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  • Stone Flower (Speakers Corner) Stone Flower (Speakers Corner) Quick View

    $34.99
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    Stone Flower (Speakers Corner)

    Around the year 1970, almost everything appeared to have been said about the style of music over the past two decades, which was a mix of samba and cool jazz. Adventurous musicians such as Luis Bonfa, Baden Powell, Charly Byrd, João and Astrud Gilberto, and the saxophonist Stan Getz lent fire and sentiment to the "new trend". First and foremost among them was Carlos Antonio Jobim, whose catchy tunes such as the ticking, shuffling song Desafinado and the genial One Note Samba were heard all over the globe.
    That the man from Ipanema still had a lot to say is proved by the present album, which presents Jobim's creativity at the height of his maturity. Right from the very first number, where Urbie Green on the trombone 'sings' Tereza My Love so purely in the top register, it is clear that the late bossa with its typical rhythm is structurally far more refined than the early hot dance numbers. The melodies are woven through, as it were, with shining gold and silver threads of rhythm, and clusters of sound are light and airy. However, here and there, the musicians let their hair down, such as in the Latin classic Brazil.



    With that magician of sound Deodato as arranger and conductor, and Rudy van Gelder as recording engineer, this LP is certainly a Bossa masterpiece. There's no more to be said!



    Musicians:



    • Antonio Carlos Jobim (piano, electric piano, violin, vocal, guitar)

    • Joe Farrell (soprano saxophone)

    • Urbie Green (trombone)

    • Hubert Laws (flute)

    • Eumir Deodato (guitar, arranger, conductor)

    • Harry Lookofsky (violin)

    • Ron Carter (bass)

    • Airto Moreira, Everaldo Ferreira (percussion)

    • João Palma (drums)



    Recording: June 1970 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA

    Production: Creed Taylor



    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. Tereza My Love
    2. Children's Games
    3. Choro
    4. Brazil (Ary Barroso)
    5. Stone Flower
    6. Amparo
    7. Andorinha
    8. God and the Devil in the Land of the Sun
    9. Sabia
    Antonio Carlos Jobim
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • First Light First Light Quick View

    $29.99
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    First Light


    Numbered, Limited Edition of 2,000 Copies


    Pressed on 180 Gram Audiophile-Grade Vinyl at Pallas Group in Germany


    Mastered from Original Analog Tapes by Bernie Grundman


    Features Herbie Hancock on Rhodes


    Freddie Hubbard entered Creed Taylor's studio for the
    third time in 1971 with the express purpose of making
    a record radically different from anything he'd cut
    before; he was looking for it to use electricity and to be
    out of the soul-jazz mold, but was also more ambitious
    and wanted to push that envelope and himself. Taylor
    and Hubbard assembled a band that included Herbie
    Hancock , Eric Gale, George Benson, Ron Carter,
    Jack DeJohnette, Airto Moreira, and Richard Wyands.
    The album is part of a loose trilogy including his two
    previous records, Red Clay and Straight Life. Now
    available in its essential form, First Light was mastered
    from original analog tapes and pressed on 180gram
    audiophile-grade vinyl at Pallas.

    1. First Light
    2. Uncle Albert/Admiral Halsey

    3. Moment to Moment
    4. Yesterday's Dreams
    5. Lonely Town
    Freddie Hubbard
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Return To Forever Return To Forever Quick View

    $25.99
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    Return To Forever

    The legendary first lineup of Chick Corea's fusion band Return to Forever debuted on this classic album (titled after the group but credited to Corea), featuring Joe Farrell on soprano sax and flute, the Brazilian team of vocalist Flora Purim and drummer/percussionist Airto Moreira, and electric bass whiz Stanley Clarke. It wasn't actually released in the U.S. until 1975, which was why the group's second album, Light as a Feather, initially made the Return to Forever name. Nonetheless, Return to Forever is every bit as classic, using a similar blend of spacy electric-piano fusion and Brazilian and Latin rhythms. It's all very warm, light, and airy, like a soft breeze on a tropical beach.
    1. Return To Forever
    2. Crystal Silence
    3. What Game Shall We Play Today
    4. Sometime Ago / La Fiesta
    Chick Corea
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bitches Brew: 40th Anniversary Collector's Edition Bitches Brew: 40th Anniversary Collector's Edition Quick View

    $124.99
    Buy Now
    x

    Bitches Brew: 40th Anniversary Collector's Edition

    This 40th Anniversary Collector's Edition of Miles Davis Bitches Brew is housed in a 12 x 12 slipcase box, contains an audiophile 180g vinyl double-LP gatefold replication of the original album; two CDs with the original 94-plus minutes of music plus six bonus tracks and a third CD of a previously unissued performance at Tanglewood in August of 1970, with Keith Jarrett, Chick Corea, Dave Holland, Jack DeJohnette, Airto Moreira and Gary Barts; and a DVD of a previously unissued performance in Copenhagen in November of 1969, with Wayne Shorter, Corea, Holland and DeJohnette.


    Also included is a 52 page full-color 12x12 book with a 500 word essay by journalist/author/producer/musician Greg Tate; producer's notes by Michael Cuscuna and Richard Seidel (the box's co-producers); and a Lenny White interview by author Ashley Kahn. The book features Mati Klarwein's painting Zonked (a psychedelic portrait of Miles Davis' wife, Betty, which also encodes a profile of Miles) on its cover, plus dozens of rare, unpublished photographs and record label memos.


    In addition, a memorabilia envelope is also included containing a reproduction of the Miles Davis Rolling Stone cover story from December of 1969, a previously unseen correspondence from Teo Macero's archives, reproductions of three Fillmore West concert tickets from April of 1970, high quality photograph prints, and a foldout poster.

    LP 1:


    1. Pharaoh's Dance
    2. Bitches Brew

    LP 2:


    1. Spanish Key
    2. John McLaughlin
    3. Miles Runs the Voodoo Down
    4. Sanctuary


    CD 1:


    1. Pharaoh's Dance
    2. Bitches Brew
    3. Spanish Key
    4. John McLaughlin


    CD 2:


    1. Miles Runs the Voodoo Down
    2. Sanctuary
    3. Spanish Key (alternate take)
    4. John McLaughlin (alternate take)
    5. Miles Runs the Voodoo Down (single edit)
    6. Spanish Key (single edit)
    7. Great Expectations (single edit)
    8. Little Blue Frog (single edit)


    CD 3 - Tanglewood Live 1970:


    1. Bill Graham Intro
    2. Directions
    3. Bitches Brew
    4. The Mask
    5. It's About That Time
    6. Sanctuary
    7. Spanish Key/The Theme
    8. Miles Runs the Voodoo Down
    9. Bill Graham Outro


    DVD - Copenhagen Live 1969:


    1. Directions
    2. Miles Runs the Voodoo Down
    3. Bitches Brew
    4. Agitation
    5. I Fall In Love Too Easily
    6. Sanctuary
    7. It's About That Time/The Theme

    Miles Davis
    $124.99
    180 Gram Audiophile Virgin Vinyl LP + 3 CD + DVD - 2 LPs Sealed Buy Now
  • Paul Simon (Awaiting Repress) Paul Simon (Awaiting Repress) Quick View

    $24.99
    Buy Now
    x

    Paul Simon (Awaiting Repress)

    If any musical justification were needed for the breakup of Simon & Garfunkel, it could be found on this striking collection, Paul Simon's post-split debut. From the opening cut, Mother and Child Reunion (a Top Ten hit), Simon, who had snuck several subtle musical explorations into the generally conservative S&G sound, broke free, heralding the rise of reggae with an exuberant track recorded in Jamaica for a song about death. From there, it was off to Paris for a track in South American style and a rambling story of a fisherman's son, Duncan (which made the singles chart). But most of the album had a low-key feel, with Simon on acoustic guitar backed by only a few trusted associates (among them Joe Osborn, Larry Knechtel, David Spinozza, Mike Manieri, Ron Carter, and Hal Blaine, along with such guests as Stefan Grossman, Airto Moreira, and Stephane Grappelli), singing a group of informal, intimate, funny, and closely observed songs (among them the lively Top 40 hit Me and Julio Down by the Schoolyard). It was miles removed from the big, stately ballad style of Bridge Over Troubled Water and signaled that Simon was a versatile songwriter as well as an expressive singer with a much broader range of musical interests than he had previously demonstrated. You didn't miss Art Garfunkel on Paul Simon, not only because Simon didn't write Garfunkel-like showcases for himself, but because the songs he did write showed off his own, more varied musical strengths.

    - William Ruhlmann (All Music Guide)

    1. Mother and Child Reunion
    2. Duncan
    3. Everything Put Together Falls Apart
    4. Run That Body Down
    5. Armistice Day
    6. Me and Julio Down by the Schoolyard
    7. Peace Like a River
    8. Papa Hobo
    9. Hobo's Blues
    10. Paranoia Blues
    11. Congratulations
    Paul Simon
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Black Beauty Black Beauty Quick View

    $39.99
    Buy Now
    x

    Black Beauty

    Import

    180 Gram Audiophile Vinyl


    Gatefold Sleeve


    Includes 4-Page Booklet


    Black Beauty, Miles Davis At Fillmore West, was recorded on April 10, 1970 at Fillmore West, San Francisco, when Davis performed as the opening act for the Grateful Dead. The recording took place shortly after the release of Miles' classic album Bitches Brew. The album was released in 1973, originally in Japan only.


    Black Beauty, a true jazz-rock album, captured one of Davis' first performances at a rock venue during the early stages of his electric period. At the concert, he led his band (saxophonist Steve Grossman, bassist Dave Holland, keyboardist Chick Corea, drummer Jack DeJohnette, and percussionist Airto Moreira) through one continuously performed set list.


    The songs in the band's setlist were as followed: Directions, Miles Runs the Voodoo Down, Willie Nelson, I Fall In Love Too Easily, Sanctuary, It's About That Time, Bitches Brew, Masqualero, Spanish Key, and The Theme. They were performed as one continuous and uninterrupted piece of music, a practice Davis had begun in 1967. He later explained in his autobiography that performing these kinds of long musical suites without breaks allowed more space for improvisations in concert.


    The original Japanese booklet is included in this vinyl package.

    LP 1
    1. Black Beauty Part I

    2. Black Beauty Part II


    LP 2
    1. Black Beauty Part III
    2. Black Beauty Part IV

    Miles Davis
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • From A Whisper To A Scream (Pure Pleasure) From A Whisper To A Scream (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    From A Whisper To A Scream (Pure Pleasure)

    One of Esther Phillips finest '70s releases, From A Whisper To A Scream is the first of seven albums the singer recorded for CTI offshoot Kudu. Arranged and conducted by Pee Wee Ellis, the December 1971 session also involved principal players such as bassist Gordon Edwards, drummer Bernard Purdie, percussionist Airto, guitarists Cornell Dupree and Eric Gale, keyboardist Richard Tee, and saxophonists Hank Crawford and David Liebman. Setting the tone for Phillips' Kudu era, Whisper offers a series of spacious, yet fully arranged ballads of burning heartache, along with a handful of relatively funky numbers that do nothing to compromise her talent, dishing out loads of classy grit. It's a definite point of departure from the likes of Esther Phillips Sings and And I Love Him!, her field of contemporaries closer to Al Green and Aretha Franklin than before. She grabs onto Home Is Where The Hatred Is, Gil Scott-Heron's most harrowing rumination on drug dependency -- which, at that point, wasn't even a year old -- as if it were her very own, and it's all the more poignant given its parallels with her own life. (It's meaning was only compounded by her death in 1984.) Though there is absolutely nothing lacking in the album's more energetic moments, it's still the ballads that shine brightest, like the alternately fragile and explosive From A Whisper To A Scream (Allen Toussaint) and a staggering Baby, I'm for Real (Marvin and Anna Gordy, made popular by the Originals) so vulnerable yet commanding that it really should've closed the album.



    Musicians:



    • Esther Phillips (vocal)

    • Pee Wee Ellis (arranger, conductor)

    • Hank Crawford (alto saxophone)

    • David Liebman (bassoon, flute)

    • Eric Gale (guitar)

    • Gordon Edwards (bass)

    • Airto Moreira (percussion)

    • Bernard Purdie (drums)




    Recording: December 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. Home Is Where The Hatred Is
    2. From A Whisper To A Scream
    3. To Lay Down Beside You
    4. That's All Right With Me
    5. 'tTll My Back Ain't Got No Bone
    6. Sweet Touch Of Love
    7. Baby, I'm For Real
    8. Your Love Is So Doggone Good
    9. Scarred Knees
    Esther Phillips
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Slaves Mass (Pure Pleasure) Slaves Mass (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Slaves Mass (Pure Pleasure)

    Not strictly a jazz album in the strict sense, Slaves Mass has strong compositional themes among its seven tracks. The maestro Hermeto Pascoal plays everything from flutes, soprano saxophone, guitar, Fender Rhodes, acoustic piano and clavinet on this set, and enlists help from Ron Carter, Airto, Flora Purim, Raul DeSouza, David Maro and others. Mixing Pot, is the opener and an anomaly in that it is a vanguard fusion tune where Pascoal really digs in and improvises. It also features the only appearance on this set of Alphonso Johnson on electric bass. In Missa Dos Escravos, the title track, Pascoal's emblematic pig gives his first growls in a song dominated by Brazilian Indian references. Wonderfully and intricately composed, it centers around folk tropes. Chorinho Para Ele is a beautiful and modern choro with a somewhat challenging glissando bridge that really proposed new directions for the traditional genre. Aquela Valsa is a beautiful six/eight theme that turns into a samba with a beautiful trombone solo by DeSouza. Cannon is an utterly improvisational piece that meanders and winds around Pascoal's flute solo. Atonalism dominates the piano solo in Escuta Meu Piano, which also presents bits and pieces of different styles (like baio) and folk songs. Hot samba improvisation is found in GelÉia de Cereja, that slips and slides through a variety of schema and dynamic changes without much internal focus, but it is a compelling bit of creative anarchy nonetheless in that it displays Pascoal's full range of restless musical and textural impulses -- as well as a beautiful soprano solo.



    Musicians:



    • Hermeto Pascoal (saxophone, trombone, flute, keyboard)

    • David Amaro (guitar)

    • Raul De Souza (trombone)

    • Airto Moreira (drums)

    • Flora Purim (vocal)



    Recording: 1977



    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. Mixing Pot
    2. Slaves Mass
    3. Little Cry For Him
    4. Cannon (Dedicated To Cannonball Adderley)
    5. Just Listen
    6. That Waltz
    7. Cherry Jam
    Hermeto Pascoal
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Borboletta (Awaiting Repress) Borboletta (Awaiting Repress) Quick View

    $29.99
    Buy Now
    x

    Borboletta (Awaiting Repress)


    40th Anniversary Limited Edition


    First Time 180 Gram Audiophile Vinyl & Gatefold Presentation!


    Mastered Impeccably By Joe Reagoso At Friday Music Studios And Pressed At R.T.I.


    1974 shows Carlos Santana and The Santana Band evolving into one of the world's most loved and arena
    packing bands of all time. After several studio albums and the two live albums with Lotus and
    Carlos Santana & Buddy Miles Live!, the world was now buzzing around the energy that these
    superstars would lay down on vinyl with the classic Borboletta.


    Featuring a cross section of Santana hits like Mirage, Practice What You Preach, and Give and Take, plus
    the exotic rhythms and jams on workouts like One With the Sun, and the stellar orchestrated Aspirations, Carlos
    Santana's guitar was explosive as ever.


    The original vinyl version of this masterpiece has been out of circulation for decades - that is until now


    Friday Music continues our exclusive Santana 180 Gram Audiophile Vinyl Series with the groundbreaking first
    time North American release of the 1974 smash Borboletta. Mastered impeccably by Joe Reagoso at Friday
    Music Studios and pressed at R.T.I., this super limited first time North American 180 Gram masterwork is truly
    one of the best Santana albums to ever be released, and we are very excited to offer you this authorized 180
    Gram LP today.


    Along with the legendary Carlos Santana on guitar and vocal, he is joined with original Santana band
    mates Michel Shrieve on his dynamic drums, both Doug Rauch and David Brown on his prolific bass, Jose
    Areas on hard hitting percussion, plus the brilliant r&b and funk superstar Leon Patillo on vocals, the celebrated
    Latin percussionist Armando Peraza, the legendary team of Airto on percussion and Flora Purim on vocals,
    Stanley Clarke on bass, and the stellar keyboard work of long time Santana associate Tom Coster.


    As an added 40th Anniversary Borboletta bonus, we are including a first time gatefold cover, restoring the
    original album cover elements to their full glory which will further enhance your listening experience.


    Let's all celebrate the 40th Anniversary of the classic mega rocker Borboletta by Santana. Authentic,
    Authorized and Absolutely Santana as only you would expect from your friends at Friday Music!

    1. Spring Manifestations
    2. Canto de los Flores
    3. Life Is Anew
    4. Give and Take
    5. One With the Sun
    6. Aspirations
    7. Practice What You Preach
    8. Mirage
    9. Here and Now
    10. Flor de Canela
    11. Promise of a Fisherman
    12. Borboletta
    Santana
    $29.99
    180 Gram Audiophile Virgin Vinyl LP AWAITING REPRESS Buy Now
  • Weather Report Weather Report Quick View

    $29.99
    Buy Now
    x

    Weather Report


    The Original #1 1971 Jazz Rock Fusion Classic!


    First Time 180 Gram Audiophile Translucent Blue Vinyl & Gatefold Cover Presentation


    Mastered By Joe Reagoso And Manufactured At R.T.I.


    The legendary Weather Report set the music world on fire back in the early seventies with their hypnotic blend of progressive-fused jazz with funk, prog-rock and soul, augmented with the brilliant and skillful musicianship of their superstar founders Wayne Shorter on saxophone and various electronic reeds and the late great Joe Zawinul on a stunning array of keyboards and electronic instruments. Both of these legendary musicians/composers worked with Miles Davis on his classics like Bitches Brew, plus solid tenures with legends like Cannonball Adderley (Zawinul) and Art Blakey (Shorter) all of which would prove to become the huge catalyst for things to come.


    Their 1971 fusion classic self-titled debut Weather Report would go on to yield one of the biggest albums of
    their career as it hit the top rungs of the jazz charts, plus major showings in the pop and R&B charts thanks to the progressive jazz, funk and rock cohesiveness and articulate musicianship of this power quintet.
    No stone is left unturned, as this masterpiece is loaded with champions like Joe Zawinul's brilliant Orange Lady, the powerful Milky Way by Wayne Shorter and Joe Zawinul and of course the prog leanings of Waterfalls and Eurydice all which made this a top charting album in 1971.


    As one of the most enduring albums in their massive career catalog, Weather Report also features the all-star
    lineup of Joe Zawinul, Wayne Shorter, Miroslav Vitous (bass), Alphonse Mouzon (drums) and Airto Moreira (percussion). All in all, Weather Report took the fans by storm, forever retaining the title superstars to the Weather Report franchise.


    Friday Music is pleased to announce for the very first time here on audiophile vinyl Weather Report by Weather Report. Mastered impeccably by Joe Reagoso at Friday Music Studios, this amazing classic truly shines in the audiophile vinyl domain. Pressed at R.T.I., this brilliant masterwork truly resonates as you remember from years ago. To enhance your limited anniversary edition album experience, this first time audiophile vinyl release is also for a very short time being pressed on stunning translucent blue vinyl and is featured in a first time gatefold cover presentation, featuring the original album cover design by Ed Lee.
    Welcome back and celebrate the music of Weather Report with their masterpiece Weather Report an audiophile first time 180 gram vinyl Friday Music release.


    Milky Way!

    1. Milky Way
    2. Umbrellas
    3. Seventh Arrow
    4. Orange Lady
    5. Morning Lake
    6. Waterfall
    7. Tears
    8. Eurydice
    Weather Report
    $29.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Stan Getz Featuring Joao Gilberto: The Best Of Two Worlds (Pure Pleasure) Stan Getz Featuring Joao Gilberto: The Best Of Two Worlds (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Stan Getz Featuring Joao Gilberto: The Best Of Two Worlds (Pure Pleasure)

    This 1976 album by the late saxophonist Stan Getz is a reunion of sorts with Joao Gilberto, the great Brazilian guitarist and singer, and the music of Antonio Carlos Jobim (or Tom Jobim), along with the stylish and nonintrusive arrangements of Oscar Carlos Neves. The most beautiful thing about this recording is that Jobim - whose song forms had reached such a degree of sophistication that he was untouchable - chose to write all of his lyrics in English (songwriter Gene Lees also wrote many in English). This is something that did not come naturally or effortlessly to Jobim, but sounds as if it did. Jobim's poetry on tracks such as Waters of March, accompanied by Getz's lushly romantic saxophones and Gilberto's crooning nylon-string guitar, are so sensuous they radiate heat and humidity.




    Musicians:



    • Stan Getz (tenor saxophone)

    • Joao Gilberto (vocal, guitar)

    • Oscar Castro Neves (arranger, guitar)

    • Heloisa (Miucha) Buarque de Hollanda (vocal)

    • Albert Dailey (piano)

    • Steve Swallow (bass)

    • Grady Tate (drums)

    • Airto Moreira, Ruben Bassini (percussion)




    Recording: 1976 at Columbia Recording Studios, New York City, by Stan Tonkel

    Production: Stan Getzdeutsch



    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. Double Rainbow
    2. Aguas De Marco (Waters Of March)
    3. Ligia
    4. Falsa Baiana
    5. Retrato Em Branco E Preto (Picture In Black And White)
    6. Isaura (You Know I Just Shouldnt Stay)
    7. Eu Vim Da Bahia
    8. Joao Marcelo
    9. E Preciso Perdoar
    10. Just One Of Those Things
    Stan Getz feat. Joao Gilberto
    $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
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    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
  • First Light (Pure Pleasure) First Light (Pure Pleasure) Quick View

    $34.99
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    First Light (Pure Pleasure)

    Freddie Hubbard was one of the most prolific jazz trumpeters in the business. He played a hot and sassy horn! When he was teamed up with George Benson, Jack DeJohnette and Ron Carter (just to name a few) on this one of many Creed Taylor-produced collaborations, he most deservedly won the Grammy!


    The opening title song First Light has an ethereal beginning with a diverse arrangement. An unusual arrangement of Paul McCartney's Uncle Albert/Admiral Halsey is most satisfying. Henry Mancini's Moment To Moment has a hauntingly sweet sound. Lonely Town is darkly complex.


    There are many sides and moods to each of the songs within this original work. With stylish jazzy rhythms and rich orchestrations, this is THE Freddie Hubbard album to have!


    Musicians:


    • Freddie Hubbard (trumpet, flugelhorn)
    • Richard Wyands (piano)
    • Hubert Laws (flute)
    • Ron Carter (bass)
    • Phil Kraus (vibraphone)
    • Jack DeJohnette (drums)
    • Airto Moreira (percussion) and strings



    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. First Light
    2. Uncle Albert/Admiral Halsey
    3. Moment to Moment
    4. Yesterday's Dreams
    5. Lonely Town
    Freddie Hubbard
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Live Evil Live Evil Quick View

    $27.99
    Buy Now
    x

    Live Evil

    Originally released in 1971, Live-Evil is one of Miles Davis' most extraordinary records. Here, on a double album comprised of both live and studio recordings, the electric sound that Davis first unveiled the year previous emerges as a fully formed and powerful beast. Featuring one of his finest bands, which included John McLaughlin, Keith Jarrett, Gary Bartz, Jack DeJohnette and Brazilian percussionist Airto, Live-Evil is a stunning exploration of the outer limits of jazz, and one of the most influential records of the '70s. Absolutely essential. Reissued on double 180 gram vinyl in a gatefold jacket.

    1. Sivad
    2. Little Church
    3. Medley: Gemini/Double Image
    4. What I Say
    5. Nem Um Talvez
    6. Selim
    7. Funky Tonk
    8. Inamorata And Narration By Conrad Roberts
    Miles Davis
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Afro Classic (Speakers Corner) Afro Classic (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Afro Classic (Speakers Corner)

    In the Seventies, fusion was a popular pigeonhole for music somewhere between jazz and pop. At the same time it was also an often used, belittling term employed by critics and representatives of 'pure' jazz, who never wanted to listen to it, let alone include any of the numerous LPs in their collection.



    Forty years later, the dust has settled. Flautist Hubert Laws' recordings not only for the Atlantic but also the CTI labels are treasured - especially the present LP, which was produced by the 'Master of Sound' Creed Taylor. Now these crossover numbers from the worlds of classic, jazz, pop and easy listening are available once more. Discover, for example, Al Kooper's composition Fire And Rain (more familiar are the versions from Blood, Sweat & Tears and James Taylor), the famous theme music from the film Love Story, and three classical compositions by J. S. Bach and Mozart. All have been given a facelift and with such super sidemen ranging from Ron Carter to Bob James and a superb Freddie Waits on the drums, they are a real treat.
    So cast aside any preconceptions and enjoy this meticulous production and the clear reproduction on vinyl.



    Musicians:



    • Hubert Laws (flute)

    • Don Sebesky (arranger)

    • Fred Alston, Jr. (bassoon)

    • Bob James (electric piano)

    • Gene Bertoncini (guitar)

    • David Friedman (vibraphone)

    • Ron Carter (bass)

    • Airto, Richie 'Pablo' Landrum (percussion)

    • Fred Waits (drums)




    Recording: December 1970 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA

    Production: Creed Taylor





    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. Fire and Rain
    2. Allegro from Concerto No. 3 in D
    3. Theme from Love Story
    4. Passacaglia in C Minor
    5. Flute Sonata in F
    Hubert Laws
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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