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Inside HiFi (Pure Pleasure) (Pre-Order)This excellent recording features altoist Lee Konitz with two separate quartets during 1956. Either guitarist Billy Bauer or pianist Sal Mosca are the main supporting voices in groups also including either Arnold Fishkind or Peter Ind on bass and Dick Scott on drums. The most unusual aspect to the set is that on the four selections with Mosca, Konitz switches to tenor, playing quite effectively in a recognizable cool style. The overall highlights of this enjoyable album are "Everything Happens to Me", "All Of Me", and "Star Eyes", but all eight performances are well played and swinging. Scott Yannow
The introduction of Konitz’s tenor during this period is emblematic of this. His premiere tenor recordings on ’56’s "Inside Hi-Fi" document how Konitz first translated the refinements of his alto conception to the larger horn, even on would-be barnburners as “Indiana” (which also features an excellent solo by pianist Sal Mosca), and began to apply the tenor’s capacity for broader, bolder strokes to such fine alto performances as the bluesy “Cork ‘N’ Bib”. The contrasts between Konitz’s alto and tenor are well-represented on “Kary’s Trance”, which includes choruses on both horns; the track is also one of guitarist Billy Bauer’s finest.
- Bill Shoemaker
- Lee Konitz (alto saxophone, tenor saxophone)
- Billy Bauer (guitar)
- Sal Mosca (piano)
- Arnold Fishkind, Peter Ind (bass)
- Dick Scott (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.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
$34.99180 Gram Audiophile Virgin Vinyl LP - SealedPRE-ORDER Buy Now