinity with science fiction conceptions of human existence.
Sun Ship was one of the only albums John Coltrane's quartet recorded without sound engineer Rudy Van Gelder. It was also one of the last albums (with First Meditations, recorded a week later) which John Coltrane recorded before he began experimenting with larger groups. Tenor saxophonist Pharaoh Sanders was playing regularly with the band by September, 1965, and both McCoy Tyner and Elvin Jones left the band in January, 1966.
Musicians:
John Coltrane – tenor saxophone, soprano
saxophone, leader
McCoy Tyner – piano
Jimmy Garrison – bass
Elvin Jones – drums
Track Listing:
1. Sun Ship 2. Dearly Beloved 3. Amen 4. Attaining 5. Ascent
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 Super-Sonic Jazz
Sun Ra
$15.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
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Sun Ra and his Solar Arkestra
Track Listing:
1. INDIA 2. SUNOLOGY 3. ADVICE TO MEDICS 4. SUPER BLONDE 5. SOFT TALK 6. KINGDOM OF NOT 7. PORTRAIT OF THE LIVING SKY 8. BLUES AT MIDNIGHT 9. EL IS A SOUND OF JOY 10. SPRINGTIME IN CHICAGO 11. MEDICINE FOR A NIGHTMARE
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 Super-Sonic Jazz
Sun Ra
$14.99
Vinyl LP Reissue - Sealed
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Sun Ra and his Solar Arkestra
Track Listing:
1. INDIA 2. SUNOLOGY 3. ADVICE TO MEDICS 4. SUPER BLONDE 5. SOFT TALK 6. KINGDOM OF NOT 7. PORTRAIT OF THE LIVING SKY 8. BLUES AT MIDNIGHT 9. EL IS A SOUND OF JOY 10. SPRINGTIME IN CHICAGO 11. MEDICINE FOR A NIGHTMARE
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 Swingin' With Bud
Bud Powell
$14.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Track Listing:
1. Like Someone in Love 2. Another Dozen 3. Birdland Blues 4. Get It 5. In the Blue of the Evening 6. Midway 7. Oblivion 8. Salt Peanuts 9. Shaw 'Nuff 10. Swedish Pastry
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 The Avant-Garde
John Coltrane & Don Cherry
$14.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
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The Avant-Garde is an album credited to jazz musicians John Coltrane and Don Cherry, released in 1966 on Atlantic Records, catalogue SD 1451. It features Coltrane playing the compositions of Ornette Coleman accompanied by the members of his quartet, Don Cherry, Charlie Haden and Ed Blackwell. It is assembled from unissued results of two separate recording sessions at the Atlantic Studios in New York City in 1960
Musicians:
John Coltrane — tenor and soprano saxophone
Don Cherry — cornet
Charlie Haden — bass on "Cherry-Co," "The Invisible"
Percy Heath — bass on "Focus on Sanity," "The Blessing, "Bemsha Swing"
Ed Blackwell — drums
Track Listing:
Side one
1 Cherry-Co (Don Cherry)
2 Focus on Sanity (Ornette Coleman)
Side two
1 The Blessing (Ornette Coleman)
2 The Invisible (Ornette Coleman)
3 Bemsha Swing (Thelonious Monk, Denzil Best)
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 The Bridge
Sonny Rollins
$14.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Rollins makes a shattering return from sabbatical. He's jointed by the youthful Jim Hall, who makes a great partner. Symbolism and reality are often interfused. So it is with the title of this album, for The Bridge has many meanings in the life of Sonny Rollins. They range from the mistily symbolic to the total reality of one specific bridge, a 1,600-foot span over the East River connecting the New York boroughs of Manhattan and Brooklyn, Musically, the album is a bridge between the Sonny Rollins who rose quickly to a position of top rank among the saxophonist of the post-bop era of modern jazz development in the 50s, and the Sonny Rollins-to-be of the 60s. This is no idle puffing-up of this album's significance, for it bridges a very real gap -- over two years during which Sonny stopped appearing in public in order to study, try out ideas, and take the time to think about himself, his music, and the environment in which he played and lived. This album is not only of historic moment, but also a superlative example of why the many gifts of Sonny Rollins -- his firm roots, present accomplishment, and concentration on the future -- are his strongest musical characteristics. Thus this album is not only a bright bridge from Sonny's past to the present, but a certain promise for the future as well.
Track Listing:
1. Without A Song
2. Where Are You
3. John S.
4. The Bridge
5. God Bless The Child
6. You Do Something To Me
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 The Clown
Charles Mingus
$14.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
|
Track Listing:
1. HAITIAN FIGHT SONG
2. BLUE CEE
3. REINCARNATION OF A LOVEBIRD
4. THE CLOWN
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 The Magic City
Sun Ra
$15.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
|
Sun Ra and his Solar Arkestra
Track Listing:
1. THE MAGIC CITY
2. THE SHADOW WORLD
3. ABSTRACT EYE
4. ABSTRACT I
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 The Magic City
Sun Ra
$14.99
Vinyl LP Reissue - Sealed
|
Sun Ra and his Solar Arkestra
Track Listing:
1. THE MAGIC CITY
2. THE SHADOW WORLD
3. ABSTRACT EYE
4. ABSTRACT I
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 The Nubians Of Plutonia
Sun Ra
$15.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
|
Sun Ra and his Myth-Science Arkestra
Track Listing:
1. PLUTONIAN NIGHTS
2. LADY WITH THE GOLDEN STOCKINGS
3. STAR TIME
4. NUBIA
5. AFRICA
6. WATUSA
7. A IE THO PIA
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 The Nubians Of Plutonia
Sun Ra
$14.99
Vinyl LP Reissue - Sealed
|
Sun Ra and his Myth-Science Arkestra
Track Listing:
1. PLUTONIAN NIGHTS
2. LADY WITH THE GOLDEN STOCKINGS
3. STAR TIME
4. NUBIA
5. AFRICA
6. WATUSA
7. A IE THO PIA
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 The Other Side Of The Sun
Sun Ra
$14.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
|
Sun Ra and his Arkestra
Track Listing:
1. Space Fling 7:40
2. Flamingo 4:50
3. Space Is The Place 9:50
4. The Sunny Side of the Street 9:40
5. Manhattan Cocktail 10:15
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 The Real Lee Konitz
Lee Konitz
$14.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
|
Track Listing:
1. STRAIGHTAWAY
2. FOOLIN' MYSELF
3. YOU GO TO MY HEAD
4. MY MELANCHOLY BABY
5. PENNIES IN MINOR
6. SWEET AND LOVELY
7. EASY LIVIN'
8. MIDWAY
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 The Shape Of Jazz To Come
Ornette Coleman
$14.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
|
Ranked 246/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
An aptly titled 1959 release, Ornette Coleman's The Shape Of Jazz To Come was one of the first "free jazz" albums ever produced. A classic in every sense of the word!
Track Listing:
1. Lonely Woman
2. Eventually
3. Peace
4. Focus On Sanity
5. Congeniality
6. Chronology
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 The Solar-Myth Approach Vol. 1
Sun Ra
$15.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
|
Sun Ra and his Solar-Myth Arkestra
Track Listing:
1. Spectrum 2. Realm Of Lightning 3. Satellites Are Spinning 4. Legend 5. Seen III
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 The Solar-Myth Approach Vol. 1
Sun Ra
$14.99
Colored Vinyl LP Reissue - Sealed
|
Colored Vinyl Record
Sun Ra and his Solar-Myth Arkestra
Track Listing:
1. Spectrum 2. Realm Of Lightning 3. Satellites Are Spinning 4. Legend 5. Seen III
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 The Solar-Myth Approach Vol. 2
Sun Ra
$15.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
|
Sun Ra and his Solar-Myth Arkestra
Track Listing:
1. THE UTTER NOTS 2. OUTER SPACEWAYS
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 The Solar-Myth Approach Vol. 2
Sun Ra
$14.99
Colored Vinyl LP Reissue - Sealed
|
Colored Vinyl Record - Limited Edition
Sun Ra and his Solar-Myth Arkestra
Track Listing:
1. THE UTTER NOTS 2. OUTER SPACEWAYS
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 This Is Our Music
Ornette Coleman
$14.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
|
Track Listing:
1. Blues Connotation 2. Beauty Is A Rare Thing 3. Kaleidoscope 4. Embraceable You 5. Poise 6. Humpty Dumpty 7. Folk Tale
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 Tijuana Moods (Out of Stock)
Charles Mingus
$14.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
Temporarily out of stock
|
Track Listing:
1.Dizzy Moods
2.Ysabel's Table Dance
3.Tijuana Gift Shop
4.Los Mariachis
5.Flamingo
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 Tonight At Noon
Charles Mingus
$14.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
|
Track Listing:
1. TONIGHT AT NOON
2. INVISIBLE LADY
3. OLD BLUES FOR WALT'S TORIN
4. PEGGY'S BLUE SKYLIGHT
5. PASSIONS OF A WOMAN LOVED
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 Tony Fruscella
Tony Fruscella
$14.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
|
Track Listing:
1. ILL BE SEEING YOU 3:14
2. MUY 5:35
3. METROPOLITAN BLUES 5:00
4. RAINTREE COUNTRY 5:11
5. SALT 4:35
6. HIS MASTERS VOICE 5:25
7. OLD HAT 3:15
8. BLUE SERENADE 5:07
9. LETS PLAY THE BLUES 4:05
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 We Travel The Space Ways (Out of Stock)
Sun Ra
$15.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
Temporarily out of stock
|
Track Listing:
1. INTERPLANETARY MUSIC (VOCAL BY THE ARKESTRA)
2. EVE
3. WE TRAVEL THE SPACE WAYS (VOCAL BY THE ARKESTRA)
4. TAPESTRY FROM AN ASTEROID
5. SPACE LONELINESS
6. NEW HORIZONS
7. VELVET
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 We Travel The Space Ways
Sun Ra
$14.99
Vinyl LP Reissue - Sealed
|
Track Listing:
1. INTERPLANETARY MUSIC (VOCAL BY THE ARKESTRA)
2. EVE
3. WE TRAVEL THE SPACE WAYS (VOCAL BY THE ARKESTRA)
4. TAPESTRY FROM AN ASTEROID
5. SPACE LONELINESS
6. NEW HORIZONS
7. VELVET
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 When Sun Comes Out
Sun Ra
$14.99
Vinyl LP Reissue - Sealed
|
Track Listing:
1. CIRCE 2. THE NILE 3. BRAZILIAN SUN 4. WE TRAVEL THE SPACEWAYS 5. CALLING PLANET EARTH 6. DANCING SHADOW 7. THE RAIN-MAKER 8. WHEN SUN COMES OUT
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 Winter In America (Out of Stock)
Gil Scott-Heron
$14.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
Temporarily out of stock
|
Track Listing:
1. PEACE GO WITH YOU BROTHER - 5:27 2. RIVERS OF MY FATHERS - 8:19 3. A VERY PRECIOUS TIME - 5:17 4. BACK HOME - 2:51 5. THE BOTTLE - 5:14 6. SONG FOR BOBBY SMITH - 4:38 7. YOUR DADDY LOVES YOU - 3:25 8. H2OGATE BLUES - 8:08 9. PEACE GO WITH YOU BROTHER - 1:11
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 Yasmina, A Black Woman
Archie Shepp
$14.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
|
Track Listing:
1. Yasmina, a Black Woman
2. Sonny's Back
3. Body and Soul
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|
 Careless Love
Madeleine Peyroux
$29.99
Gain 2 Ultra Analog 1/2 Speed Mastered 180 Gram Audiophile Virgin High Definition Vinyl LP -Sealed
|
Peyroux is the real deal. She brushes off comparisons to Billie Holiday, but it's certainly not bad company to keep. This is a beautiful record flowing with sparse arrangements and sultry vocals. If you like Norah...wait until you hear this! The 12 songs found on Carless Love feature a mix of acoustic blues, country ballads and torch songs showcasing Peyroux's sultry alto. Highlights include Dont' Wait Too Long composed by Perouyx, producer Larry Klien (of Joni Mitchell fame) and Jesse Harris (best know for his contributions to Norah Jones' hit album, Come Away With Me). Also exemplary are Peyroux's warm renditions of Leonard Cohen's Dance Me to the End of Love and a lightly-swinging arrangement of Bob Dylan's You're Gonna Make Me Lonesome When You go.
Track Listing:
1. Dance Me To The End Of Love
2. Don't Wait Too Long
3. Don't Cry Baby
4. You're Gonna Make Me Lonesome When You Go
5. Between The Bars
6. No More
7. Lonesome Road
8. J'ai Deux Amours
9. Weary Blues
10. I'll Look Around
11. Careless Love
12. This Is Heaven To Me
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 Virgo Vibes
Roy Ayers
$14.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
|
Track Listing:
1. THE RINGER Charles Tolliver 2. AYERLOOM Roy Norman 3. IN THE LIMELIGHT Gerald Wilson 4. VIRGO VIBES Roy Ayers 5. GLOW FLOWER Roy Ayers
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 East Meets West
Ahmed Abdul-Malik
$14.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
|
Track Listing:
El-Lail (The Night)
La Ibky (Don't Cry)
Takseem (Solo)
Searchin'
Isma'a (Listen)
Rooh (The Soul)
Mahawara (The Fugue)
El Ghada (The Jungle)
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 Rushing Lullabies
Jimmy Rushing
$13.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
|
Track Listing:
You Can't Run Around
Say You Don't Mean It
'Deed I Do
Pink Champagne
Did You Ever
I Cried For You
Three Long Years
I Can't Believe That Your In Love With Me
Good Rockin' Tonight
One Evening
Russian Lullably
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 Pony's Express
Pony Poindexter
$14.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
|
Track Listing:
Catin' Latin
Salt Peaunuts
Skylark
Struttin' With Some Barbecue
Blue
B Frequency
Basin Street Blues
Pony's Express
Lanyop
Artistry In Rhythym
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 Warne Marsh
Warne Marsh with Philly Joe Jones, Paul Chambers, Paul Motian, Ronnie Ball
$14.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
|
Track Listing:
Too Close For Comfort
Yardbird Suite
My Melancholy Baby
Just Squeeze Me
Excerpt
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 Blue Serge
Serge Chaloff
$14.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
|
Sonny Clark: piano
Joe Jones: Drums
Leroy Vinnegar: Bass
Track Listing:
A Handful of Stars
The Goof And I
Thanks For The Memory
All The Things You Are
I've Got The World On A String
Susie's Blues
Stairway To The Stars
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 The Cry!
Prince Lasha Quintet
$14.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
|
Track Listing:
Congo Call
Bojangles
Green And Gold
Ghost Of The Past
Reds Mood
Juanita
Lost Generation
A.Y.
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|
 Brute Force
Brute Force
$14.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
|
Track Listing:
Do It Right Now
Some Kind Of Approval
The Deacon
Right Direction
Monster
Ye-Le-Wa
Doubt
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 Up From The Roots
Mongo Santamaria
$14.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
|
Track Listing:
1. Ebora
2. En La Habana
3. Conga, Bata, y Chequere
4. Me Buele La Muela
5. Eco
6. Abacua
7. Pan De Maiz
8. Para Ti
9. Sofrito
10. Little Angel
11. Virtue
12. Jose Outside
13. Forked Tongue
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 It Is Finished
Nina Simone
$14.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
|
Track Listing:
The Pusher
Com' by H'Yere-Good Lord
Funkier Than A Mosquito's Tweeter
Mr. Bojangles
I Want A Little Sugar In My Bowl
Dambala
Let It Be Me
Obeah Woman
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 Oh Lord, Let Me Do No Wrong
Pharoah Sanders
$14.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
|
Track Listing:
Oh Lord, Let Me Do No Wrong
Equinox
Polka Dots And Moonbeams
If It Wasn't For A Woman
Clear Out Of This World
Next Time You See Me
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 New Africa
Grachan Moncur III
$14.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
|
Track Listing:
Queen Tamam / New Africa / Black Call / Ethiopian Market
Space Spy
Exploration
When
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 Other Afternoons
Jimmy Lyons
$14.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
|
 Luna Surface
Alan Silva & His Celestrial Communication Orchestra
$13.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
|
Track Listing:
From The Luna Surface Part 1
From The Luna Surface Part 2
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|
 Sunshine
Sunny Murray
$13.99
180 Gram Audiophile Virgin Vinyl lp - Sealed
|
Track Listing:
1. Flower Trane
2. Real
3. Red Cross
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 An Even Break (Never Give A Sucker)
Sunny Murray
$13.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
|
Track Listing:
Flower Trane
Real
Red Cross
An Even Break (Never Give A Sucker)
Giblets, Pt. 12
Complete Affection
Invisible Rules
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 Hommage To Africa
Sunny Murray
$13.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
|
Track Listing:
Suns Of Africa
R.I.P.
Unity
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 Afro-Latin Soul
Ethiopian Quintet
$14.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
|
Track Listing:
I Faram Gami I Faram
Mascaram Setaba
Shagu
One For Buzayhew
Alone in the Crowd
Almaz
Mulatu's Hideaway
Askum
A Kiss Before Dawn
Playboy Cha Cha
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 Mulatu Of Ethiopia
Mulatu
$14.99
180 Gram Audiophile Virgin Vinyl LP -Sealed
|
Track Listing:
Mulatu
Macaram Setaba
Dewel
Kulunmanqueleshi
Kasalefkut-Hulu
Munaye
Chifara
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|
 Intensity
Art Pepper
$49.99
180 Gram Audiophile Virgin Vinyl 45 RPM LP -Sealed
|
This is another Steve Hoffman and Kevin Gray mastering job and it has outstanding sound. It's one of the choice titles from this fourth batch from the Fantasy 45 Series. Great music, great sound engineering and great mastering add up to a winner. Recording = 10/10; Music = 10/10 Dennis D. Davis, Hi-Fi+, Issue 52
Considered by many to be Art Pepper's masterpiece, Intensity was recorded at the end of 1960, just before Pepper's lengthy incarceration. Pepper was beginning to incorporate into his playing some of the new freedom being pioneered into jazz by John Coltrane and Ornette Coleman. The result was even greater daring in his playing style. On Intensity, Pepper tests the boundaries of conventional harmony while observing the traditions of melodic improvisation which he never abandoned.
This title is not eligible for discount.
Track Listing:
1. I Can't Believe That You're in Love With Me
2. I Love You
3. Come Rain or Come Shine
4. Long Ago (And Far Away)
5. Gone With the Wind
6. I Wished on the Moon
7. Too Close for Comfort
8. Five Points
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 Settin' The Pace
John Coltrane
$49.99
45 RPM 180 Gram Audiophile Virgin Vinyl LP - Sealed
|
Coltrane does not do the old Dexter Gordon/Leo Parker duet number, Settin the Pace, in this set. The overall title merely refers to his preeminence in the jazz world at the time the recording was released in the early Sixties. Recorded in 1958, this session comes from a time when Trane had already played in the Miles Davis quintet and the Thelonious Monk quartet and was frequenting Rudy Van Gelders New Jersey studio in recording situations backed by the Red Garland Trio. This threesome Garland, Paul Chambers and Arthur Taylor was a Prestige entity on its own, but had already released such albums with Coltrane as Traneing In and Soultrane. Settin The Pace, with its heady combination of seldom-done pop material and Jackie McLeans intriguing Little Melonae, continued the excellent quartet series at a time when Trane was making jazz history at the head of yet another powerful foursome.
This title is not eligible for discount.
Track Listing:
1. I See Your Face Before Me (9:56) 2. If There is Someone Lovelier Than You (9:19) 3. Little Melonae (14:03) 4. Rise 'N' Shine (7:14)
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 2 Feet In The Gutter
The Dave Bailey Quintet
$14.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
|
Track Listing:
Comin' Home Baby
Two Feet In The Gutter
Shiny Stockings
Lady Iris B
Coffee Walk
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 Gettin' Into Somethin'
The Dave Bailey Quintet
$14.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
|
Track Listing:
Slop Jah
Little Old Mongoose
Evad Smurd
Clues For J.P.
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 A Jackson In Your House
Art Ensemble of Chicago
$14.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
|
Track Listing:
A Jackson In Your House
Get In Line
The Waltz
Ericka
Song For Charles
Old Time Religion
Dexterity
Rock Out
A Brain For The Seine
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 Message To Our Folks
Art Ensemble of Chicago
$14.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
|
Track Listing:
Old Time Religion
Dexterity
Rock Out
A Brain For The Seine
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|
 Reese And The Smooth Ones
Art Ensemble of Chicago
$14.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
|
Track Listing:
Reese/ The Smooth Ones Pt. 1
Reese/ The Smooth Ones Pt. 2
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|
 Takin Off
Herbie Hancock
$29.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
|
Cut From the Original Master Tapes!
Herbie's Blue Note debut features the incomparable horn duo of Freddy Hubbard and Dexter Gordon (both at their creative peaks), blowing out Hancock's angular, bluesy tunes with passion and finesse.
The album kicks off with the classic "Watermelon Man" (later covered to big success by Mongo Santamaria and then re-invented by Hancock on the "Manhunter" LP), the songs are largely uptempo hard-bop until closing with the sparkling, late-night ballad "Alone and I." The pianist's forays into experimentation (so much a part of his legend later in his career) are displayed in the strange rhythm section solos and the lack of thematic resolution on "The Maze" or the 32-bar broken phrasing on "Three Bags Full."
The sound is pure early-60's Rudy Van Gelder: muted piano, in-your-face horns and rhythm section in your living room.
This is cut with striking realism and incredible detail. Using an original master tape means the soundstage will not be folded-in like many Van Gelder issues. The wide, luxurious sound is very appealing.
Track Listing:
Side 1:
1. Watermelon Man
2. Three Bags Full
3. Empty Pockets
Side 2:
1. The Maze
2. Driftin
3. Alone And I
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 Jazz of Two Cities
Warne Marsh
$34.99
200 Gram Audiophile Virgin Vinyl LP - Sealed
|
Warne Marsh and Ted Brown playing tenor Saxes are joined by Ronnie Ball on piano, Ben Tucker on bass and Jeff Morton on drums
on this Classic Imperial Series reissue of Jazz of Two Cities. The original full track mono master tape was used on Classic's all tube
MONO cutting system (including MONO tape head, cutting amp and cutter head) at Bernie Grundman Mastering with Bernie Bebop
Grundman doing the set-up and cutting. Pressed on Classic's own Quiex Super Vinyl Profile, tunes include Smog Eyes, Ear Conditioning,
Lover Man, Jazz of Two Cities, Dixie's Dilemma,
Tschaikowsky's Opus #42 and I Never Knew. According to the liner notes : Since high fidelity includes a true reproduction of all sounds
without discrimination or distortion, the original recording was done on an Ampex 300-C Magnetic Tape Recorder at 15 IPS using Scotch Tape.
To effectively the full frequency spectrum Telefunken U-47M microphones were used. If that's not an audiophile endorsement then I don't know
what is.....
Track Listing:
1. Smog Eyes
2. Ear Conditioning
3. Lover Man
4. Quintessence
5. Jazz Of Two Cities
6. Dixie's Dilemma
7. Tschaikowski's Opus No. 42, Mt. 3
8. I Never Knew
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|
 Jazz U.S.A
Sonny Criss
$34.99
200 Gram Audiophile Virgin Vinyl LP - Sealed
|
Sonny Criss's first Imperial release recorded in 1956 featuring Sonny Criss on Alto Sax, Kenny Drew on piano, Barney Kessel on guitar, Bill Woodson on bass and Chuck Thompson on drums. The tunes, recorded in Los Angeles, CA, January 26, 1956, February 24th and March 23rd 1956, include Sweet Georgia Brown, These Foolish Things, Something's Gotta Give, Willow Weep for Me among others. Cut from the original MONO master tapes played back on a full track MONO head through an all tube MONO cutting chain including a pure mono cutter head - as it was originally and should be! This is an extremely collectible record in its original issue and impossible to find in any condition. Authentic tip on jacket and labels make this reissue hard to distinguish from one you could have bought in 1956. This initial release is part of the Classic Sonny Criss Imperial Series which will include two of Sonny's other Imperial Recordings: Go Man - LP 9020, and Play's Cole Porter - LP 9024 both of which are forthcoming in 2005.
Track Listing:
1. Easy Living
2. Criss Cross
3. Willow Weep for Me
4. Alabamy Bound
5. Something's Gotta Give
6. These Foolish Things
7. West Coast Blues
8. Blue Friday
9. More Than You Know
10. Sunday
11. Sweet Georgia Brown
12. Ham's Blues
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 Back On the Scene (MONO)
Benny Green
$32.99
200 Gram Audiophile Virgin Vinyl Mono LP - Sealed
|
You to can be Back on the Scene with Bennie Green accompanied by Charlie
Rouse on tenor sax, Louis Hayes on drums, Joe Knight on piano and George
Tucker on Bass. As part of the Classic Blue Note Signature LP reissue
Series, this title was cut on Classic's All Tube Mono cutting system from
the original full track Mono master tapes by Bernie Grundman, pressed on
Classic's exclusive 200g Super Vinyl Profile and packaged in an authentic
tip-on cover making this a must have. Tunes include: I Love You, Melba's
Mood,Just Friends, You're Mine You, Bennie Plays The Blues, and
Green Street.
Track Listing:
1. I Love You
2. Melba's Mood
3. Just Friends
4. You're Mine You
5. Bennie Plays The Blues
6. Green Street
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 Lady In Satin
Billie Holiday
$34.99
200 Gram Audiophile Virgin Vinyl LP - Sealed
|
Track Listing:
1. I'm A Fool To Want You
2. For Heaven's Sake
3. You Don't Know What Love Is
4. I Get Along Without You Very Well
5. For All We Know
6. Violets For Your Furs
7. You've Changed
8. It's Easy To Remember
9. But Beautiful
10. Glad To Be Unhappy
11. I'll Be Around
12. The End Of A Love War
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 Louis Under The Stars (200 Gram)
Louis Armstrong
$34.99
200 Gram Audiophile Virgin Vinyl LP - Sealed
|
One of the lesser-known Louis Armstrong sets, this album was recorded during the same day that resulted in his similar I've Got the World on a String. The great trumpeter/singer is backed by a string orchestra arranged and conducted by Russ Garcia. He performs eight veteran standards, only one of which ("Body and Soul") was associated with him in the past. Although the accompaniment is pretty straight and unadventurous, it is enjoyable to hear Satch's interpretations of such songs as "Have You Met Miss Jones," "I Only Have Eyes for You," "Home" and "East of the Sun." Many of his trumpet solos during the medium-tempo material are brief but dramatic, and his singing is typically expressive and good-humored.-Scott Yanow, AMG
Track Listing:
1. Night in Tunsia
2. You're My Thrill
3. My Reverie
4. Stella By Starlight
5. 'Round Midnight
6. Jersey Bounce
7. Signing Off
8. Cry Me a River
9. This Year's Kiss
10. Good Morning Heartache
11. (I Was) Born To Be Blue
12. Clap Hands, Here Comes Charlie!
13. Spring Can Really Hang You Up the Most
14. Music Goes 'Round and 'Round
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|
 A Man and His Horn (Sampler)
Anthony Ortega
$19.99
200 Gram Audiophile Virgin Vinyl 45 RPM LP - Sealed
|
Six Song (Side A) sampler of Anthony Ortega's highly regarded "A Man and
his Horn" originally on Herald Records featuring Hank Jones, Ed Thigpen and
Addison Farmer recorded by Rudy Van Gelder.
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|
 Piano In the Foreground
Duke Ellington
$34.99
200 Gram Audiophile Virgin Vinyl LP - Sealed
|
Produced by the famous Jazz producer Irving Townshend, this Ellington trio
recording done in one afternoon features the Duke out in front doing what he
does best - play Piano! Transferred from the original 3 track analog master
tapes directly to master lacquer using Bernie Grundman's all tube cutting
system reveals nuance on this recording never before heard on previous
pressings. Now on Classic's 200g Quiex Super Vinyl Profile this is a must
have compendium to "Piano in the Background" also available from Classic
Records.
Track Listing:
1. I Can't Get Started
2. Cong-Go
3. Body In Soul
4. Blues For Jerry
5. Fontainebleau
6. Summertime
7. It's Bad To Be Forgotten
8. A Hundred Dreams Ago
9. So
10. Yearning For Love
11. Springtime In Africa
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 Art Blakey!!!!! Jazz Messengers!!!!! (Speakers Corner)
Art Blakey
$34.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Art Blakey discovered and championed young talented musicians such as Clifford Brown, Lou Donaldson, Keith Jarrett and Wynton Marsalis to name but a few. But he also delivered the message of hard bop through thousands of performances at festivals right down to the smallest club. Lively, joyous performances, the very highest technical standards and somnambulistic music-making characterize this recording. Right from the very start it is clear that these jazz ambassadors have a new message for us. The hard-beat recordings win in lyricism thanks to the gentle sound of Curtis Fuller's trombone, something that was often missing in the powerful Blue Note sound. Four jazz evergreens give the musicians the time and opportunity to display their soloistic talents. The real climax, however, is to be found in the harmonic layering of the three winds which lend the themes new appeal. The message was broadcasted many times until the death of Art Blakey, but the history of jazz would have been a great deal poorer without these milestone recordings on the Impulse label. Art Blakey certainly knew how to delight his audience with fire, originality, a wealth of ideas and great humor. All these attributes are applicable to the six titles on this album.
Musicians:
Lee Morgan (trumpet)
Curtis Fuller (trombone)
Wayne Shorter (tenor saxophone)
Robert H. “Bobby” Timmons (piano)
Jymie Merritt (bass)
Art Blakey (drums)
Recording: June 1961 at Rudy van Gelder’s Recording Studios, Englewood Cliffs, N.J., USA by Rudy van Gelder
About Speakers Corner
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existant tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky“), but even in this particular case we used the analogue tapes for cutting.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects – excluding the exception above – and that the lacquer discs are newly cut.
Track Listing:
1. A la Mode (Fuller)
2. Invitation (Kaper, Webster)
3. Circus (Alter, Russell)
4. You Don't Know What Love Is (DePaul, Raye)
5. I Hear a Rhapsody (Baker, Fragos, Gasparre)
6. Gee Baby, Ain't I Good to You (Razaf, Redman)
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 Ben Webster Meets Oscar Peterson (Speakers Corner)
Ben Webster
$34.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Musicians:
- Ben Webster (tenor saxophone)
- Oscar Peterson (piano)
- Ray Brown (bass)
- Ed Thigpen (drums)
About Speakers Corner
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existant tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky“), but even in this particular case we used the analogue tapes for cutting.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects – excluding the exception above – and that the lacquer discs are newly cut.
Track Listing:
1. The Touch Of Your Lips
2. When Your Lover Has Gone
3. Bye, Bye, Blackbird
4. How Deep Is The Ocean?
5. In The Wee, Small Hours Of The Morning
6. Sunday
7. This Can't Be Love
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 Straight Ahead (Pure Pleasure)
Abbey Lincoln
$34.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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This is one of Abbey Lincoln's greatest recordings. It is a testament to the credibility of her very honest music (and her talents) that Lincoln's sidemen on this date include the immortal tenor saxophonist Coleman Hawkins who takes a memorable solo on "Blue Monk"), Eric Dolphy on flute and alto, trumpeter Booker Little (whose melancholy tone is very important in the ensembles), pianist Mal Waldron , and drummer Max Roach. Highpoints include "When Malindy Sings," "Blue Monk," Billie Holiday’s "Left Alone," and "African Lady."
Abbey Lincoln and Max Roach were married in 1962, an association that lasted until 1970. They worked together for a while but Lincoln (who found it harder to get work in jazz due to the political nature of some of her music) became involved in acting and did not record as a leader during 1962-1972. She finally recorded for Inner City in 1973 and gradually became more active in jazz. Her two Billie Holiday tribute albums for Enja (1987) showed listeners that the singer was still in her prime and she has recorded several excellent sets for Verve in the 1990s. Because she puts so much thought into each of her recordings, it is not an understatement to say that every Abbey Lincoln set is well worth owning.
Musicians:
- Abbey Lincoln (vocal)
- Eric Dolphy (piccolo-flute, bass clarinet, alto saxophone)
- Walter Benton, Coleman Hawkins (tenor saxophone)
- Booker Little (trumpet)
- Julian Priester (trombone)
- Mal Waldron (piano)
- Art Davis (bass)
- Max Roach (drums)
- Roger Sanders, Robert Whiteley (conga)
Recording: February 1961 at Nola Penthouse Studios, New York City
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
1. Straight Ahead
2. When Malinda Sings
3. In the Red
4. Blue Monk
5. Left Alone
6. African Lady
7. Retribution
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 Felix Beloy: Baila Mi Scon (Pure Pleasure)
Afro-Cuban All Stars
$34.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Rich and rhythmic, sparkling and seductive, Felix Baloy's voice marks him as one of Cuba's very finest soneros. This magnificent performance showcases a true artist at the peak of his profession, backed by the thrilling arrangements of Juan de Marcos and the peerless Afro Cuban All Stars.
Felix Baloy has been singing for more than 40 years which means he has waited a long time to make his first solo album. One of Cuba's outstanding soneros with a unique timbre, the opportunity came about after he met Tumi Music founder Mo Fini in Havana in 1995 when Baloy sang on the label's splendid four CD set "Las Leyendas de la Musica Cubana" as part of the Cuban All Stars with Orquesta Amčrica.
There's an absolute joy about this record, and Baloy proves himself worthy of all the praise that's been heaped on him in Cuba, as capable of gliding through the cha cha of "Van a Bailar el Cha Cha Cha," with its prim strings, as the rawer bolero of "El Mal de la Hipocresia." The arrangements frame his voice wonderfully, too, as on the rich bolero cha of "Los Es Todo Tu Amor," with its glistening flute solo. Baloy does himself proud, and Gonzalez gives him a band to remember behind him, some crystal clear production, and songs any singer would love to sing. Nigh on perfect.
Musicians:
- Juan de Marcos Gonzalez (director)
- Felix Baloy (vocal)
- Teresa Garcia Caturla (vocal)
- Javier Zalba (bassoon)
- Yanko Pizaco (trumpet)
- Daniel “El Gordo” Ramos (trumpet)
- Alberto “Molote” Munoz (trombone)
- Antonio Sesma (trombone)
- David Alfaro (piano)
- Ricardo Munoz (bass)
- Rolando “El Nino” Salgado (percussion)
Recording: 2000 in ICAIC Studios and DM Ahora Studios, Havana, Cuba, by Alain Martinez de la Torre
Production: Juan de Marcos Gonzalez
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
1. Baila mi son
2. Mami te Gusto
3. Yo Soy el del sentimiento
4. Después de esta noche
5. El mal de la hipocresía
6. Ven a bailer cha cha cha
7. Cada vez que te veo
8. Lo es todo to amor
9. El son de Baloy
10. Misericordia, no aguanto
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 Sings A Song With Mulligan (Pure Pleasure)
Annie Ross
$34.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Singer Annie Ross' first solo album after joining Lambert, Hendricks & Ross finds her at the peak of her powers. Ross is joined by two versions of the Gerry Mulligan Quartet with either Chet Baker or Art Farmer on trumpet, Bill Crow or Henry Grimes on bass, and drummer Dave Bailey. Annie Ross is at her best (and most appealing) on "I've Grown Accustomed to Your Face," "Give Me the Simple Life," "How About You," and "The Lady's in Love With You," but all 14 selections are quite rewarding and her interplay with baritonist Mulligan is consistently memorable.
Musicians:
- Annie Ross (vocal)
- Gerry Mulligan (bassoon)
- Chet Baker, Art Farmer (trumpet)
- Henry Grimes (bass)
- Dave Bailey (drums)
Recorded December 1957 in New York and February and September 1958 in Los Angeles
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
1. I Feel Pretty
2. I've Grown Accustomed to Your Face
3. All of You
4. Give Me the Simple Life
5. This Is Always
6. My Old Flame
7. This Time the Dream's on Me
8. Let There Be Love
9. Between the Devil and the Deep Blue Sea - Gerry Mulligan, Annie Ross,
10. How About You?
11. I Guess I'll Have to Change My Plan
12. This Is Always [Alternate Version]
13. It Don't Mean a Thing (If It Ain't Got That Swing)
14. Lady's in Love with You
15. You Turned the Tables on Me
16. I've Grown Accustomed to Your Face [Alternate Version]
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 Atmosphere For Lovers and Thieves (Pure Pleasure)
Ben Webster
$34.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Ben Webster is still a whale of a tenor player, his approach for the ballads being as poignant and lyrical as ever. On such romantic tunes as "My Romance" and "What's New" that breathy tone and broad-beamed phrasing are well in evidence, whilst the underlying humour and swing are more to the fore in the more muscular "Easy To Love". "Autumn Leaves" is great Webster. The tempo is exactly right and Ben is in the groove from the start. The pianist is a long way away from Ben's beloved stride men, but he swings gently and forms nice background patterns for the tenor player's improvisations. The bass has been somewhat heavily recorded, but his drive is admirable nevertheless.
"Stardust", a lovely tune but sometime a drag for jazz improvisation, shows that Ben is a real master of flowing, keenly phrased ballad construction. "Yesterdays" is played so close to the microphone that momentarily I suspected a gas leak. But Ben always has that aerated vibrato well under control, and never overdoes what has throughout the years become something of a mannerism in his playing.
Musicians:
- Ben Webster (tenor saxophone)
- Ole Kongsted (tenor saxophone)
- Arnved Meyer (trumpet)
- John Darville (trombone)
- Kenny Drew (piano)
- Niels Jorgen Stein (piano)
- Niels-Henning Řrsted Pederson (bass)
- Hugo Rasmussen (bass))
- Alex Riel (drums)
- Hans Nymand (drums)
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
1. Blue Light
2. Stardust
3. Whats New
4. Autumn Leaves
5. Easy To Love
6. My Romance
7. Yesterdays
8. Days of Wine and Roses
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 That's It (Pure Pleasure)
Booker Ervin
$34.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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A very distinctive tenor with a hard, passionate tone and an emotional style that was still tied to chordal improvisation, Booker Ervin was a true original. He was originally a trombonist, but taught himself tenor while in the Air Force (1950-1953). After studying music in Boston for two years, he made his recording debut with Ernie Fields' R&B band (1956). Ervin gained fame while playing with Charles Mingus (off and on during 1956-1962), holding his own with the volatile bassist and Eric Dolphy. He also led his own quartet, worked with Randy Weston on a few occasions in the '60s, and spent much of 1964-1966 in Europe before dying much too young from kidney disease. Ervin, who is on several notable Charles Mingus records, made dates of his own for Bethlehem, Savoy, and Candid during 1960-1961, along with later sets for Pacific Jazz and Blue Note.
Booker Ervin, who always had a very unique sound on the tenor, is heard in prime form on this quartet set. In virtually all cases, the jazz and blues musicians who recorded for Candid in 1960-61 (during its original brief existence) were inspired and played more creatively than they did for other labels. That fact is true for Ervin, even if he never made an indifferent record. In addition to "Poinciana" and "Speak Low", Ervin's quartet (which was a regular if short-lived group) performs four of the leader's originals; best known is "Booker's Blues".
Musicians:
- Booker Ervin (tenor saxophone)
- George Tucker (bass)
- Horace Parlan (piano)
- Al Harewood (drums)
Recording: January 1961 at Nola Penthouse Studios, New York City, by Bob d’Orleans
Production: Nat Hentoff
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
1. Mojo
2. Uranus
3. Poinciana
4. Speak Low
5. Bookers Blues
6. Boo
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 Out Front (Pure Pleasure)
Booker Little
$34.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Booker Little was the first trumpet soloist to emerge in jazz after the death of Clifford Brown to have his own sound. His tragically brief life (he died at age 23 later in 1961) cut short what would have certainly been a major career. This is supremely soulful modern jazz and one of his best albums ever as a leader. The album’s got a tremendous feel from the very first note and there are many strong moments during these consistently challenging and satisfying performances. He had a bold jazz vision that makes us miss his talents even more strongly than before!
Musicians:
- Booker Little (trumpet)
- Julian Priester (trombone)
- Eric Dolphy (alto saxophone, bass clarinet, flute)
- Don Friedman (piano)
- Art Davis, Ron Carter (bass)
- Max Roach (drums, vibraphone, percussion)
Recording: March and April 1961 in Nola Penthouse Studios, New York City, by Bob d'Orleans
Production: Nat Hentoff
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
1. We Speak
2. Stength And Sanity
3. Quiet Please
4. Moods In Free Time
5. Man Of Words
6. Hazy Hues
7. A New Day
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 How Hi The Fi (Pure Pleasure)
Buck Clayton
$34.99
180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed
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The Buck Clayton LP “How Hi The Fi” was the first issue in 1954 from the famous Buck Clayton jam sessions. It was recorded at Columbia’s 30th Street Studios, which was one of the greatest recording sites in the world (the studio has since been abandoned, which must be one of the most stupid decisions executed by the corporate record industry), with a sound that’s still instantly recognisable. These Buck Clayton jam sessions were among the first large scale projects to utilise the potential of the new LP technology.
The exciting music on this long out-of-print LP is now available again on 180gram vinyl, with the cuts "How Hi The Fi" and "Blue Moon" being the most memorable. Buck and fellow musicians are all in inspired form. The most memorable soloists are the rambunctious Trummy Young, the harmonically advanced chordings of Jimmy Jones and an exuberant Woody Herman who was rarely heard in this type of jam session setting. With Clayton having worked out some ensemble riffs for the horns beforehand and plenty of space left for spontaneity, this music is timeless magic.
Musicians:
- Buck Clayton, Joe Newman (trumpet)
- Urbie Green, Benny Powell (trombone)
- Woody Herman (clarinet)
- Julian Dash, Al Cohn (tenor saxophone)
- Jimmy Jones (piano)
- Steve Jordan (guitar)
- Walter Page (bass)
- Jo Jones (drums)
Recording: December 1953 and March 1954 at Columbia Studios, New York
Production: George Avakian and John Hammond
Format: 2LPs 33rpm / gatefold sleeve
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
Side 1:
How Hi The Fi and Blue Moon
recorded March 31st 1954
Buck Clayton
Joe Thomas : trumpet
Urbie Green
Trummy Young : trombone
Woody Herman : clarinet
Lem Davis : alto saxophone
Julian Dash
Al Cohn : tenor saxophone
Jimmy Jones : piano
Steve Jordan : guitar
Walter Page : bass
Jo Jones : drums
Side 2:
Sentimental Journey and Moten Swing
recorded December 14th 1953
Buck Clayton
Joe Newman : trumpet
Urbie Green
Benny Powell : trombone
Lem Davis : alto saxophone
Julian Dash : tenor saxophone
Charlie Fowlkes : baritone saxophone
Sir Charles Thompson : piano
Freddie Green : guitar
Walter Page : bass
Jo Jones : drums
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 Mr. Bechet (Pure Pleasure)
Budd Johnson & Earl Hines
$34.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Budd Johnson didn't do much recording as a leader, so this French studio date is particularly valuable. He's reunited with Earl Hines, with whom he played during three stints between 1932-1942; they're joined by drummer Panama Francis and bassist Jimmy Leary. The title track is an original tribute to the king of soprano saxophonists, Sidney Bechet. Though it was his second instrument, Johnson delivers a powerful solo with his own unique tone. He's back to tenor sax for the bluesy "Am I Wasting My Time?" and clearly enjoys himself on Hines' romping "Linger Awhile". Like all of Budd Johnson's releases, this LP is strongly recommended.
Musicians:
- Budd Johnson (tenor saxophone, soprano saxophone)
- Earl Hines (piano)
- Jimmy Leary (bass)
- Panama Francis (drums)
Recording: July 1974 at the Seed Studio in Vallauris, France, by Gerhard Lehner
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
1. Blues For Sale
2. Gone With The Wind
3. If You were Mine
4. Am I Waisting My Time
5. The Dirty Old Man
6. Linger Awhile
7. Mr Bechet
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 Going Back To Acoustic (Pure Pleasure)
Buddy Guy & Junior Wells
$34.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Originally issued in France on Isabel Records 900.510 under the title “Going Back” this LP presents one of the best duos in the history of the blues, guitarist Buddy Guy and harmonica player Junior Wells. Over the years they made many recordings together but this one is unique. Recorded whilst on a 1981 tour of Europe, Guy and Wells took a break from their backing musicians and amps to cut this spontaneous, all acoustic set. The results stand in stark contrast to the steamy Chicago blues the duo is best known for. Instead these recordings are relaxed and personal, with an intimate, back porch feel. Guy switches between six and twelve string guitars, and lays down rootsy acoustic rhythms for Wells’s tasteful harmonica lines. The two share vocal duties on the performances as they pay homage to the rural, country blues roots these modern bluesmen share.
Musicians:
- Buddy Guy (guitar, vocal)
- Junior Wells (harmonica, vocal)
Recording: May 1981 at Sysmo Studio, Paris
Production: Didier Tricard
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
1. Boogie Chillen
2. Im In The Mood
3. Dont Leave Me
4. Give Me My Coat And Shoes
5. Medley:Baby What You Want Me To Do/Thats Allright
6. Big Boat(Buddy and Juniors Thing)
7. High Heel Sneakers
8. My Home Is In The Delta
9. Wrong Doing Woman
10. Diggin My Potatoes
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 Charles Mingus Presents Charles Mingus (Pure Pleasure)
Charles Mingus
$34.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Charles Mingus has a fascinating way of offering music that is grounded in tradition while remaining startlingly original. The freshness of a piece like "Charles Mingus Presents Charles Mingus", has the effect of rendering much of what passes for jazz as tedious. The band is small for Mingus, and includes Eric Dolphy on alto saxophone and bass clarinet, Ted Curson on trumpet, and Dannie Richmond on drums. It would be one of Dolphy and Curson's last recording dates with the artist, and they seem determined to go all out for it. The leader's bass line kicks off "Folk Forms No. 1", followed by Dolphy outlining the melody, and then joined by Curson. A simple riff develops into a lively New Orleans funeral march that's developed for 12 minutes. "Original Faubus Fables" is serious in intent — a political attack on segregation governor Faubus — but Mingus and Richmond's singing is difficult to listen to with a straight face. Still, this doesn't distract from the wonderful music. Again and again, the elasticity of the sound is fascinating, at once spacious with the bass and drums balanced against the brass and then noisy, with the horns wailing and crying. The last two pieces, "What Love?" and the outrageously titled "All the Things You Could Be by Now if Sigmund Freud's Wife Was Your Mother", are much looser, bordering on free jazz. The album accomplishes what the best of Mingus accomplishes: the perfect tension between jazz played as an ensemble and jazz played as totally free.
Musicians:
- Eric Dolphy (alto saxophone, bass clarinet)
- Ted Curson (trumpet)
- Charles Mingus (bass)
- Dannie Richmond (drums)
Recording: October 1960 at Nola Penthouse Studios, New York City, by Bob d'Orleans
Production: Nat Hentoff
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
1. Folk Forms, No. 1
2. Original Faubus Fables
3. What Love
4. All The Things You Could Be By Now If Sigmund Freud’s Wife Was Your Mother
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 Picture of Heath (Pure Pleasure)
Chet Baker & Art Pepper
$34.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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First released under the title “Playboys” in 1956 it was then re-released under the title “Picture Of Heath” in 1961 perhaps owing to the fact it carried the same name as a popular men’s magazine.
This was the third session together of the dynamic duo of Chet Baker and Art Pepper the previous two having been unequivocal successes. Baker and Pepper have an instinctual rapport that yields outstanding interplay.
These thoroughly enjoyable and often high-energy sides are perfect for bop connoisseurs as well as mainstream jazz listeners.
Musicians:
- Chet Baker (trumpet)
- Art Pepper (alto saxophone)
- Phil Urso (tenor saxophone)
- Carl Perkins (piano)
- Curtis Counce (bass)
- Lawrence Marable (drums)
Recording: October 1956
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
1. Picture Of Heath
2. For Miles And Miles
3. C.T.A.
4. For Minors Only
5. Minor Yours
6. Resonant Emotions
7. Tynan Time
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 Christine Perfect (Pure Pleasure)
Christine Perfect
$34.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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In 1976, Sire Records issued the first U.S. release of what had been a mega-import of the Blue Horizon 1970 U.K. release, an album called simply Christine Perfect, the maiden name of Christine McVie. You don't need a crystal ball to tell you the album is classic and tremendous — the big surprise is that it didn't go multi-platinum in the States. There are 12 tracks, and "I'd Rather Go Blind" went Top Ten in the U.K. It deserved to, but there's more here than the very good reading of the Etta James hit that "I'd Rather Go Blind" was. "When You Say" has strings and production that sound hauntingly like a Marianne Faithful track on London or Nico's work on Immediate.
Musicians:
- Christine Perfect (keyboards)
- Rick Hayward, Top Topham, Danny Kirwan (guitar)
- Martin Dunsford, John McVie, Andy Sylvester (bass)
- Chris Harding (drums, percussion)
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
1. Crazy 'Bout You Baby
2. I'm On My Way
3. Let Me Go (Leave Me Alone)
4. Wait And See
5. Close To Me
6. I'd Rather Go Blind
7. When You Say
8. And That's Saying A Lot
9. No Road Is The Right Road
10. For You
11. I'm Too Far Gone (To Turn Around)
12. I Want You
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 Color Changes (Pure Pleasure)
Clark Terry
$34.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Possessor of the happiest sound in jazz, flügelhornist Clark Terry always plays music that is exuberant, swinging, and fun. A brilliant (and very distinctive) soloist, he gained early experience playing trumpet in the viable St. Louis jazz scene of the early '40s (where he was an inspiration for Miles Davis) and, after performing in a Navy band during World War II, he gained a strong reputation playing with the big band of Charlie Barnet (1947-1948), the orchestra and small groups of Count Basie (1948-1951), and particularly with Duke Ellington (1951-1959). Terry, a versatile swing/bop soloist who started specializing on flügelhorn in the mid-'50s, had many features with Ellington (including "Perdido") and started leading his own record dates during that era. He recorded regularly in the 1960s including a classic set with the Oscar Peterson Trio and several dates with the quintet he co-led with valve trombonist Bob Brookmeyer.
This is one of flügelhornist Clark Terry's finest albums. Terry had complete control over the music and, rather than have the usual jam session, he utilized an octet and arrangements by Yusef Lateef, Budd Johnson, and Al Cohn. The lineup of musicians lives up to its potential, and the charts make good use of the sounds of these very individual stylists. The material, which consists of originals by Terry, Duke Jordan, Lateef, and Bob Wilber, is both rare and fresh, and the interpretations always swing.
Musicians:
- Clark Terry (trumpet, fluegel horn)
- Jimmy Knepper (trombone)
- Julius Watkins (french horn)
- Yusef Lateef (tenor saxophone, flute; english horn, oboe)
- Seldon Powell (tenor saxophone, flute)
- Tommy Flanagan, Budd Johnson (piano)
- Joe Benjamin (bass)
- Ed Shaughnessy (drums)
Recording: November 1960 at Nola Penthouse Studios, New York City, by Bob d’Orleans
Production: Nat Hentoff
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
1. Blue Waltz (la Valse Bleue)
2. Brother Terry
3. Flutin and Fluglin
4. No Problem
5. La Rive Gauche
6. Nahstye Blues
7. Chat Qui Peche (A Cat That Fishes)
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 Electric Music For The Mind And Body (Pure Pleasure)
Country Joe & The Fish
$34.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Country Joe & The Fish full-length debut is their most joyous and cohesive statement and one of the most important and enduring documents of the psychedelic era, the band's swirl of distorted guitar and organ at its most inventive. In contrast to Jefferson Airplane, who were at their best working within conventional song structures, and the Grateful Dead, who hadn't quite yet figured out how to transpose their music to the recording studio, Country Joe & the Fish delivered a fully formed, uncompromising, and yet utterly accessible — in fact, often delightfully witty — body of psychedelic music the first time out. Ranging in mood from good-timey to downright apocalyptic, it embraced all of the facets of the band's music, which were startling in their diversity: soaring guitar and keyboard excursions ("Flying High", "Section 43", "Bass Strings", "The Masked Marauder"), the group's folk roots ("Sad and Lonely Times"), McDonald's personal ode to Grace Slick ("Grace"), and their in-your-face politics ("Superbird"). Hardly any band since the Beatles had ever come up with such a perfect and perfectly bold introduction to who and what they were, and the results — given the prodigious talents and wide-ranging orientation of this group — might've scared off most major record labels. Additionally, this is one of the best-performed records of its period, most of it so bracing and exciting that one gets some of the intensity of a live performance. One of Vanguard Records' classic albums, with startlingly vivid stereo separation and a close, intimate sound.
Musicians:
- Country Joe McDonald (guitar, harmonica, tambourine, vocal)
- David Cohen (guitar, organ, vocal)
- Barry Melton (guitar, vocal)
- Bruce Barthol (bass, harmonium)
- Chicken Hirsh (drums)
Recording at Sierra Sound Laboratories, Berkeley, CA, USA, by Robert di Souza
Production: Samuel Charters
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
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 Duke Ellington's 70th Birthday Concert (Pure Pleasure)
Duke Ellington
$44.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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This double LP ranks as one of Duke Ellington’s finest recordings of his final decade. The live performance gives listeners a good idea as to just how Duke’s ensemble sounded in concert, and it serves as both a retrospective and a display of the strengths of Ellington’s mighty band. Among the many highlights are definitive renditions of "Rockin' in Rhythm" and "Take the 'A' Train" (the latter has some wonderful Cootie Williams trumpet), a few features for altoist Johnny Hodges, a tenor battle on "In Triplicate," a few guest spots for organist Wild Bill Davis, and a 16-and-a-half-minute, nine-song medley that really works well. The most memorable chorus of all is an incredible high-note display by Cat Anderson on "Satin Doll" that is arguably his most miraculous solo ever; each note he hits is virtually impossible to play on the trumpet, and is in tune, too. This gem is essential for all serious jazz collections.
Musicians:
- Duke Ellington (piano)
- Johnny Hodges, Russell Procope (saxophone)
- Cat Anderson, Mercer Ellington (trumpet)
- Lawrence Brown (trombone)
- Wild Bill Davis (organ)
- Victor Gaskin (bass)
- Rufus “Speedy” Jones (drums)
Recording: November 1969 live by Bob Auger
Production: Noel Walker
Format: 2LPs 33rpm / gatefold sleeve
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
Side one:
Rockin In Rhythm
B.P.
Take The A Train
Tootie For Cootie
Side Two:
4:30 Blues
El Gato
Black Butterfly
Things Aint What They Used To Be
Laying On Mellow
Side Three:
Satin Doll
Azure
In Triplicate
Perdido
Fifi
Side Four:
Medley:
Prelude To A Kiss
Im Just A Lucky So And So
I Let A Song Go Out Of My Heart
Do Nothin Til You Hear From Me
Just Squeeze Me
Dont Get Around Much Anymore
Mood Indigo
Sophisticated Lady
Caravan
Black Swan
Final Ellington Speech
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 Comin' Through (Pure Pleasure)
Eddie Henderson
$34.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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This is an outstanding example of Funk-Jazz from the Funk Surgeon Eddie Henderson, which is a classic. The funk starts straight away with the exciting “Say You Will”, orthodox but compelling, a hunk of funk featuring subtle string machine riff from Ms. Rushen with sterling trumpet solo work from the Surgeon himself. With a slower rhythm, there’s a deliberate funk in “Open Eyes”, though it is far more controlled and also features a chant vocal from Diane Reeves. A more mellow “Morning Song” follows - penned by featured keyboard maestro, George Cables, - Eddie is right to the fore throughout. Eddie closes side one out via the mid tempo but quite gritty “Movin’ On” it takes a little time to settle in, building into something of a climax – and again Eddie’s solo work is superlative.
As with side one, side two opens with a Mtume creation – this time, you’ll find “Source” a controlled yet irresistibly funky track built around some eerie but effective sound effects as Eddie solos the simple melody. But it’s funky! “The Funk Surgeon” lives up to it’s name, a very compelling piece of music that is second only to “Say You Will” in terms of uninhibited excitement on the album. “Beyond Forever”, another George Cables creation, is the nearest this album comes to the old-style, orthodox jazz of yesteryear. As would be expected, “Connie” is a wistful, gentle little ditty that ends the album on a sentimental note and with Eddie showing his natural ability to play something mellow.
Musicians:
- Eddie Henderson (trumpet, fluegel horn)
- Patrice Rushen (keyboards, bass, percussion, vocal)
- Mtume (keyboards, conga, percussion, vocal)
- Philip Bailey (conga, vocal)
- Diane Reeves (vocal)
- Lee Ritenour (guitar)
- Howard "Locksmith" King (drums)
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
1. Say You Will
2. Open Eyes
3. Morning Song
4. Movin' On
5. Source
6. The Funk Surgeon
7. Beyond Forever
8. Connie
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 Painting Signs (Pure Pleasure)
Eric Bibb
$44.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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"Painting Signs" stands up as a complete work from beginning to end. Eric Bibb makes a fine case for blues as a music of introspection, warmth, and supreme nuance. Easily his most mature album to date, "Painting Signs" continues Bibb's formula of socially aware songs performed from an acutely personal point-of-view; standout tracks "Don't Ever Let Nobody Drag Your Spirit Down" and a cover of "Hope In A Hopeless World" hammer home his message of individual freedom and the responsibilities that accompany it. (It's no coincidence that Pops Staples, to whom Bibb dedicates this album, once recorded the latter song.) That's not to say "Painting Signs" is overly didactic or, indeed, 'heavy' in any way; even the most serious songs here, like the plea for peace and unity "Got To Do Better," are leavened by a musical backdrop that's soulful and immediately accessible. Gospel-leaning backing vocals by Linda Tillery and her Cultural Heritage Choir help flesh out several cuts, and robust accordion fills by Bibb's longtime accompanist Janne Petersson add a subtle Louisiana flavor to the rolling, propulsive "Kokomo" and, to surprisingly good effect, the deep-grooved version of Jimmy Reed's "Honest I Do". Elsewhere, he keeps a minimalist tone dominated by acoustic guitar, an arrangement that's particularly mesmerizing on the chilling title track. With its emphasis on sophisticated songcraft and its gentle blend of folk, gospel, and country influences, "Painting Signs" presents Bibb as an artist intent on blurring the line between blues and 'roots music' in general.
Musicians:
- Eric Bibb (vocal, guitar)
- Wilson Pickett (vocal)
- Dave Bronze (bass, guitar, vocal)
- Robbie McIntosh (guitar)
- Hans Theesink (mandolin)
- Janne Petersson (organ, piano, electric piano, accordion)
- Henry Spinetti (drums)
- Linda Tillery & The Cultural Heritage Choir (backing vocal)
Format: 2LPs 33rpm / gatefold sleeve
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
1. Kokomo
2. Hope In A Hopeless World
3. Five Miles Above
4. I Heard The Angels Singing
5. Delia's Gone
6. Got To Do Better
7. The Light Was Worth The Candle
8. Angel
9. Walkin' Home
10. To Know You
11. Honest I Do
12. Paintin' Signs
13. Don't Ever Let Nobody Drag Your Spirit Down
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 Blues Jam At Chess (Pure Pleasure)
Fleetwood Mac
$44.99
180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed
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No introduction needed for this fabulous release. Arguably one of the greatest blues recordings laid down in the last 40 years! Just checking out the personnel above says it all. Originally released on Mike Vernon's highly collectable and revered Blue Horizon label in 1969, this pressing will become a must for all serious collectors and muso's alike!
Musicians:
- Fleetwood Mac
- Otis Spann
- Willie Dixon
- Shakey Horton
- J.T. Brown
- Guitar Buddy
- Honey Boy Edwards
- S.P. Leary
Recording: January 1969 at Chess Ter-Mar Studios, Chicago
Production: Mike Vernon and Marshall Chess
Format: 2LPs 33rpm / gatefold sleeve
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
Side One
1. Watch Out
2. South Indiana - Take 1
3. South Indiana - Take 2
4. Last Night
5. Red Hot Jam
Side Two
6. I'm Worried
7. I Held My Baby Last Night
8. Madison Blues
9. I Can't Hold
10. I Need Your Love
11. I Got the Blues
Side Three
12. World's in a Tangle
13. Talk with You
14. Like it This Way
15. Someday Soon Baby
16. Hungry Country Girl
Side Four
17. Black Jack Blues
18. Everyday I Have the Blues
19. Rockin' Boogie
20. Sugar Mama
21. Homework
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 The Third Face of Fame (Pure Pleasure)
Georgie Fame
$34.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Georgie Fame's swinging, surprisingly credible blend of jazz and American R&B earned him a substantial following in his native U.K., where he scored three number one singles during the '60s and a top ten hit with "Bonnie & Clyde" in the States. Fame played piano and organ in addition to singing, and was influenced by the likes of Mose Allison, Ray Charles, Booker T and the MG's and Louis Jordan. Early in his career, he also peppered his repertoire with Jamaican ska and bluebeat tunes, helping to popularize that genre in England; during his later years, he was one of the few jazz singers of any stripe to take an interest in the vanishing art of vocalese, and earned much general respect from jazz critics on both sides of the Atlantic.
This set finds him in a suaver, jazzier vein accompanied by a band made up of the cream of jazz musicians on the UK scene at the time. It was at this time, 1967 and 1968, that to much acclaim, he toured as featured vocalist with the Count Basie Orchestra throughout the UK & Europe.
Musicians:
- Georgie Fame (piano, organ, vocal) and orchestra
Recording: 1968 by Mike Ross
Production: Mike Smith
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
1. The Ballad of Bonnie and Clyde
2. When I'm Sixty Four
3. Ask Me Nice
4. Exactly Like You
5. Someone to Watch Over Me
6. Blue Prelude
7. Bullets Laverne
8. This is Always
9. Side By Side
10. St. James Infirmary
11. Mellow Yellow
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 New Bottle Old Wine (Pure Pleasure)
Gil Evans
$34.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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If you have admired Gil Evans’ arrangements on the Miles Davis recordings, you owe it to yourself to check this out. These recordings help make the case that Gil Evans was one of the great jazz arrangers of all time. Gil Evans always manages to communicate with sophistication and nuance, and on these sessions he manages to have fun as well.
This is a LP of Gil Evans re-arranging classic jazz standards like "St. Louis Blues", "King Porter Stomp", and "Lester Leaps". It's so interesting to be listening to these records nearly 50 years after they were made. This was a 'modern' take on jazz tunes that even then were considered classics. Hearing them now, it's like listening to one set of Old Masters interpreting an even more distant set of Old Old Masters. It's a LP that you can enjoy as a peek into modern jazz of the late 50's, or as a set of very interesting big band orchestrations. An absolute jazz classic.
Musicians:
- Gil Evans (arranger, conductor, piano)
- Cannonball Adderley (alto saxophone)
- Ernie Royal (trumpet)
- Phil Bodner (reeds)
- Harvey Philips (tuba),
- Bill Barber (tuba)
- Chuck Wayne (guitar)
- Paul Chambers (bass)
- Art Blakey (drums)
- Philly Joe Jones (drums)
Recording: April and May 1958 in New York City
Production: Gil Evans and George Avakian
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
1. St Louis Blues
2. King Porter Stomp
3. Willow Tree
4. Struttin With Some Barbecue
5. Lester Leaps In
6. Round Midnight
7. Manteca
8. Bird Feathers
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 The Final Comedown (Pure Pleasure)
Grant Green
$34.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Guitarist Grant Green is known for laid back non-chordal single note playing. He was underrated during his life, but is now seen as one of the greatest guitarists of his era. During the early 60’s, both his fluid, tasteful playing in organ/guitar/drum combos and his other dates for Blue Note established Green as a star. He was off the scene for a while in the mid-60’s, but came back strong in the late ‘60’s and ‘70’s when this album was recorded.
"The Final Comedown" was Blue Note’s first film soundtrack and is an excellent debut into the Blaxploitation soundtrack genre of the period. As Grant Green’s entry into this blaxploitation genre it does differ to a certain degree from his other works. There are pensive mood pieces along with more funky percussive tunes. Like any film score, the moods shift from tense to tranquil, featuring staccato horn punches, dramatic tympani, bongo driven beats and wah wah guitar. Grant Green brings a deeper jazz feel to the tracks with in particular the title track being more akin to his other Blue Note material of the period.
Musicians:
- Grant Green (guitar)
- Wade Marcus (composer, conductor)
- Richard Tee (piano, organ)
- Irving Markowitz, Marvin Stamm (trumpet, fluegel horn)
- Phil Bodner (flute, piccolo, alto saxophone, oboe)
- Harold Vick (alto saxophone, tenor saxophone)
- Gordon Edwards (electric bass)
- Grady Tate (drums)
- Ralph MacDonald (conga, bongo)
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
1. Past, Present And Future
2. The Final Comedown
3. Father's Lament
4. Fountain Scene
5. Soul Food - African Shop
6. Slight Fear And Terror
7. Afro Party
8. Luanna's Theme
9. Battle Scene
10. Traveling To Get To Doc
11. One Second After Death
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 Earl Meets Harry (Pure Pleasure)
Harry Sweets Edison & Earl Hines
$34.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Leave it to European labels like Black & Blue to come up with inspired pairings of musicians who American labels never seem to get around to considering. This 1978 meeting between pianist Earl Hines and trumpeter Harry 'Sweets' Edison is a match of masters, covering tunes they had likely performed hundreds of times in their respective careers. Everything seems to gel in the opening track, a strident take of "I Cover the Waterfront," with plenty of trills by Hines in support of Edison's brilliant open horn. Edison adds a mute for an exquisite, deliberate take of "Just Squeeze Me" and a sauntering "But Not for Me." Hines' dancing tenths come to the forefront in their romp through "Just You, Just Me”.
There is nothing like two veterans at the top of their game joining forces for a record date.
Musicians:
- Harry “Sweets” Edison (trumpet)
- Earl Hines (piano)
Recording: April 1978 at Studio Sinus , Berne (Switzerland), by Peter J. Mac Taggart
Production: Johnnie’s/Alberto Tognetti
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
1. I Cover the waterfront
2. Just squeeze me
3. But not for me
4. Just you just me
5. Mean to me
6. I surrender dear
7. The one I love belongs to somebody else
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 God Bless My Solo (Pure Pleasure)
Illinois Jacquet
$34.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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The solo referred to in the title, "God Bless My Solo", is that in “Flying Home” made by Illinois Jacquet into a Decca Records microphone in May 1942. This solo became one of the two or three most influential solos in all of jazz history, an 80-second masterpiece.
Nearly every tenor player who followed made it a priority to learn that solo, note for note. But "Flying Home" marked neither the beginning nor the end of Jacquet's seven-decade career. He was one of jazz's great survivors, thought of as an outrageous musician when he was young but hailed as a classic figure in old age. He was as effective with romantic jazz ballads as he was with the explosive performances with which he made his reputation.
Tenor saxophonist Illinois Jacquet is heard in top form throughout this quartet set, recorded for the French Black & Blue label, whilst touring throughout Europe in the 1970’s.
Musicians:
- Illinois Jacquet (tenor saxophone)
- Hank Jones (piano)
- George Duvivier (bass)
- J. C. Heard (drums)
Recording: March 1978 at Barclay Studio, Paris (France), by Gerhard Lehner
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
1. Jean-Maries Den
2. You left me all alone
3. Lean baby
4. God bless my solo
5. Things aint what they used to be
6. From Broussard
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 Concierto (Pure Pleasure)
Jim Hall
$44.99
180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed
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Jim Hall's "Concierto" was arguably a masterpiece and possibly the greatest LP in the history of CTI. With two legendary players in the frontline, trumpeter Chet Baker and Paul Desmond, Hall interprets standards and engaging originals. A master of melody who never wastes notes, the centerpiece for this release is Hall's interpretation of one movement from Rodrigo's "Guitar Concerto," arranged by Don Sebesky. New tracks include alternate takes of "You'd Be So Nice to Come Home To" and "Rock Skippin'," plus "Unfinished Business," an incomplete track that fades following Desmond's solo just as Hall starts to play (This song is actually "La Paloma Azul," a Mexican folk tune played by Paul Desmond while with the Dave Brubeck Quartet about a decade earlier, also known as "The Blue Dove").
Musicians:
- Jim Hall (guitar)
- Chet Baker (trumpet)
- Paul Desmond (alto saxophone)
- Roland Hanna (piano)
- Ron Carter (bass)
- Steve Gadd (drums)
Recording: April 1975 at Van Gelder’s Recording Studio, Englewood Cliffs, N.J., USA by Rudy Van Gelder
Production: Creed Taylor
Format: 2LPs 33rpm / gatefold sleeve
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
1. You'd Be So Nice To Come Home To
2. Two's Blues
3. The Answer Is Yes
4. Concierto de Aranjuez
5. Rock Skippin'
6. Unfinished Business
Bonus Tracks
7. You'd Be So Nice To Come Home To (alternate take)
8. The Answer Is Yes (alternate take)
9. Rock Skippin' (alternate take)
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 Joan Baez (Pure Pleasure)
Joan Baez
$34.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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At the time of its release, Joan Baez's debut album was something of a revelation. The folk music revival was beginning to gather steam, stoked on the popular side by artists such as the Kingston Trio and the Easy Riders, as well as up-and-coming ensembles such as the Highwaymen, and on the more intense and serious side by the Weavers. The female singers on the scene were mostly old-time, veteran activist types like Ronnie Gilbert and Malvina Reynolds, who was in her sixties. And then along comes this album, by a 19-year-old who looked more like the kind of co-ed every mother dreamt her son would come home with, displaying a voice from heaven, a soprano so pure and beguiling that the mere act of listening to her — forget what she was singing — was a pleasure. Baez's first album, made up primarily of traditional songs (including a startling version of "House of the Rising Sun"), was beguiling enough to woo even conservative-leaning listeners. Accompanied by the Weavers' Fred Hellerman and a pair of session singers, Baez gives a fine account of the most reserved and least confrontational aspects of the folk revival, presenting a brace of traditional songs (most notably "East Virginia" and "Mary Hamilton") with an urgency and sincerity that makes the listener feel as though they were being sung for the first time, and opening with a song that was to become her signature piece for many years, "Silver Dagger". The recording was notable at the time for its purity of sound, and Baez's voice soars with an awesome purity of "Fare Thee Well", "House of the Rising Sun", and "All My Trials", and the guitar accompaniment on "Wildwood Flower", among other tracks, comes through with richness and clarity.
Musicians:
- Joan Baez (vocal, guitar)
- Fred Hellerman (guitar)
Production: Maynard Solomon
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
Silver Dagger
East Virginia
Fare Thee Well
House Of The Rising Sun
All My Trials
Wildwood Flower
Donna Donna
John Riley
Rake And Rambling Boy
Little Moses
Mary Hamilton
Henry Martin
El Preso Numero Nueve
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 The Yellow Princess (Pure Pleasure)
John Fahey
$34.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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This particular John Fahey LP is a personal favourite of many of his devout fans for several reasons. And although such a judgment is tough, if one were looking to own only one album by this unique guitarist, "The Yellow Princess" could be the one. The recording sound is among the best of his many releases; at the proper volume, the effect is as if one had taken up residency inside the sound hole of a giant acoustic guitar. The program of pieces is marvellously emotional and varied, with many moments of precisely stated harmonies moving at courageously slow tempos. The second piece on the first side, "View (East from the Top of the Riggs Road/B&O Trestle)", is surely one of his masterpieces, on a par with Charles Ives for musical Americana. It is a great added bonus to have liner notes by the artist, some of the best and most absurd text he ever came up with. Yet another reason this is one of Fahey's top sides is it allows a chance to hear one of his few collaborations with other musicians. Several members of the fine rock group Spirit are present, along with drummer Kevin Kelley, for several lovely pieces, including the "March! For Martin Luther King", a remarkably heartfelt tribute that could have gone on much longer. Taped sounds and electronic effects on "The Singing Bridge of Memphis, Tennessee" certainly predict the more noisy stuff Fahey would get into in the later part of his career.
Musicians:
- John Fahey (guitar, vocal)
- Jay Ferguson (organ, piano)
- Mark Andes (electric bass)
- Matt Andes (guitar)
- Kevin Kelley (drums)
Recording: 1968 at Sierra Sound Laboratories, Berkeley, CA, USA
Production: John Fahey & Barret Hansen
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
SIde One
1. The Yellow Princess
2. View (East From The Top Of The Riggs Road / B&O Trestle)
3. Lion
4. March! For Martin Luther King
5. The Singing Bridge Of Memphis, Tennessee
Side Two
1. Dance Of The Inhabitants Of The Invisible City Of Bladensburg
2. Charles A. Lee: In Memoriam
3. Irish Letter
4. Commemorative Transfiguration And Communion At Magruder Pars
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 Get Back Home In The USA (Pure Pleasure)
John Lee Hooker
$39.99
180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed
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Recorded when Hooker was well into his '60s 'comeback', "Get Back Home" features the bluesman in a solo performance (a mode that best reveals the subtleties of his work). The session was recorded in France, and Hooker must have been feeling a bit homesick, as the first song is "Get Back Home In The USA", where he describes in detail, over his trademark boogie rhythm, his return to his homeland and the joy he knows he will feel. After this momentary ray of sunshine, though, things soon return to more familiar climes, with the bleakness of the slow blues "T.B. Is Killing Me" and the unbridled despair of "When My First Wife Left Me". Hooker recorded this tune many times over the years, but this is one of the finest versions, plumbing the depths of shame and regret. Hooker's raw, biting guitar work is at its best here. Even the umpteenth recording of the Hooker chestnut "Boogie Chillen" is invested with uncommon verve. With the addition of six powerful bonus cuts, "Get Back Home" is both an excellent introduction into the sultry, menacing world of Hooker and a vital addition to the collections of his hardcore fans.
Musicians:
- John Lee Hooker (vocal, guitar)
Format: 2LPs 33rpm
Recording: November 1969 at Monestier-Lemay Studio, Pau, France
Production: Jacques Morgantini
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
1. Get Back Home In The USA
2. TB Is Killing Me
3. Cold Chills
4. I Had A Dream Last Night
5. Love Affair
6. Little Rain
7. When My First Wife Left Me
8. Big Boss Lady
9. Back To Your Mother
10. Boogie Chillen
11. Sitting Here Thinking
12. I Wanna Ramble
13. Hi-Heel Sneakers
14. Im So Worried Baby
15. Im Going Upstairs
16. Crazy Bout You
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 Last Night's Dream (Pure Pleasure)
Johnny Shines
$34.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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It's no wonder that this album, cut in 1968 with British blues maven Mike Vernon at the helm, works so well. When you team a rejuvenated Shines with his longtime compadres Horton, Spann, bassist Willie Dixon, and drummer Clifton James, a little blues history was bound to be made.
"Johnny Shines is the ultimate Delta bluesman, combining the classic styles he learned as a youth into a very personal style, fluent, creative and forcefully talented as both a singer and guitarist" – Jim DeKoester
"He rates amongst the most important and individualistic blues stylists of the post-war years" – Pete Welding
"A forceful explosive blues singer whose strong, vibrato laden voice possesses a range and sensitivity which is rivalled by few other bluesmen" – Peter Guralnick
Musicians:
- Johnny Shines (vocal, guitar)
- Otis Spann (piano)
- Big Walter Horton (harmonica)
- Willie Dixon (bass)
- Clifton James (drums)
Recording: June 1968 in Chicago by Malcolm Chisholm
Production: Mike Vernon
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
1. Solid Gold
2. From Dark 'Til Dawn
3. I Will Be Kind to You
4. Last Night's Dream
5. Baby Don't You Think I Know
6. Pipeline Blues
7. I Don't Know
8. Black Panther
9. I Had a Good Home
10. Mean Fisherman
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 Leadbelly (Pure Pleasure)
Huddie Ledbetter
$34.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Leadbelly's last recording sessions for a commercial record label, held in the early fall of 1944, yielded a dazzling 12 songs, embracing virtuoso guitar blues ("Grasshoppers In My Pillow"), pounding piano-driven scatting ("The Eagle Rocks", with Leadbelly himself at the ivories, a talent for which he wasn't usually recognized), and familiar standards done in some startlingly different ways, including "Goodnight, Irene", "Rock Island Line", and "Ella Speed", done with the understated accompaniment of a zither (courtesy of Paul Mason Howard) as well as his own guitar. Leadbelly was in excellent voice and top form on guitar and piano — having gone to California to test the commercial waters, he met Tex Ritter, an old friend, who arranged for Leadbelly to come to his house and, with Merle Travis playing as well and Capitol executive Lee Gillette present, auditioned then and there for the label; he was energized by the experience, and Capitol's recording caught the brightest as well as the deepest tones in his playing, thus making this record one of the very best showcases for acoustic 12-string guitar of the period. Sadly, only a handful of these tracks were issued during the man's own lifetime, thus convincing him that they were another career dead end — in 1956 (and again in 1962) they emerged with an impassioned annotation by Dave Dexter Jr., imploring people to buy these last commercial sides by one of the most celebrated bluesmen of the century.
Production notes: Whilst this album has been mastered and produced to the highest possible standards it is NOT upto what would be considered audiophile standards. This would be impossible bearing in mind the standards of recording and mastering at the time.
Musicians:
- Leadbelly (guitar, piano)
- Paul Mason Howard (zither)
Recording: October 1944 in Hollywood, USA
Production: Dave Dexter Jr. and Lee Gilette
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
Goodnight Irene
Grasshoppers In My Pillow
The Eagle Rocks
Rock Island Line
Ella Speed
Backwater Blues
Take This Hammer
Tell Me, Baby
Eagle Rock Rag
Western Plain
Sweet Mary Blues
On A Christmas Day
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 In New York (Pure Pleasure)
Lightin' Hopkins
$34.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Lightnin’ Hopkins was one of the most over-recorded artists in the blues genre. The recordings here were made at a pivotal moment in his career. In 1960, at 48 years old, he was no longer a star in the black community, but was becoming a folk legend. His deeply personal music not only reflected the experiences of his community but touched a universal nerve. Chris Strachwitz, who often recorded Hopkins, has called his records »brief audio snapshots of one of the great folk poets to emerge from the African-American experience in Texas.« When he died in 1982 he had recorded well over 600 'audio snapshots'. From his prolific output this Candid session ranks amongst his finest and most intimate work.
Musicians:
- Lightnin' Hopkins (vocal, guitar, piano)
Recording: November 1960 at Nola Penthouse Studios, New York City, by Bob d'Orleans
Production: Nat Hentoff
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
1. Take It Easy
2. Mighty Crazy
3. Your Own Fault, Baby, To Treat Me The Way You Do
4. Ive Had My Fun If I Dont Get Well No More
5. The Trouble Blues
6. Lightnins Piano Boogie
7. Wonder Why
8. Mister Charlie
9. Black Cat
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 Plays W.C. Handy (Pure Pleasure)
Louis Armstrong
$44.99
180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed
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The excellence of Louis’ band is so high and so consistent that every man deserves commendation for his part in making this remarkably fine record. Trummy Young particularly should be singled out for his driving solos and for the way he 'boots' Louis in the final ensembles. The way I feel about this record can be summed up in this way: When I die, I want people to say, “That’s the guy that if it hadn’t been for him and Louis Armstrong and W. C. Handy, there wouldn’t have been that great record, Louis Armstrong Plays W. C. Handy.”
(excerpt from the sleeve notes by George Avakian)
Musicians:
- Louis Armstrong (trumpet, vocal)
- Velma Middleton (vocal)
- Trummy Young (trombone)
- Barney Bigard (clarinet)
- Billy Kyle (piano)
- Arvell Shaw (bass)
- Barrett Deems (drums)
Recording: July 1954 by Mason Coppinger
Production: George Avakian
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
1. St Louis Blues
2. Yellow Dog Blues
3. Loveless Love
4. Aunt Hagars Blues
5. Long Gone (From Bowling Green)
6. Memphis Blues
7. Beale Street Blues
8. Ole Miss Blues
9. Chantez Les Bas (Sing Em Low)
10. Hesitating Blues
11. Atlanta Blues (Make Me One Pallet On Your Floor)
12. George Avakians Interview With W.C. Handy
13. Loveless Love (rehearsal sequence)
14. Hesitating Blues (rehearsal sequence)
15. Alligator Story
16. Long Gone (From Bowling Green) (rehearsal sequence)
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 Kenya (Pure Pleasure)
Machito & His Orchestra
$34.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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This outstanding album, recorded in 1957, in honor of the then recently formed republic of Kenya, highlights the wonderful Afro-American and Afro-Cuban musical language Machito spoke so well.
In this album, Machito has combined all the elements needed in bringing the true meaning of Afro-Cuban jazz music to the listener. Machito, his musical director Mario Bauza, Rene Hernandez and A. K. Salim who along with Mr Bauza composed and arranged this music, define it this way: "Afro-Cuban rhythm differs from other rhythms in that instead of the usual drums carrying the rhythmic beat, it is carried by Cuban percussion instruments such as the bongos, congas, timbales, guiros and maracas. Also, and even more elemental, is that although there are four beats to the bar as in all jazz, in Afro-Cuban jazz the beat is not played by any instrunments as such. It is felt, rather than actually heard. Afro-Cuban jazz is, in it’s performance, the marriage of Afro-Cuban rhythm and soloists".
Musicians:
- Machito (vocal, conductor)
- Mario Bauza, Doc Cheatham, Joe Newman (trumpet)
- Cannonball Adderley (as)
- Ray Santos (ts)
- Santo Russo, Eddie Bert (trombone)
- Rene Hernandez (piano)
- Roberto Rodriguez (bass)
- Jose Mangual, Uba Nieto, Candido Camero (percussion)
Recording: December 1957 at Metropolitan Studios, New York City
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
1. Wild Jungle
2. Congo Mulence
3. Kenya
4. Oyeme
5. Holiday
6. Cannonology
7. Frenzy
8. Blues A La Machito
9. Conversation
10. Tin Tin Deo
11. Minor Rama
12. Tururato
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 Babes In The Wood (Pure Pleasure)
Mary Black
$34.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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"Babes In The Wood" is Mary Black's finest, most consistently pleasing album. There is no filler here, and her song selection, culled from new songwriters such as Noel Brazil and classic folkies such as Richard Thompson, is impeccable. The acoustic arrangements (including guitar, piano, mandolin, dobro, and accordion) are carried out by her longtime backing musicians, although the music has a decidedly more pop than Celtic flavor on this album. As with most of her releases, there are many romantic ballads sung with a subtly that adds emotional weight to every song. The main difference on this album is an omnipresent religious tone, whether it's overt in the gospel opener "Still Believing" or just below the surface in songs such as "The Golden Mile". Even a few of the love songs refer to having faith that love will come around again after heartbreak ("Just Around the Corner"). However, the album is peppered with playful, upbeat tunes that propel the album forward to the final song, a wonderful cover of Joni Mitchells’s "Urge For Going". A great introduction to the music of Mary Black, and a must-own for fans.
Musicians:
- Mary Black (vocal)
- Pat Crowley (piano, accordion, vocal)
- Maire Breatnach (synthesizer, fiddle)
- Declan Sinnott (dobro, guitar, mandolin, vocal)
- Carl Geraghty (saxophone)
- Garvan Gallagher (bass)
- Noel Bridgeman (percussion)
Recording: March - June 1991 at Ringsend Road Studios, Dublin (Ireland), by Andrew Boland
Production: Declan Sinnott
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
1. Still Believing
2. Bright Blue Rose
3. Golden Mile
4. Babes in the Wood
5. The Thorn upon the Rose
6. Just Around the Corner
7. Brand New Star
8. Prayer for Love
9. Adam at the Window
10. The Dimming of the Day
11. Might as Well Be a Slave
12. The Urge for Going
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 We Insist!/ Freedom Now Suite (Pure Pleasure)
Max Roach
$34.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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This is a classic. At a time when the civil rights movement was starting to heat up, drummer Max Roach performed and recorded a seven-part suite dealing with black history (particularly slavery) and racism. "Driva' Man" has a powerful statement by veteran tenor Coleman Hawkins and there is valuable solo space elsewhere for trumpeter Booker Little and trombonist Julian Priester, but it is the overall performance of Abbey Lincoln that is most notable. Formerly a nightclub singer, Lincoln really came into her own under Roach's tutelage and she is a strong force throughout this intense set. On "Tryptich: Prayer/Protest/Peace," Lincoln is heard in duets with the drummer and her wrenching screams of rage are quite memorable. This timeless protest record is a gem. Scott Yanow
Musicians:
- Abbey Lincoln (vocal)
- Coleman Hawkins, Walter Benton (tenor saxophone)
- Booker Little (trumpet)
- Julian Priester (trombone)
- James Schenk (bass)
- Max Roach (drums)
- Babatunde Olatunji (conga)
- Thomas Du Vall, Ray Mantilla (percussion)
Recording: August and September 1960 at Nola Penthouse Studio, New York City, by Bob d'Orleans
Production: Max Roach
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
1. Driva Man
2. Freedom Day
3. Triptych: Prayer
4. Protest
5. Peace
6. All Africa
7. Tears For Johannesburg
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 Son Of A Preacher Man (Pure Pleasure)
Nancy Wilson
$34.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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Nancy Wilson, one of the most stylish and sultry singers in jazz. Here we have an exciting mix of influences from the music of Nat King Cole, the romanticism of Billy Eckstine, the emotional delivery of Dinah Washington and the genius of Little Jimmy Scott.
Nancy Wilson signed with Capitol Records in 1959, and recorded 37 albums over a period of 20 years, a period in which many of her album sales were second only to the Beatles, surpassing even Sinatra, Peggy Lee, the Beach Boys and Nat King Cole.
This exhilarating album features the legendary bassist Chuck Rainey on this previously hard to find gem of an album. Produced by David Cavanaugh and with musical arrangements from Jimmy Jones, Phil Wright and Joe Parnello. Of Jimmy Jones, Nancy Wilson says "one of the greatest arrangers there ever was. Very sparse, nothing overdone."
Musicians:
- Nancy Wilson (vocal)
- Jimmy Jones (piano, arranger, conductor)
- Phil Wright, Joe Parnello (arranger, conductor)
- Chuck Rainey (bass)
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
1. Son of a Preacher Man
2. By the Time I Get to Phoenix
3. Mr. Walker It's All Over
4. I Made You This Way
5. Almost Persuaded
6. Got It Together
7. Make the World Go Away
8. Husbands and Wives
9. Little Green Apples
10. Trouble in Mind
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 Jazz Reunion (Pure Pleasure)
Pee Wee Russell & Coleman Hawkins
$34.99
180 Gram Audiophile Virgin Vinyl LP - Sealed
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It is strange that two such individual musicians as Pee Wee Russell and Coleman Hawkins were kept apart for some 32 years but it is a fact that not since 1929 had they met in a recording studio. Pee Wee Russell's unique, and sometimes derided approach was praised as ahead of its time, and cited by some as an early example of free jazz. Coleman Hawkins, at the time of this 1961 Jazz Reunion record date dismissed any idea that Russell was now playing modern, claiming that he had always played that way. The greatly imaginative improvisations of Russell when at his best remain an inspiration to jazz clarinetists.
On this album the whole group move with an elasticity which only comes when exactly the right mood is attained by all the musicians taking part. Pee Wee plays with deep passion throughout and Hawkins was never heard in better blowing form than this. His virile, robust solos are as forceful as anything he recorded in his long distinguished career. Emmett Berry’s solos are models of tasteful improvisation. Brookmeyer displays a pretty turn of wit and builds his solos with ingenuity. With excellent arrangements by Nat Pierce and some lovely cymbal work from Jo Jones this really is a beauty.
Musicians:
- Coleman Hawkins (tenor saxophone)
- Pee Wee Russell (clarinet)
- Emmett Berry (trumpet)
- Bob Brookmeyer (trombone)
- Nat Pierce (piano)
- Milt Hinton (bass)
- Jo Jones (drums)
Recording: February 1961 at Nola Penthouse Studio, New York City, by Bob d'Orleans
Production: Nat Hentoff
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
Track Listing:
1. If I Could Be With You (One Hour Tonight)
2. Tin Tin Deo
3. Mariooch
4. All Too Soon
5. 28th And 8th
6. What Am I Here For
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SoundStage Direct, LLC
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