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  • A Date With Elvis: Limited Anniversary Edition (Awaiting Repress) A Date With Elvis: Limited Anniversary Edition (Awaiting Repress) Quick View

    $29.99
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    A Date With Elvis: Limited Anniversary Edition (Awaiting Repress)

    Friday Music proudly presents for the first time, the 180 gram vinyl release of A Date with Elvis.

    This Limited Anniversary Edition mastered impeccably from the original mono RCA tapes by Joe Reagoso & pressed at RTI, includes 1960 calendar gatefold cover.


    Featuring newly recorded 1958 tracks along with a few Sun Sessions and rare EP burners, A Date With Elvis went on to become one of Elvis' most memorable titles in his huge arsenal of albums. Thanks to his smash hits Baby, Let's Play House & (You're So Square) Baby I Don't Care, this southern rockabilly sounding Elvis Presley was just what the fans were screaming for.


    Musicians Include:

    Elvis Presley (vocals, guitar, piano)

    Scotty Moore (guitar)

    Bill Black (bass)

    D.J. Fontana (drums)

    1. Blue Moon Of Kentucky
    2. Young And Beautiful
    3. (You're So Square) Baby I Don't Care
    4. Milk Cow Boogie
    5. Baby Let's Play House
    6. Good Rockin' Tonight
    7. Is It So Strange
    8. We're Gonna Move
    9. I Want To Be Free
    10. I Forgot To Remember To Forget
    Elvis Presley
    $29.99
    180 Gram Audiophile Virgin Vinyl LP AWAITING REPRESS Buy Now
  • A Date With Elvis (Mono) (Speakers Corner) A Date With Elvis (Mono) (Speakers Corner) Quick View

    $34.99
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    A Date With Elvis (Mono) (Speakers Corner)

    Good products are worth their weight in gold when times are a little harsh - and this album was certainly a genially placed stopgap. In 1959, at the time when RCA launched this record on the market, the label's shining rock star was out of the country doing his military service in good old Germany. In order to comfort all his fans during his forced absence, the record bosses produced an album with a smartly uniformed Elvis on the cover, smiling widely to let his faithful followers know that he'd be back soon. There was a special calendar too, so that his fans could count off the days until his return. This marketing ploy was extremely successful. The record became a highly desirable collector's item and even years later illegal dollars still flowed from pirate copies.
    The RCA producers kept mum about when and where the tracks were recorded. But who cares about that when listening to Elvis giving the 'blue grass' classic Blue Moon Of Kentucky his unmistakable, rockabilly sound? The other titles, all of them performed by a well-proven ensemble of rock-'n'-roll musicians, are filled with the honest, powerful language of the young - or from today's viewpoint, old - Elvis. Which takes us back full circle to the date. What better way is there to celebrate the 50th birthday of rock-'n'-roll than with this early album by its 'King'?





    Musicians:



    • Elvis Presley (guitar, vocal)

    • Scotty Moore (guitar)

    • Bill Black (bass)

    • D.J. Fontana (drums)

    • The Jordanaires (vocal)




    Recording: July 1954 at Memphis Recording Service, Memphis, Tennessee (USA), and other venues till 1957

    Production: Sam Phillips




    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.


    and that the lacquer discs are newly cut.


    1. Blue Moon of Kentucky Monroe 2:05
    2. Young and Beautiful Schroeder, Silver 2:07
    3. (You're So Square) Baby I Don't Care
    4. Milk Cow Blues Arnold 2:38
    5. Baby Let's Play House Gunter 2:18
    6. Good Rockin' Tonight Brown 2:12
    7. Is It So Strange Young 2:32
    8. We're Gonna Move Matson, Presley 2:31
    9. I Want to Be Free Leiber, Stoller 2:16
    10. I Forgot to Remember to Forget 2:27
    Elvis Presley
    $34.99
    180 Gram Audiophile Virgin Vinyl Mono LP - Sealed Buy Now
  • A Date With Elvis A Date With Elvis Quick View

    $35.99
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    x

    A Date With Elvis

    Import


    On Sevilla Orange Vinyl


    A Date with Elvis is the third full-length studio album by the American garage punk band The Cramps. It was released on Big Beat Records. It was recorded in the fall of 1985 and engineered by Steve McMillan and Mark Ettel at Ocean Way Studios Hollywood, CA. The Cramps reissued the album on their own Vengeance Records in 2001 with the bonus tracks Blue Moon Baby, Georgia Lee Brown, Give Me a Woman and Get Off the Road. The album was dedicated to Ricky Nelson, who had a hit with the song Lonesome Town, which was also covered by The Cramps and is available on their first EP Gravest Hits and compilation album ...Off the Bone.

    1. How Far Can Too Far Go?
    2. The Hot Pearl Snatch
    3. People Ain't No Good
    4. What's Inside a Girl?
    5. Can Your Pussy Do the Dog?
    6. Kizmiaz
    7. Cornfed Dames
    8. Chicken
    9. (Hot Pool Of) Womanneed
    10. Aloha from Hell
    11. It's Just That Song
    The Cramps
    $35.99
    Colored Vinyl LP - Sealed Buy Now
  • A Date With Elvis A Date With Elvis Quick View

    $27.99
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    A Date With Elvis

    Import


    180 Gram Vinyl LP


    Includes Bonus Track

    1. Blue Moon Of Kentucky
    2. Young And Beautiful
    3. (You're So Square) Baby I Don't Care
    4. Milk Cow Boogie
    5. Baby Let's Play House
    6. Paralyzed*
    7. One Night*
    8. Good Rockin' Tonight
    9. Is It So Strange
    10. We're Gonna Move
    11. I Want To Be Free
    12. I Forgot To Remember To Forget
    13. I'm Left, You're Right, She's Gone*
    14. Lawdy, Miss Clawdy*


    *Bonus Tracks

    Elvis Presley
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Rockin N Reelin In Auckland New Zealand Rockin N Reelin In Auckland New Zealand Quick View

    $35.99
    Buy Now
    x

    Rockin N Reelin In Auckland New Zealand

    Import


    On Valentine Red Vinyl


    From 1986 to 1990, the Cramps eschewed studio work in favor of extensive touring; this album documents a live show from August 1986. The sound quality is crude at best, but the Cramps' music and attitude are just as crude, so the already wild performances are actually somewhat enhanced. The repertoire relies heavily on A Date With Elvis and also features covers of Heartbreak Hotel and Do the Clam.

    -All Music Guide

    1. The Hot Pearl Snatch
    2. People Ain't No Good
    3. What's Inside a Girl?
    4. Cornfed Dames
    5. Sunglasses After Dark
    6. Heartbreak Hotel
    7. Chicken
    8. Do the Clam
    9. Aloha from Hell
    10. Can Your Pussy Do the Dog?
    11. Birdfeed
    The Cramps
    $35.99
    Colored Vinyl LP - Sealed Buy Now
  • Prokofiev - Romeo & Juliet Suites 1 and 2 (Speakers Corner) Prokofiev - Romeo & Juliet Suites 1 and 2 (Speakers Corner) Quick View

    $34.99
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    Prokofiev - Romeo & Juliet Suites 1 and 2 (Speakers Corner)

    As is widely known, ballet suites are the 'little sisters' of large ballet compositions that have been compiled by the composer mostly at a later date for performance in the concert hall. Prokofiev's Romeo and Juliet is another story however. Strangely enough, his two Suites were given their first performance before the premiere of the complete Ballet. The applause can still be heard echoing through the world of music. This music is one of the pillars of a good record collection - and with good reason! Both Suites contain a wealth of delightful melodies that are given substance by colourful harmonic writing. Just how Prokofiev can ideally sound is brought to us by Stanislaw Skrowacziewski and the Minneapolis Symphony Orchestra. In the first Suite he lets his musicians sweep with Élan through the Burlesque, the splendour of the Love Theme is full of lyrical intensity, and rises to a forceful climax filled with sharp dissonances in Death of Tybalt.



    The Second Suite, too, is of the very highest standard, both from an artistic and recording point of view. The characteristic themes and motifs are well contoured and brought to the fore while embedded in a fresh and natural carpet of sound which is sometimes filled with immense warmth.
    It is clearly noticeable that all participants have given much time and thought to this first-rate production. And the listener will certainly enjoy giving over a good portion of his leisure time to this delightful music.




    Recording: April 1962 at Northrop Memorial Auditorium, Minneapolis, USA,

    by C.R. Fine and Robert Eberenz / Production: Wilma Cozart




    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.



    Stanislaw Skrowaczewski with Minneapolis Symphony
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Ma Vlast (Speakers Corner) Ma Vlast (Speakers Corner) Quick View

    $69.99
    Buy Now
    x

    Ma Vlast (Speakers Corner)

    Smetana's symphonic poem "Má Vlast" consists of several individual compositions which the composer put together at a later date to form a cycle and is one of the greatest testimonies to Czech national music. The Bohemian countryside and sagas are reflected in the tone poem From "Bohemia's Woods and Fields", while the programmatic "Moldau" occupies a rightful place among the most outstanding works to have been written in the late 19th century. Thanks to its popular folk melodies, its clearly structured and recognizable "programme", and brilliant orchestration, the work has never failed to arouse the enthusiasm of a wide public.



    Rafael Kubelik conducted numerous first-class orchestras both in the concert hall and in the recording studio, and won a deserved reputation as the Smetana connoisseur. He is to be congratulated on his choice of the Vienna Philharmonic Orchestra for this recording: gentle and transparent in the gossamer-light orchestral passages, powerful and smooth when playing as a full tutti. This thoroughly satisfying performance is further enhanced by its excellent recording technique and is to be recommended to all collectors.





    Musicians:



    • The Vienna Philharmonic Orchestra

    • Rafael Kubelik (conductor)




    Recording: April 1958 at Sofiensaal, Vienna by Gordon Parry

    Production: Eric Smith




    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. Vysehrad
    2. Vltava (Moldau)
    3. Sarka
    4. From Bohemia's Meadows and Forest
    5. Tabor
    6. Blanik
    Rafael Kubelik with Vienna Philharmonic Orchestra
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Sopranos Soundtrack (Colored Vinyl) (Awaiting Repress) The Sopranos Soundtrack (Colored Vinyl) (Awaiting Repress) Quick View

    $35.99
    Buy Now
    x

    The Sopranos Soundtrack (Colored Vinyl) (Awaiting Repress)

    Red with Black Smoke Colored Vinyl


    Available On Vinyl For The First Time Ever! Mastered For Vinyl And Lacquers Created By Kevin Gray, Pressed On 180 Gram Limited Edition Vinyl.


    Imagine an album that could contain tracks by Bob Dylan, Bruce Springsteen, and Elvis Costello, as well as Frank Sinatra, Cream, and Van Morrison. That's part of the lineup on this various-artists sampler of music used in the television series The Sopranos, music that dates from each of the last five decades of the 20th century, from Bo Diddley's 1950s hit ''I'm a Man'' to Eurythmics' ''I've Tried Everything'' from their 1999 reunion album, Peace. Familiar songs like Sinatra's ''It Was a Very Good Year'' are given a new flavor by being sequenced between very different yet oddly complementary songs. The most interesting moments, however, come with the less familiar material -- cast member ''Little Steven'' Van Zandt and the Disciples of Soul's ''Inside of Me,'' Elvis Costello & the Attractions' live take on ''Complicated Shadows,'' Wyclef Jean's rap over Sly & the Family Stone's ''Family Affair'' on ''Blood Is Thicker Than Water,'' which refers specifically to the mafia family story line of the show. The result sounds like an hour with the radio station of your dreams, which is what this kind of album aspires to be. ~ AllMusic Review by William Ruhlman

    LP1
    1. A3 - Woke Up This Morning
    2. R.L. Burnside - It's Bad You Know
    3. Frank Sinatra - It Was A Very Good Year
    4. Bob Dylan - Gotta Serve Somebody
    5. Little Steven & The Disciples Of Soul - Inside Of Me
    6. Cream - I Feel Free
    7. Them Featuring Van Morrison - Mystic Eyes


    LP2
    1. Bruce Springsteen - State Trooper
    2. Bo Diddley - I'm A Man
    3. Elvis Costello & The Attractions - Complicated Shadows
    4. Nick Lowe - The Beast In Me
    5. Los Lobos - Viking
    6. Wyclef Jean - Blood Is Thicker Than Water
    7. Eurythmics - I've Tried Everything

    Various Artists
    $35.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs AWAITING REPRESS Buy Now
  • The Sopranos Soundtrack The Sopranos Soundtrack Quick View

    $35.99
    Buy Now
    x

    The Sopranos Soundtrack

    Pressed On 2x 180 Gram Limited Edition Transparent Red Colored Vinyl.


    Mastered For Vinyl And Lacquers Created By Kevin Gray


    Imagine an album that could contain tracks by Bob Dylan, Bruce Springsteen, and Elvis Costello, as well as Frank Sinatra, Cream, and Van Morrison. That's part of the lineup on this various-artists sampler of music used in the television series The Sopranos, music that dates from each of the last five decades of the 20th century, from Bo Diddley's 1950s hit ''I'm a Man'' to Eurythmics' ''I've Tried Everything'' from their 1999 reunion album, Peace. Familiar songs like Sinatra's ''It Was a Very Good Year'' are given a new flavor by being sequenced between very different yet oddly complementary songs. The most interesting moments, however, come with the less familiar material -- cast member ''Little Steven'' Van Zandt and the Disciples of Soul's ''Inside of Me,'' Elvis Costello & the Attractions' live take on ''Complicated Shadows,'' Wyclef Jean's rap over Sly & the Family Stone's ''Family Affair'' on ''Blood Is Thicker Than Water,'' which refers specifically to the mafia family story line of the show. The result sounds like an hour with the radio station of your dreams, which is what this kind of album aspires to be. ~ AllMusic Review by William Ruhlman

    LP1
    1. A3 - Woke Up This Morning
    2. R.L. Burnside - It's Bad You Know
    3. Frank Sinatra - It Was A Very Good Year
    4. Bob Dylan - Gotta Serve Somebody
    5. Little Steven & The Disciples Of Soul - Inside Of Me
    6. Cream - I Feel Free
    7. Them Featuring Van Morrison - Mystic Eyes


    LP2
    1. Bruce Springsteen - State Trooper
    2. Bo Diddley - I'm A Man
    3. Elvis Costello & The Attractions - Complicated Shadows
    4. Nick Lowe - The Beast In Me
    5. Los Lobos - Viking
    6. Wyclef Jean - Blood Is Thicker Than Water
    7. Eurythmics - I've Tried Everything

    Various Artists
    $35.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Buy Now
  • Dream Weaver (Pure Pleasure) Dream Weaver (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Dream Weaver (Pure Pleasure)

    The first studio date of the Charles Lloyd Quartet, with Keith Jarrett, Cecil McBee, and Jack DeJohnette, was recorded and released just a few days before the band took both the European and American festival circuits by storm. First came Europe, which was just getting the disc as the band was tearing up its stages. While the live dates are now the stuff of legend, it's easy to overlook the recordings, but to do so would be a mistake. Dream Weaver is a fully realized project by a band -- a real band -- in which each member has a unique part of the whole to contribute.


    Jarrett's unusual piano style fits musically with Lloyd's lyricism in a way that it shouldn't. Jarrett was even then an iconoclast, playing harmonic figures from the inside out and relying on counterpoint to create new spaces, not fill them in. (Just listen to Autumn Sequence, where his solos and his backing harmonics are equally strident and inventive as Lloyd's Eastern explorations of mood and mode.) And then there's the rhythm section of McBee and DeJohnette, whose modal inventions on the intervals make the Dream Weaver suite an exercise in open time, allowing all players to wander around inside it and take what they want out. The set closes with a group party jam on Sombrero Sam, with Lloyd and Jarrett trading eights on a Cuban variation on a fantasia. There were no records like this one by new groups in 1966.

    Musicians:



    • Charles Lloyd (tenor saxophone, flute)
    • Keith Jarrett (piano)
    • Cecil McBee (bass)
    • Jack DeJohnette (drums)


    Recording: March 1966 by Phil Iehle

    Production: George Avakian & Arif Mardin

    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.

    Autumn Sequence
    1. Autumn Prelude
    2. Autumn Leaves
    3. Autumn Echo
    Dream Weaver
    4.Meditation
    5.Dervish Dance
    -
    6. Bird Flight
    7. Love Ship
    8. Sombrero Sam
    Charles Lloyd
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Oscar Pettiford: Volume 2 (Pure Pleasure) Oscar Pettiford: Volume 2 (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Oscar Pettiford: Volume 2 (Pure Pleasure)

    Oscar Pettiford became a major influence on a number of jazz artists along with fellow bassists Jimmy Blanton and Charles Mingus. This album titles as Volume 2 or Another One, Pettiford's third album as a leader for the Bethlehem label, was recorded in 1955. This exceptional date features the horns of Donald Byrd, Ernie Royal, Bob Brookmeyer, Gigi Gryce, and Jerome Richardson. Highlights include the Pettiford-penned Bohemia After Dark, named after the club in Greenwich Village and acknowledged as a jazz standard, Stardust, featuring Pettiford's poetic bass faintly accompanied by pianist Don Abney, and Minor Seventh Heaven, with Pettiford switching to cello. This is not just a bebop date; Pettiford had the range to incorporate influences like Duke Ellington and calypso, creating a full, lyrical band sound that matched his bass playing. Pettiford's legacy was cut short after he passed away suddenly in 1958 in Copenhagen at the age of 37.

    Musicians:



    • Donald Byrd, Ernie Royal (trumpet)

    • Bob Brookmeyer (trombone)

    • Gigi Gryce (alto saxophone, clarinet)

    • Jerome Richardson (tenor saxophone, clarinet, flute)

    • Don Abney (piano)

    • Oscar Pettiford (bass. cello)

    • Osie Johnson (drums)



    Recording: August 1955 in 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.

    1. Kamman's A-Comin
    2. Minor 7th Heaven
    3. Stardust
    4. Bohemia After Dark
    5. Oscalypso
    6. Scorpio
    7. Titoro
    8. Don't Squawk
    9. Another One
    Oscar Pettiford
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • God Bless The Child (Pure Pleasure) (Awaiting Repress) God Bless The Child (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    God Bless The Child (Pure Pleasure) (Awaiting Repress)

    Kenny Burrell's guitar artistry is well-documented in his years with Oscar Peterson and on his first dates as a leader on the Blue Note label, but God Bless The Child, his only date for CTI in 1971, is an under-heard masterpiece in his catalogue. Burrell's band for the set includes bassist Ron Carter, percussionist Ray Barretto, Richard Wyands on piano, flutist Hubert Laws, trumpeter Freddie Hubbard, and drummer Billy Cobham. CTI's house arranger, Don Sebesky, assembled and conducted the strings in a manner that stands strangely and beautifully apart from his other work on the label. Sebesky understood Burrell's understated approach to playing guitar. Burrell didn't belong with the fusioneers, but he could groove better than any of them. Sebesky built a moody, atmospheric soundscape behind him, one that was as impressionistic as it was illuminating of a player who could dig in and chop it up -- as he does on his own composition Love Is the Answer and Do What You Gotta Do -- and stroke it smooth and mellow as on the title track, the truly sublime Be Yourself, and Thad Jones' A Child Is Born. This is Burrell at his level best as a player to be sure, but also as a composer and as a bandleader. Magnificent.



    Musicians:



    • Kenny Burrell (guitar)

    • Freddie Hubbard (trumpet)

    • Hubert Laws (flute)

    • Hugh Lawson, Richard Wyands (piano)

    • Ron Carter (bass)

    • Billie Cobham (drums)

    • Ray Barretto, Airto Moreira (percussion)



    Recording: April & May 1971 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA

    Production: Creed Taylor



    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. Be Yourself
    2. Love Is The Answer
    3. Do What You Gotta Do
    4. A Child Is Born
    5. God Bless The Child
    Kenny Burrell
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Wild Women Don't Have The Blues (Pure Pleasure) Wild Women Don't Have The Blues (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Wild Women Don't Have The Blues (Pure Pleasure)

    Although singer Nancy Harrow made a strong impression with this debut recording, she did not lead another record date until 1978 other than a lesser-known effort for Atlantic in 1966. Obviously the years of obscurity were not deserved, for this set is a near-classic. Harrow is heard in her early prime singing such veteran songs as All Too Soon, On the Sunny Side of the Street, the seven-minute Blues for Yesterday, and the title cut (originally done by Ida Cox in the 1920s). A more modern stylist (although influenced by Billie Holiday a little) than the material she performed at the time, Harrow is joined by such top mainstream players as trumpeter Buck Clayton (who provided the arrangements), tenorman Buddy Tate, trombonist Dickie Wells, and pianist Dick Wellstood. Highly recommended, Harrow's debut date has plenty of spirit and enthusiasm.




    Musicians:



    • Nancy Harrow (vocal)

    • Buck Clayton (trumpet, conductor, arranger)

    • Buddy Tate (tenor saxophone)

    • Dickie Wells (trombone)

    • Tom Gwaltney (clarinet, alto saxophone)

    • Danny Bank (baritone saxophone)

    • Dick Wellstood (piano)

    • Kenny Burrell (guitar)

    • Milt Hinton (bass)

    • Oliver Jackson (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.



    1. Take Me Back Baby
    2. All Too Soon
    3. Cant We Be Friends
    4. On The Sunny Side Of The Street
    5. Wild Women Dont Have The Blues
    6. Ive Got The World On A String
    7. I Dont Know What Kind Of Blues Ive Got
    8. Blues For Yesterday
    Nancy Harrow
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • In The Winner's Circle (Pure Pleasure) In The Winner's Circle (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    In The Winner's Circle (Pure Pleasure)

    Rare stuff from John Coltrane! The album features 'Trane' playing tenor on only 4 of the album's 8 tracks - making it kind of surprising that they used his name in the title - but the album is a lesser-known batch of large group recordings that offer an interesting early chapter in his career! The main force behind the album is arranger Harry Tubbs - possibly not a name that's as sexy as John Coltrane, hence the billing - but a worthy leader for the date, given the quality of the music.



    Many of the other players here are small combo heroes who can also shine brightly in bigger groups - such as Donald Byrd and Art Farmer on trumpets, Kenny Burrell on guitar, Al Cohn on baritone sax, Eddie Costa on piano and vibes, and Oscar Pettiford on bass - plus Rolf Kuhn, making an early American appearance on clarinet. Coltrane gets in some nice, but short moments on the date - but the bigger charm is the full ensemble work - on titles that include She Didn't Say Yes, Turtle Walk, At Home With The Blues, Seabreeze, and Love & The Weather.



    Musicians:



    • John Coltrane (tenor saxophone)

    • Donald Byrd, Art Farmer (trumpet)

    • Frank Rehak (trombone)

    • Gene Quill (alto saxophone)

    • Al Cohn (bassoon)

    • Rolf Kuhn (clarinet)

    • Eddie Costa (piano, vib)

    • Freddie Green, Kenny Burrell (guitar)

    • Oscar Pettiford (bass)

    • Philly Joe Jones, Ed Thigpen (drums



    Recording: September & October 1957 in 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.

    1. Lazy Afternoon
    2. Not So Sleepy
    3. Sea Breeze
    4. Love And The Weather
    5. She Didn't Say Yes
    6. If I'm Lucky
    7. At Home With The Blues
    8. Turtle Walk
    John Coltrane
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sweetenings (Pure Pleasure) Sweetenings (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Sweetenings (Pure Pleasure)

    Harry 'Sweets' Edison, a smooth and suave trumpeter, was a cohort of orchestra leader Count Basie, a favourite of bandleader Nelson Riddle, and a noted backup artist for the most prominent vocalists of his time. Edison, with his energetic yet reticent blowing style, bridged a genre gap between the early classic jazz sound of Louis Armstrong and modern bebop modes. Edison, who played equally well in both styles, had a special talent for sustaining his trumpet notes and injecting each single tone with expression and soul never heard before or after.


    The special quality of his trumpet playing earned him the nickname 'Sweets' because of the sweetness of the tones. Likewise his ability to control the tone of his trumpet brought him to the forefront as a session musician, playing accompaniments for the most respected vocalists of his time.


    Edison was a true pioneer of jazz. An old-time homespun boy, born in Columbus, Ohio, he never knew with certainty even the year of his birth. According to his best knowledge, he was born in 1919, although some sources list the date as early as 1915. Edison knew even less about his own father, a Native American of the Hopi (Apache) tribe and a drifter who stayed only a few weeks with Edison's mother before taking to the road and was rarely heard from afterward. Edison spent his early years with an uncle, who was a coal miner and a farmer, in Louisville, Kentucky. It was Edison's uncle who taught the boy to play the pump organ and to play scales on an old cornet. Edison, who also listened to his uncle's records, was especially inspired by the music of Louis Armstrong and Bessie Smith.


    Harry Sweets Edison added something special to any date in which he took part, but these 1958 sessions he led for Roulette are especially enjoyable. Joined by either Jimmy Jones or Kenny Drew on piano and Joe Benjamin or John Simmons on bass, along with tenor saxophonist Jimmy Forrest and drummer Charlie Persip, Edison's trumpet swings effortlessly through a batch of standards and originals.


    The loping blues Centerpiece became a classic jazz composition, recorded by numerous jazz artists, but this was its debut appearance on LP. Jive at Five dates from his years with Count Basie and finds the band sticking to an accompanying role in this swinging but brief arrangement. Edison utilizes a mute in the gently swinging Louisiana, while he showboats just a bit in a brief take of It Happened in Monterey. While this record might have offered a little more variety by giving solo space to some of the talented sidemen present, this long out of print LP is well worth acquiring.



    Musicians:



    • Harry Edison (trumpet)

    • Jimmy Forrest (tenor saxophone)

    • Jimmy Jones (piano)

    • Joe Benjamint (bass)

    • John Simmons (bass)

    • Charlie Persip (drums)



    Recording: November 1958 in New York
    Production: Teddy Reig




    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. Centerpiece
    2. Candy
    3. Jive At Five
    4. Imagination
    5. Louisana
    6. Harriet
    7. It Happened In Monterey
    8. If I Had You
    9. Paradise
    10. Indiana
    11. Pussy Willow
    12. Sweetenings
    Harry Sweets Edison
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Jazz Reunion (Pure Pleasure) Jazz Reunion (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Jazz Reunion (Pure Pleasure)

    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.



    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
    Pee Wee Russell & Coleman Hawkins
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Brahms - Hungarian Dances (Speakers Corner) Brahms - Hungarian Dances (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Brahms - Hungarian Dances (Speakers Corner)

    Fritz Reiner dedicated himself to the interpretation of works by modern composers such as Richard Wagner, Richard Strauss and BÉla Bartók, and it suited him well to tackle works such as Brahms's Hungarian Dances and Dvorák's Slavonic Dances. These lively compositions require a conductor whose interaction with the orchestra is vivacious and animated. Reiner always demanded utmost concentration and perfection from his ensemble. Under his baton, the Vienna Philharmonic Orchestra plays with enthusiasm and without restaint; no trace of a sterile concert atmosphere is found in this recording.



    Reiner's penchant for effects is not irritating, but rather adds highlights which support his highly musical interpretation, indeed one even forgets this trait when listening to the brilliant music.



    From a tonal point of view, the sound is beautifully balanced and reaches the highest standards despite its recording date of 1960 - or maybe just for that reason? The recording is characterized by its brilliance, warmth and vivacity with the result that listening becomes a true musical pleasure.





    Musicians:



    • Vienna Philharmonic Orchestra

    • Fritz Reiner (conductor)




    Recording: June 1960 at Sofiensaal, Vienna by James Brown

    Production: Erik Smith





    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.



    and that the lacquer discs are newly cut.


    Johannes Brahms
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mr. Bechet (Pure Pleasure) Mr. Bechet (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Mr. Bechet (Pure Pleasure)

    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.


    and that the lacquer discs are newly cut.



    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
    Budd Johnson & Earl Hines
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Stravinsky - Firebird (Speakers Corner) Stravinsky - Firebird (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Stravinsky - Firebird (Speakers Corner)

    Ernest Ansermet's long friendship with Igor Stravinsky enabled him to witness the birth of some of the composer's most important creations. This proved to be of incalculable worth in his interpretation of the works he premiered for Stravinsksy.



    Here Ansermet directs the OSR in a performance of Stravinsky's The Firebird. It is the composer's first major ballet, brought him world fame and continues to gain in popularity to this day. The story - which combines the motifs of several Russian fairy tales with a magic Firebird, a vanishing castle, an evil magician, and a hero who saves the maiden - inspired Stravinsky to write some of his most fascinating and mysterious music.



    The OSR is fully equal to its fine reputation. Ernest Ansermet's competence as an interpreter is evident throughout.



    Acoustically, this pressing offers advantages over the original. Here the orchestra resonates with a full, natural and mellow sound that blossoms into a veritable garden of tonality extending around and behind the loudspeakers.
    This new edition of Stravinsky's The Firebird is a true stereophonic delight.





    Musicians:



    • Orchestre de la Suisse Romande

    • Ernest Ansermet (conductor)




    Recording date and venue: May 1955 at Victoria Hall, Geneva by Roy Wallace
    Production: James Walker




    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.



    Ernest Ansermet
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Yeah!!! (Pure Pleasure) Yeah!!! (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Yeah!!! (Pure Pleasure)

    This 'live' nightclub date with a jazz trio, revealed to be a faked on the Columbia compilations that have since come out, is nonetheless a great LP, maybe the best single Columbia LP from Aretha. John Hammond discovered her and just wanted great music, but the label couldn't decide if she was a show tune singer, jazz or R&B and never figured out she was all of the above and deserved her own category. This is the most jazzy Aretha ever and if she'd wanted to concentrate on this one area of her talent, she would still be ruling it. Worth the buy just for the track "Without The One You Love".


    -J. Ellis



    Musicians:



    • Aretha Franklin (vocal, piano)

    • Kenny Burrell (guitar)

    • Teddy Harris (piano)

    • James 'Beans' Richardson (bass)

    • Hindel Butts (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. This Could Be The Start Of Something
    2. Once In A Lifetime
    3. Misty
    4. More
    5. There Is No Greater Love
    6. Muddy Water
    7. If I Had A Hammer
    8. Impossible
    9. Today I Love Ev'rybody
    10. Without The One You Love
    11. Trouble In Mind
    12. Love for Sale
    Aretha Franklin
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Straight Ahead (Pure Pleasure) Straight Ahead (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Straight Ahead (Pure Pleasure)

    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.


    and that the lacquer discs are newly cut.



    1. Straight Ahead
    2. When Malinda Sings
    3. In the Red
    4. Blue Monk
    5. Left Alone
    6. African Lady
    7. Retribution
    Abbey Lincoln
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Divine One (Pure Pleasure) The Divine One (Pure Pleasure) Quick View

    $34.99
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    The Divine One (Pure Pleasure)

    Recorded just after Sarah Vaughan joined the Roulette label in 1960, The Divine One found her in exactly the right circumstances to suit her excellent talents. Arranged by Jimmy Jones, who also sits in on piano, the setting was a small group that included one strong voice to accentuate hers -- and no less a strong and clear voice than trumpeter Harry Sweets Edison (the perfect accompaniment for Vaughan). The Divine One is mostly a ballads collection, and it includes a few songs that were new to her repertoire -- good choices like Have You Met Miss Jones? (aka Old Jones), When Your Lover Has Gone, Wrap Your Troubles In Dreams, and Jump for Joy. One great left-field choice is Ain't No Use, the R&B song taken as a slow torch song that Big Maybelle had first recorded (Nina Simone didn't record it until several years later). Roulette would soon push Vaughan in many different directions -- releasing over a dozen LPs in just a few short years -- but this small-group date is a gem.




    Recording: October 1960

    Production: Jimmy Jones



    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. Have You Met Miss Jones?
    2. Ain't No Use
    3. Everytime I See You
    4. You Stepped Out Of A Dream
    5. Gloomy Sunday
    6. What Do You See In Her
    7. Jump For Joy
    8. When Your Lover Has Gone
    9. I'm Gonna Laugh You Out Of My Life
    10. Wrap Your Troubles In Dreams
    11. Somebody Else's Dream
    12. Trouble Is A Man
    Sarah Vaughan
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Cuckooland Cuckooland Quick View

    $24.99
    Buy Now
    x

    Cuckooland

    Limited Edition

    Only 2000 Copies Made



    Its far too easy to abuse the phrase living legend, but when used to describe Robert Wyatt, youre in no danger of hyperbole: gifted songwriter; political activist; drummer in the Canterbury jazz/prog pioneers Soft Machine and contemporaries of the original lineup of Pink Floyd; collaborator with the likes of Brian Eno, David Gilmour, Phil Manzanera, Fred Frith, Paul Weller, Scritti Politti, Elvis Costello and his beloved wife Alfreda Benge, to name but a few.



    Perhaps his greatest gift though is his voice, a reedy instrument of great warmth and emotion; one need only hear his interpretation of the classic Shipbuilding (a song that was written for him by Costello and producer Clive Langer) and you shall be smitten for life. Domino is incredibly honored to be releasing a near-complete re-issue series of Roberts solo recorded works in the form of these limited edition LP+CD versions. Each title is limited to 2000 copies. There will be only one pressing so, once these are gone, they are gone for good.


    Possibly as beautiful and assuredly restrained as anything he has done, Cuckooland was at 75 minutes Wyatt's longest work to date. After Brian Eno expressed concern about its length, Wyatt placed a half-minute break in the middle so people could go and put the kettle on. In amongst the light-as-a feather brushstrokes and Wyatt's own muted trumpet playing, is an ire and barely contained anger both at our inability to be humanitarian and the follies that get carried out in that word's name. Wyatt had done whatever is the polar opposite of mellowing.

    1. Just A Bit
    2. Old Europe
    3. Tom Hay's Fox
    4. Forest
    5. Beware
    6. Cuckoo Madame
    7. Raining In My Heart
    8. Lullaby For Hamza
    9. Trickle Down
    10. Insensatez
    11. Mister E
    12. Lullaloop
    13. Life Is Sheep
    14. Foreign Accents
    15. Brian The Fox
    16. La Ahada Yalam (No-One Knows)
    Robert Wyatt
    $24.99
    Vinyl LP + CD - 2 LPs Sealed Buy Now
  • Color Changes (Pure Pleasure) Color Changes (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Color Changes (Pure Pleasure)

    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.



    and that the lacquer discs are newly cut.


    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)
    Clark Terry
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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