Big Joe Rides Again (Speakers Corner)

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Big Joe Rides Again (Speakers Corner) - Vinyl Record

by Joe Turner

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$34.99
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Product Code:
SPCO-SPE-1332
Label/Make:
Speakers Corner (Atlantic)
Genre/Model:
Blues
Description:
180 Gram Audiophile Virgin Vinyl LP - Sealed
UPC:
4260019715463
That the experts inducted 'Big Joe' Turner into the Blues Hall of Fame in 1983, i.e. during his lifetime, is surely in order when one considers how he expressed his attitude to life with his 12-bar stylistic freedom. That he was additionally honoured by being posthumously inducted into the Rock and Roll Hall of Fame, however, makes one wonder whether the incorruptible experts had made a mistake. No matter what: this giant of a man with his big, gentle voice had certainly earned a place of honour in the era of swing as well.

Turner, who appeared on stage with Goodman, Ellington, Tatum and – in later years – with Gillespie and Eldridge, offers his listeners many facets of the blues. The opening number, "Switchin’ In The Kitchen", is a fairly fast boogie-woogie where the vocal swings freely with sharp blasts in the background. Other swinging numbers, in which jazz champions such as Coleman Hawkins and Ernie Royal perform solos, include several ballad-like evergreens ("Pennies From Heaven"), which Turner and his band elaborate to become an imposing aria ("Until The Real Thing Comes Along").

The grooves of this LP are distinguished by means of the open, unfiltered Atlantic sound. The saxophone solos in particular, complete with the clicking of the valves and blowing noise, give one the feeling that the soloist is performing in your living room.

Musicians:

  • Big Joe Turner (vocals)
  • Coleman Hawkins (tenor saxophone)
  • Jerome Richardson (alto saxophone)
  • Ernie Royal, Jimmy Nottingham (trumpet)
  • Lawrence Brown (trombone)
  • Jimmy Jones (piano)
  • Jim Hall (guitar)
  • Doug Watkins (bass)
  • Charlie Persip (drums)

Recording: September 1959 by Len Frank, Phil Iehle and Tom Dowd
Production: Nesuhi Ertegun

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.

1. Switchin' In The Kitchen
2. Nobody In Mind
3. Until The Real Thing Comes Along
4. I Get The Blues When It Rains
5. Rebecca
6. When I Was Young
7. Don't You Make Me High
8. Time After Time
9. Pennies From Heaven
10. Here Comes Your Iceman

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VINYL RECORDS

Vinyl records are able to capture the purest quality of recorded music in true form. This is possible because the initial recording is captured on an analog source (usually tape) for the ultimate in High Fidelity sound, it is then pressed onto virgin vinyl. Analog recordings capture the bottom end (or bass) while adding sweetness to the high end (or treble) better than any digital recording ever could. Analog systems are still commonly used before they are digitally transferred to CD. This means that the sound then is altered in the transfer process when CD's are produced. The word fidelity means accuracy and faithfulness. High Fidelity sound is faithful to the original sound made by the artist, capturing maximum accuracy of what was intended for the listener to hear. Vinyl records capture those sounds for the ultimate High Fidelity listening experience!

180/200 GRAM Vinyl LP

These vinyl records are produced with 180 or 200 grams of high definition premium grade virgin vinyl. This is a higher quality audiophile pressing than the typical vinyl record of 100-120 grams. These limited edition LP's are manufactured with the hi-fi enthusiast in mind. A 180 or 200 gram LP is sometimes also referred to as an audiophile pressing, there is a higher bass response and an even warmer High Fidelity sound. 180 or 200 grams LP's are typically manufactured in limited amounts and are considered collectibles, commanding a higher price.

VINYL REISSUES

Typically, a vinyl reissue is a repressing of an original LP, usually extracted from the recording's master-tapes. In some cases, reissues are remastered to lower surface noise and improve overall sonics. Reissues help preserve the music of an original recording, especially when original LPs become unavailable or can no longer be found. Reissues can be pressed on a variety of thickness from 150 gram to 200 gram and offer a great opportunity for records collectors to own many classic recordings.

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