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  • Mythologies (Awaiting Repress) Mythologies (Awaiting Repress) Quick View

    $49.99
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    Mythologies (Awaiting Repress)

    A singular jazz work, Patricia Barber's groundbreaking Mythologies is the result of the pianist becoming the only singer-songwriter to ever win a Guggenheim Fellowship. Allowed the time to craft a sophisticated album, the ambitious 2006 set is without peer in any musical genre. A cycle based on Greek mythology and Ovid's Metamorphoses, Mythologies brings each of the eleven characters from Ovid's play to life in song.


    Accompanied by guitarist Michael Alger, bassist Michael Arnapol, and drummer Eric Montzka, and assisted by a few special guest background vocalists--including a children's choir--Barber has turned in one of the first legitimate masterworks of the new century.


    When Patricia Barber's Mythologies (Blue Note Records) appears in stores on Tuesday, listeners will hear a piece of music with no apparent model in jazz of the 20th Century (or the 21st). For though classically tinged jazz suites date back to at least Duke Ellington's Black, Brown and Beige (1943) and extend to epic works such as Charles Mingus' posthumously premiered Epitaph (1989) and Wynton Marsalis' Pulitzer Prize-winning Blood on the Fields (1997), Mythologies stands apart from such behemoths.
    Howard Reich, Chicago Tribune, August 2006


    Lyrically addressing lovestruck emotions, insomnia, desires, risks, and more, Barber habitually turns conventions on their head. She matches her sonnets, double entendres, and fascinating narratives with music that's at once seductive, sad, beautiful, and powerful. Intended to be listened to from start to finish, Mythologies comes off as a sonic cycle that traces life and death in an engrossingly imaginative fashion that's on par with the classic Greek influences.


    Half-speed mastered from the original master tapes, Mobile Fidelity's numbered limited-edition 180-gram 2-LP set of Mythologies boasts astounding sonics. Every vocal delicacy and breathy aspect of Barber's singing is fully audible, balanced, and gorgeously textured. Instrumental decay and acoustic details are suspended against a pitch-black background. Vocal jazz records don't get better than this! Don't settle for the standard CD version, which is robbed of much of the presence, richness, and atmosphere.


    This title is not eligible for discount.

    1 The Moon
    2 Morpheus
    3 Pygmalion
    4 Hunger
    5 Icarus (for Nina Simone)
    6 Orpheus/ Sonnet
    7 Persephone
    8 Narcissus
    9 Whiteworld/ Oedipus
    10 Phaethon
    11 The Hours
    Patricia Barber
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Great Jazz Standards (Pure Pleasure) Great Jazz Standards (Pure Pleasure) Quick View

    $34.99
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    Great Jazz Standards (Pure Pleasure)

    Great Jazz Standards was recorded when Evans was red-hot from two successes with Miles Davis, Miles Ahead and Porgy And Bess.
    Evans' signature brass choir is in place - creatively voiced, spaciously arranged, a supple, multi-coloured, sonically surprising counterpoint to a succession of superb soloists. The added bonus, for Evans' projects, is the foregrounding of saxophone and clarinet soloists Steve Lacy and Budd Johnson.
    Lacy and the original swing-to-bop missing link, Johnson, are the ones who will make the hair on your neck curl. Lacy's solos on Monk's Straight No Chaser and John Lewis' Django must be some of the finest pre-free improvisations he recorded, already heading from quirky to out-there. Johnson's clarinet solo on Don Redman's spooky, swing-meets-whole tone classic, Chant Of The Weed, and slow-burning, stirring tenor solo on Evans' La Nevada are some of the finest the all-but-forgotten genius ever recorded. Trumpeter Johnny Coles, has the inevitable misfortune of being compared to Miles Davis and being found to be ... different. Sunny, open and extroverted, he may not be a stylist of Davis' proportions, but he's an enjoyable alternative foil for Evans' arrangements.
    A magnificent but neglected album, and still coming up fresh as daisies.




    Musicians:



    • Budd Johnson (tenor saxophone, clarinet)

    • Steve Lacy (soprano saxophone)

    • Al Block (woodwinds)

    • Johnny Coles, Allen Smith (trumpet)

    • Jimmy Cleveland (trombone)

    • Bill Barber (tuba)

    • Gil Evans (piano)

    • Chuck Wayne (guitar)

    • Dick Carter (bass)

    • Elvin Jones (drums)



    Recording: February 1959

    Production: Richard Bock




    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.



    Gil Evans
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Rossini - Overtures (Speakers Corner) Rossini - Overtures (Speakers Corner) Quick View

    $34.99
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    Rossini - Overtures (Speakers Corner)

    Although Gioacchino Rossini wrote 39 operas, they are rarely heard today - with the exception of The Barber of Seville. Many of his overtures have, however, remained extremely popular. This record presents five of them which were composed between 1812 and 1829. Rossini's orchestral works are famous for the magic of the almost inevitable "Rossini crescendo". The composer is said to have been so disheartened by the failure of his last opera William Tell that he gave up composing, and took his talents into the kitchen. He was an excellent cook and one can well imagine how the rich melodic inspiration of his overtures was transferred to his menus.



    Pierro Gamba's masterly interpretations convey the structure of the compositions, while the London Symphony Orchestra certainly sets off the fireworks.



    The sound quality has lost nothing of its brilliance and musically the recordings are of a very high standard, clear and animated.





    Musicians:



    • London Symphony Orchestra

    • Pierino Gamba (conductor)




    Recording: May 1957 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.



    1. The Thieving Magpie
    2. The Silken Ladder
    3. The Barber of Seville
    4. Seimramide
    5. William Tell
    Pierino Gamba with London Symphony Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • A Distortion Of Love (Awaiting Repress) A Distortion Of Love (Awaiting Repress) Quick View

    $49.99
    Buy Now
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    A Distortion Of Love (Awaiting Repress)

    A Distortion of Love on Numbered Limited Edition 180 Gram LP from Mobile Fidelity


    Acclaimed Pianist/Singer's Oft-Neglected 1992 Sophomore Effort Teems With Poetic Enterprise and Intrepid Originality


    Smooth, Transparent Sonics Worthy of an Intimate Venue: One of Only Two Barber Albums to Never Have Been Reissued-Until Now


    Audiophile Favorite Steams Up Mirrors With Enchanting Melodies, Breathy Vocals, Daring Originality


    Patricia Barber's origins are commonly associated with 1994's CafÉ Blue and the follow-up, 1998's Modern Cool. Both quickly established the singer/pianist as an immediate audiophile favorite whose rare combination of astute instrumental performance, daring originality, poetic enterprise, intrepid vocals, and sculpted production announced her as an artist that both takes immense care in her music as well as in her sound. While largely unknown to many, 1992's diverse A Distortion of Love signaled the beginning of Barber's unfettered creativity.


    Half-speed mastered from the original master tapes and pressed at RTI, Mobile Fidelity's numbered, limited-edition 180 gram LP of the Chicagoan's sophomore album features the similar wowing detail and perspective-altering clarity offered on the reissue label's celebrated versions of Mythologies, The Cole Porter Mix, and the now out-of-print and extremely sought-after CafÉ Blue, Modern Cool, Companion, and Nightclub.


    Such is the attention brought to Barber's tastefully reverb-assisted singing, the quartet's stripped-down arrangements, the grand piano's resonance, the background finger snaps, and the astounding transparency of every note and breath uttered in the studio. Smoothness, balance, and neutrality abound. Through and through, this is an audiophile delight.


    While national acclaim wouldn't come to Barber until the mid-90s, it wasn't because she didn't provide notice of her monumental talent and MacArthur Grant-worthy inventiveness. On A Distortion of Love, her individuality manifests on a surprisingly eerie rendition of the standard "Summertime" and subsequent "Subway Station No. 5," a lengthy piece adorned with atmospheric nervousness, tonal shifts, and contrapuntal movements that ultimately lead into a swinging theme.


    Barber, guitarist Wolfgang Muthspiel, bassist Marc Johnson, and percussionist Adam Nussbaum achieve like-minded heights on an improvised and clever read of the Temptations' "My Girl." Here, and again especially on the aptly titled "You Stepped Out of a Dream," Barber's textured vocals seemingly float on a jet-black plain, emanating as if her lips and mouth are just feet away, the slap of the acoustic bass and patter of the drums responding in kind to her expressiveness. Whether you're familiar with this album, a longtime Barber fan, or just coming to her for the first time, Mobile Fidelity's pressing of this record will please even the sternest critics of vocal jazz.


    This title is not eligible for discount.

    1. Summertime
    2. Subway Station No. 5
    3. You Stepped Out of a Dream
    4. Parts Parallels
    5. Or Not To Be
    6. Yellow Car
    7. Yet Another In a Long Series of Yellow Cars
    8. I Never Went Away
    9. My Girl
    10. Be Myself
    Patricia Barber
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Smash (Awaiting Repress) Smash (Awaiting Repress) Quick View

    $49.99
    Buy Now
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    Smash (Awaiting Repress)

    Pianist's First New Studio Album in More Than Four Years Masterfully Unites Harmony and Melody Via Uncommon Delicacy, Tonal Intimacy


    Barber Defies Expectations, Channels Melancholic Experiences Into Expressionistic Poetry and Attractive Arrangements


    Instant Audiophile Classic: Mobile Fidelity's 180g 2LP Set Renders Atmospherics, Whisper-Soft Transients, Acoustic Dimensions, and Images With Utmost Detail and Precision


    "No One Else Writes or Sounds Like This"-Chicago Tribune


    Accessible and complicated, alluring and challenging, sensuous and liberating, Patricia Barber's Smash once and for all confirms the pianist/singer exists in an elevated artistic plane reached by none of her generational peers. Four years in the making, and the beloved musician's first studio record since 2008, her Concord Records debut defies expectations and crystallizes her status as a preeminent songwriter. Informed by personal episodes of significant loss and yearning, the album masterfully unites harmony and melody via uncommon delicacy, tonal intimacy, and ethereal surrealism. It will likely stand as 2013's finest jazz effort, an instant classic.


    Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 2LP possesses audiophile-quality fidelity and dynamic transparency unmatched by the commercially released CD. Akin to the reissue label's previous Barber releases, many of which are long out-of-print and command huge sums on the collector's market, Smash brings the singer and her band into your listening room, converting it into a recreation of the stage at Chicago's Green Mill, Barber's home base. Sonic characteristics crucial to Barber's sophisticated compositions-atmospherics, decay, whisper-soft transients, mood, acoustic dimensions, precise imaging-are rendered with utmost detail, balance, and accuracy. All else that's required for your trip to the Green Mill is a stereo and glass of chardonnay.


    Punctuated by deft instrumental passages and mysterious verses, Smash marks a triumphant return for Barber after she endured a series of melancholic episodes, including the death of her mother and four other people close to her. In addition, a disagreement with business associate cost her untold amount of money. She also broke away from Blue Note after its president stepped down from his position. Barber channels these painful, often-angry experiences and transitional periods into expressionistic poetry on Smash, transferring her emotions to arrangements that mirror the deep, meaningful cycle of human life and death.


    Backed by a brilliant trio, Barber opts for her now-signature subdued methods, allowing each syllable to linger, every note to hover before fading, each rhythmic line to develop unique relationships with the groove. Chicago Tribune jazz critic Howard Reich wrote in his rave review of Smash: "No one else writes or sounds like this, in other words, because no one else approaches the art of singing, songwriting, and piano playing with Barber's particular interests. The liquidity of her vocals, the sharp edge of her jazz pianism, and the quirkiness of her original songs cannot be imitated and remain a work in progress."


    These aspects, and more, are immediately apparent on Smash, arguably the boldest and most satisfying set of the reclusive talent's career. Her famously seductive and breathy vocals, supple right-hand runs, and nuanced harmonics simultaneously engage, hypnotize, and tempt. Her mates follow suit with aptly sculpted bass lines, taut percussion, and suggestive guitar fills. A model of economical succinctness, Smash takes risks, harbors intensity, and utilizes silences to communicate. It represents a new level for 21st century jazz, and there's no way to better way to experience it and immerse yourself in its powers than via Mobile Fidelity's superb edition.


    This title is not eligible for discount.

    1. Code Cool
    2. The Wind Song
    3. Romanesque
    4. Smash
    5. Redshift
    6. Spring Song
    7. Devil's Food
    8. Scream
    9. The Swim
    10. Bashful
    11. The Storyteller
    12. Missing
    Patricia Barber
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Fool's Gold Fool's Gold Quick View

    $16.99
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    Fool's Gold

    Translucent Gold Vinyl


    My greatest hope is that it ends up becoming the soundtrack to some perfect romance, or at the very least a great cocktail party," says Jill Barber of her new album, 'Fool's Gold. Jill - aka "Canada's sweetheart" - is a two-time Juno Award nominee and Montreal Jazz Fest headliner whose last album hit #1 on the iTunes Jazz charts, and landed her a national segment with NPR. She has collaborated with Josh Ritter, Ron Sexsmith, and Kris Kristofferson has called her a "damn good songwriter." She also published a children's book, entitled 'Music is for Everyone,' this May. 'Fool's Gold' explores every nook of Jill's musical history: sultry torch songs, Hank Williams-inspired ballads, an homage to the golden era of the Brill Building, Motown and beyond. Lead single "Broken For Good" ventures into the early days of Motown with its strong backbeat, horns, a driving bass line and immediate pop appeal. She channels Patsy Cline on "The Careless One," a bittersweet Western, full of resignation and sorrow. As Jill puts it, "It hurts me to sing it, just a little. But that's how I know it is a keeper." The record was produced in Toronto by longtime collaborators and bandmates Les Cooper and Drew Jurecka.

    1. Broken For Good
    2. The Least That She Deserves
    3. Let's Call It Love
    4. The Careless One
    5. If Only In My Mind
    6. To The Last
    7. Lucky In Love
    8. Darlin' It Was You
    9. Only You
    10. If You're Going To Break My Heart
    Jill Barber
    $16.99
    Colored Vinyl LP - Sealed Buy Now
  • Mystery Road (Expanded Edition) Mystery Road (Expanded Edition) Quick View

    $24.99
    Buy Now
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    Mystery Road (Expanded Edition)


    Expanded Edition


    Containing never before heard material, this package features the original album, remastered and a bonus LP of the
    album's original demo sessions produced by R.E.M.'s Peter Buck, including the album's title track, "Mystery Road"
    and an early take of "MacDougal Blues". Includes liner note recollections by former manager Jim Barber and Peter
    Buck. The album is visually reimagined using Kevn Kinney's grandmother's unaltered original painting.

    LP 1
    1. Ain't It Strange
    2. Toy Never Played With

    3. Honeysuckle Blue

    4. With The People,
    5. Wild Dog Moon
    6. House For Sale

    7. Peacemaker

    8. You Don't Know Me

    9. Malfunction Junction

    10. Straight To Hell

    11. Syllables


    LP 2
    1. Honeysuckle Blue [Demo]
    2. Toy Never Played With [Demo]

    3. You Don't Know Me [Demo]

    4. Malfunction Junction [Demo]

    5. 1988 [Demo]

    6. Mystery Road [Demo]

    7. MacDougal Blues [Demo]

    8. Not Afraid To Die [Demo]
    9. Mountaintop [Demo]

    Drivin' N' Cryin'
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • 70th Birthday Concert Live In Liverpool 70th Birthday Concert Live In Liverpool Quick View

    $59.99
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    70th Birthday Concert Live In Liverpool

    On Saturday night, July 19, 2003, in celebration of John Mayall's 70th birthday and for the benefit of UNICEF's fight
    against child exploitation, The Bluesbreakers (Tom Canning, Hank Van Sickle, Jo Yuele and Buddy Whittington)
    along with John Mayall are reunited with the likes of Eric Clapton, Mick Taylor and British Blues pioneer, Chris
    Barber as they blast through nearly 2 1/2 hours of stunning blues. This marks first time he and Mayall had
    performed together in almost 40 years.
    LP 1
    1. Grits Ain t Groceries
    2. Jacksboro Highway
    3. Southside Story
    4. Kids Got The Blues
    5. Dirty Water
    6. Somebody s Acting Like A Child


    LP 2
    1. Blues For The Lost Days
    2. Walking On Sunset
    3. Oh, Pretty Woman
    4. No Big Hurry


    LP 3
    1. Please Mr. Lofton / Hideaway
    2. All Your Love (I Miss Loving)
    3. Have You Heard


    LP 4
    1. Hoochie Coochie Man
    2. I m Tore Down
    3. It Ain t Right
    4. California
    5. Talk To Your Daughter

    John Mayall
    $59.99
    Vinyl LP - 4 LPs Sealed Buy Now
  • Action-Refraction Action-Refraction Quick View

    $15.99
    Buy Now
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    Action-Refraction

    Action-Refraction marks bassist, compser and bandleader Ben Allison's 10th album and first collection of music composed by other artists. With nine critically acclaimed albums as a bandleader to his credit, Allison has solidified his rep as a cutting edge composer. To celebrate his 10th, he turned his ear towards the music of some of his favorite artists, creating an inspired, atmospheric, and at times art-rock mix tape featuring the music of PJ Harvey, Donny Hathaway, Thelonious Monk, Neil Young, Samuel Barber and Roger Nichols.

    1. Jackie-ing (Monk)

    2. Missed (PJ Harvey)
    3. Some Day We'll All Be Free (Hathaway)
    4. Philadelphia (Young)
    5. St Ida's Vision (Barber)
    6. We've Only Just Begun (Williams, Nichols)
    7. Broken (Allison)

    Ben Allison
    $15.99
    Vinyl LP - Sealed Buy Now
  • Winds Of War & Peace (200 Gram Vinyl) Winds Of War & Peace (200 Gram Vinyl) Quick View

    $34.99
    Buy Now
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    Winds Of War & Peace (200 Gram Vinyl)

    200-Gram Vinyl Plated And Pressed At Quality Record Pressings


    Mastered By Kevin Gray At Cohearent Audio


    On Winds of War and Peace, conductor Lowell Graham takes the National Symphonic Winds ensemble through a program of stirring orchestrations and marches. Liberty Fanfare was composed for the centennial celebration of the Statue of Liberty in 1986. The fanfare set the stage for one of the most spectacular celebrations in America's history. Samuel Barber's Commando March composed in 1943, represents Barber's first band work. Written in a quadruple meter, this work utilizes the constant contrast of dotted and triplet rhythms. Roger Nixon's Festival Fanfare March, was recognized for superb composition by the American Bandmasters Association in 1973. It is a work that's technical, bright in color and effervescent in spirit. The album also includes Victory at Sea, El Camino Real, A Santa Cecilla and Symphonic Dance No. 3.


    Graham, a native of Greeley, Colorado, has earned recognition as one of America's most talented young conductors. He graduated from the University of Northern Colorado with both his Bachelor of Arts and Master of Arts degrees. He was also the first person to be awarded the Doctor of Musical Arts Degree in Orchestral Conducting from the Catholic University of America.


    Graham has led orchestras and bands on record and in performance throughout the world. He is the current conductor and commander of the United States Air Force Tactical Air Command Band.


    This title is not eligible for discount.

    1. Liberty Fanfare
    2. Commando March
    3. Festival Fanfare March
    4. Victory as Sea (arr. R.R. Bennett for wind ensemble)
    5. El Camino Real
    6. A Santa Cecilia
    7. Symphonic Dances - No.3 Fiesta
    Lowell Graham
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Wolverines Wolverines Quick View

    $15.99
    Buy Now
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    Wolverines

    Wolverines, the new full-length from I Am the Avalanche was produced and engineered by the band's drummer Brett, The Ratt Romnes at The Barber Shop Studios in lake Hopatcong, NJ and mixed by Will Yip. Encompassing ten songs full of heart, ferocity, relentless passion and, of course, struggle, Wolverines follows the band's sophomore album, the acclaimed Avalanche United (2011).


    To the members of I Am The Avalanche - Vinnie Caruana (vocals), Brandon Swanson (guitar), Brett "The Ratt" Romnes (drums) and John Oliva (bass) - Wolverines is their most anthemic and cohesive full-length album to date and stands as a fitting body of work to the band's natural progression. It's a powerful record through and through, a complete set of songs that each play a specific and vital part on the album. "I think it's our most well thought-out and least rushed record," says Caruana. "Times spent at rock bottom and also feelings of personal triumph have shaped what I feel is the perfect record for us as a band and for our supporters as well."

    1. Two Runaways
    2. 177
    3. The Shape I'm In
    4. Young Kerouacs
    5. Wolverines
    6. Anna Lee
    7. Save Your Name
    8. Where Were You?
    9. My Lion Heart
    10. One Last Time
    I Am The Avalanche
    $15.99
    Vinyl LP - Sealed Buy Now
  • New Bottle Old Wine (Pure Pleasure) New Bottle Old Wine (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    New Bottle Old Wine (Pure Pleasure)

    If you have admired Gil Evans' arrangements on the Miles Davis recordings, you owe it to yourself to check this out. These recordings help make the case that Gil Evans was one of the great jazz arrangers of all time. Gil Evans always manages to communicate with sophistication and nuance, and on these sessions he manages to have fun as well.



    This is a LP of Gil Evans re-arranging classic jazz standards like St. Louis Blues, King Porter Stomp, and Lester Leaps. It's so interesting to be listening to these records nearly 50 years after they were made. This was a 'modern' take on jazz tunes that even then were considered classics. Hearing them now, it's like listening to one set of Old Masters interpreting an even more distant set of Old Old Masters. It's a LP that you can enjoy as a peek into modern jazz of the late 50's, or as a set of very interesting big band orchestrations. An absolute jazz classic.



    Musicians:



    • Gil Evans (arranger, conductor, piano)

    • Cannonball Adderley (alto saxophone)

    • Ernie Royal (trumpet)

    • Phil Bodner (reeds)

    • Harvey Philips (tuba),

    • Bill Barber (tuba)

    • Chuck Wayne (guitar)

    • Paul Chambers (bass)

    • Art Blakey (drums)

    • Philly Joe Jones (drums)



    Recording: April and May 1958 in New York City

    Production: Gil Evans and George Avakian



    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.


    and that the lacquer discs are newly cut.



    1. St Louis Blues
    2. King Porter Stomp

    3. Willow Tree
    4. Struttin With Some Barbecue
    5. Lester Leaps In
    6. Round Midnight

    7. Manteca
    8. Bird Feathers
    Gil Evans
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Backlash (Speakers Corner) Backlash (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Backlash (Speakers Corner)

    After his great success as a new discovery through playing on tour and in the studio with Art Blakey's creative and inspirational group, the Jazz Messengers, Freddie Hubbard made a dozen LPs over 16 years for Blue Note and Impulse under his own direction.
    It was no wonder then that a big record company made him a lucrative offer in autumn 1966. All in all, Atlantic Records released six LPs and the very first, entitled Backlash, is still until today the best of the bunch.


    Three numbers by Freddie Hubbard, one by Bob Cunningham, and two by friends, provide the basis for a successful transition between hard bop and soul beat. Hubbard made high demands on his fellow musicians James Spaulding, Albert Dailey and especially the bass player Bob Cunningham and the drummer Ray Appleton because they had to cope with the ever-changing beat. Right from the very first note, it is obvious that Freddie Hubbard had Fats Navarro and Clifford Brown in his heart and fingers. All the titles are excellent. Of special note, however, is Little Sunflower. The sound colouring of the flute harmonizes particularly well with Hubbard's brass, and Ray Barretto's contribution is more than mere decoration. You're certainly on the right track with this LP, no matter whether it's the beginning of a Freddie Hubbard collection or a further contribution to a large jazz collection.


    This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.

    Musicians:



    • Freddie Hubbard (fluegel horn, trumpet)
    • James Spaulding (alto saxophone, flute)
    • Albert Dailey (piano)
    • Bob Cunningham (bass)
    • Ray Appleton (drums)
    • Ray Barretto (percussion)



    Recording: 1967 by Tom Dowd, Phil Jehle and Adrian Barber

    Production: Arif Mardin




    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. Backlash
    2. The Return Of The Prodigal Son
    3. Little Sunflower
    4. On The Que-Tee
    5. Up Jumped Spring
    6. Echoes Of Blue
    Freddie Hubbard
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Chopin Evocations Chopin Evocations Quick View

    $38.99
    Buy Now
    x

    Chopin Evocations

    Daniil Trifonov releases a new double album on Deutsche Grammophon, titled Chopin Evocations. On the Polish composer, Trifonov says: "Chopin speaks to everyone in a very personal way because he evokes emotions in us."


    This new release celebrates Chopin's power to move and his influence upon other great composers including Schumann, Tchaikovsky, Grieg, Barber, and Mompou.

    LP 1: Concerto For Piano And Orchestra No. 2 In F Minor, Op. 21 Arr. By Mikhail Pletnev
    1. Maestoso (Concerto For Piano And Orchestra No. 2 In F Minor, Op. 21)
    2. Larghetto (Concerto For Piano And Orchestra No. 2 In F Minor, Op. 21)
    3. Allegro Vivace (Concerto For Piano And Orchestra No. 2 In F Minor, Op. 21)
    4. Variations On 'La Ci Darem La Mano', Op. 2


    LP 2: Concerto For Piano And Orchestra No. 1 In E Minor, Op. 11 Arr. By Mikhail Pletnev
    1. Allegro Maestoso (Concerto For Piano And Orchestra No. 1 In E Minor, Op. 11)
    2. Romance. Larghetto (Concerto For Piano And Orchestra No. 1 In E Minor, Op. 11)
    3. Rondo. Vivace (Concerto For Piano And Orchestra No. 1 In E Minor, Op. 11)


    LP 3
    1. 12. Chopin (Original Version)
    2. 5. Étude 'Hommage À Chopin' (Moods, Op.73)
    3. Nocturne, Op. 33
    4. 18 Pieces, Op. 72, TH 151
    15. Un Poco Di Chopin (18 Pieces, Op.72, TH 151)
    5. Rondo In C Major, Op.73
    6. Variations On A Theme By Chopin
    7. Fantaisie-Impromptu In C Sharp Minor, Op. 66

    Daniil Trifonov
    $38.99
    Vinyl LP - 3 LPs Sealed Buy Now
  • Regards Regards Quick View

    $18.99
    Buy Now
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    Regards

    Comprised of a classical music teacher, a philosophy student, a nanny/barber, and a professional poker player, Lee Corey Oswald have crafted a collection of twelve intriguing indie-punk classics all on one record. The band's clever, honest and thought-provoking lyrics combined with their 90's-esque indie sound, recall bands like Weezer and Knapsack, while their contemporary edge adds a dash of grit to the musical landscape of Portland.


    Regards was recorded analog on reel to reel tape, capturing the band's spirit in the moment as they perform each track live to record.

    1. Always Never
    2. Living Room
    3. Progress
    4. Soda and Cigarettes
    5. Regards
    6. Scatterbrain
    7. Snowglobe
    8. Sarah, Work is a Four Letter Word
    9. Batting a Thousand
    10. Still Shut Out
    11. Elements
    12. Red Balloons
    Lee Corey Oswald
    $18.99
    Vinyl LP - Sealed Buy Now
  • Paradise Paradise Quick View

    $21.99
    Buy Now
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    Paradise

    "a finely honed bludgeoning machine"


    - The New Yorker


    After the critically acclaimed release Deep Fantasy (2014), White Lung return with their fourth album, Paradise.


    Vocalist Mish Barber-Way, guitarist Kenneth William and drummer Anne-Marie Vassiliou, reconnected in Los Angeles to work with engineer and producer Lars Stalfors (HEALTH, Cold War Kids, Alice Glass). In October of 2015, White Lung spent a month in the studio, working closely with Stalfors to challenge what could be done with their songs. "I wanted it to sound new. I wanted a record that sounded like it was made in 2016", says William of his mindset. Bringing all the energy, unique guitar work and lyrical prowess Rolling Stone, Pitchfork, NME have praised them for in the past few years, White Lung curated their songs with a new pop sensibility.


    Mixed by Stalfors and later mastered by Joe LaPorta, Paradise is their smartest, brightest songwriting yet. "There's this stupid attitude that only punks have where it's uncool to become a better song writer," says Barber-Way, "In no other musical genre are your fans going to drop you when you start progressing. That would be like parents being disappointed in their child for graduating from kindergarten to the first grade. Paradise is the best song writing we have ever done, and I expect the next record to be the same. I have no interest in staying in kindergarten."

    1. Dead Weight
    2. Narcoleptic
    3. Below
    4. Kiss Me When I Bleed
    5. Demented
    6. Sister
    7. Hungry
    8. I Beg You
    9. Vegas
    10. Paradise
    White Lung
    $21.99
    Vinyl LP - Sealed Buy Now
  • Flesh Coffin Flesh Coffin Quick View

    $23.99
    Buy Now
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    Flesh Coffin

    Formed in 2010, Lorna Shore consists of vocalist Tom Barber, guitarists Adam De Micco and Connor Deffley, and drummer Austin Archey. To date, they have released three EPs and released their debut full-length Psalms in June of 2015. Aside from being featured on the Metal Alliance Tour with Deicide, Lorna Shore has most notably toured alongside bands such as Carnifex, Chelsea Grin, The Black Dahlia Murder, and more. The band has also played festivals such as the New England Metal And Hardcore Festival, Never Say Never Festival, South By So What, Skate and Surf Festival and SXSW's New England Metal and Hardcore Festival Stage. Lorna Shore's unique signature aesthetic spans death metal, black metal, power metal, and progressive rock for a style that encompasses brutal breakdowns, dazzling technical passages, white-knuckle-ride dynamics, and rich textured moments. The band's forthcoming sophomore album, Flesh Coffin (Outerloop Records) was produced by Lorna Shore, Carson Slovak, and Grant McFarland at Atrium Audio (August Burns Red, Everclear, From Ashes to New), mixed by Carson Slovak and Grant McFarland, and mastered by Zakk Cervini (Beartooth, Good Charlotte, Blink 182).
    1. Offering Of Fire
    2. Denounce The Light
    3. The Astral Wake Of Time
    4. Desolate Veil
    5. FVNERAL MOON
    6. Void
    7. Infernum
    8. the//watcher
    9. Black Hollow
    10. Flesh coffin
    Lorna Shore
    $23.99
    Vinyl LP - Sealed Buy Now
  • Doug Sahm And Band Doug Sahm And Band Quick View

    $25.99
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    Doug Sahm And Band


    Limited Edition Of 1000 Copies


    Pressed On Gold Vinyl


    Produced By Jerry Wexler & Arif Mardin


    Doug Sahm's first solo record was something of a coming out party, a big budget affair that let the world know what the insiders already knew: that Doug Sahm was a quintessentially American musical visionary. After The Sir Douglas Quintet concluded its contract with Smash/Mercury, Jerry Wexler convinced Sahm to sign with Atlantic and brought him to New York for the sessions that were to become Doug Sahm and Band. To call the personnel that Wexler and co-producer Arif Mardin assembled for the album star-studded is a severe understatement: among the musicians on this 1972 release were Dr. John, David Fathead Newman, David Bromberg, and Flaco JimÉnez (the first in a series of collaborations with Doug); Sir Doug stalwarts Augie Meyers, Jack Barber, and George Rains; and, of course, Bob Dylan, who contributes a hitherto-unheard song (Wallflower).


    It is a testament to Sahm's boundless talent that all of these stellar musicians wanted to play with him; it's even more of a testament that despite all of the formidable artists in the room, and despite the fact that Sahm only wrote three of the album's 12 tunes, Doug Sahm and Band never sounds like anything but a Doug Sahm record. And a hell of a good one, too, highlighted by the anthemic (Is Anybody Going to) San Antone and the brilliant Willie Nelson cover Me and Paul. This turned out to be Doug's only charting solo album, but he was never about the money. What mattered to Doug was the groove, and this record has it in every one of 'em. Real Gone Music is proud to present the first-ever vinyl reissue of this classic record, limited to 1000 gold vinyl copies. A must for your American music collection.

    1. (Is Anybody Going To) San Antone
    2. It's Gonna Be Easy
    3. Your Friends
    4. Poison Love
    5. Wallflower
    6. Dealer's Blues
    7. Faded Love
    8. Blues Stay Away from Me
    9. Papa Ain't Salty
    10. Me and Paul
    11. Don't Turn Around
    12. I Get Off
    Doug Sahm
    $25.99
    Colored Vinyl LP - Sealed Buy Now
  • High Places High Places Quick View

    $13.99
    Buy Now
    x

    High Places

    High Places is Mary Pearson and Rob Barber. Mary and Rob met while Mary was completing a music degree in bassoon performance and Rob was working in visual art, teaching lithography and etching at an art school. Both were performing as solo musicians at the time. Mary relocated to New York from Michigan in late 2006 and the two soon began collaborating under the name High Places. The name refers to a place where one has a better vantage point and can gain broader perspective; it references a love for mountains, rooftops and of course metaphorical 'high places.' The duo exchanges ideas back and forth, challenging one another's expectations, pushing songs to new places, or more aptly, new heights. They began by releasing a number of singles as well as contributing songs to a few compilations. These early and varied works were collected and released in July of 2008 as 03/07-09/07 in advance of tours with Deerhunter and No Age. Since its inception, High Places has created a signature sound out of using bass-heavy, yet crisp beats, lilting vocal melodies, syncopated rhythmic lines performed on folk percussion instruments, guitar duets turned into treated samples and percussive lines created from the manipulation of household objects. The songwriting is expansive and fluid, all the while managing to be concise. Overall, the compositions are settled and assured. High Places gravitates toward the organic over the electronic and that natural aesthetic adds warmth and intimacy to the recordings.


    In a live setting, the band creates their layered recordings with Mary singing and simultaneously manipulating her vocals with various delay and reverb pedals, while playing some hand percussion, recorders and creating and controlling various loops. Rob handles the drums triggering a variety of percussive sounds with his drum pads, as well as playing hand percussion, wooden blocks with contact mics and singing some ambient vocals. High Places' self-titled debut was recorded by Rob and Mary in their apartment in Brooklyn'
    s Fort Greene neighborhood between January and May of 2008. They employed a wide variety of instruments to make this album ranging from the more traditional: 12 string guitar, banjo, shakers and rattles, bass, bells and Kalimba, to the inventive: plastic bags, mixing bowls, wood blocks and other common household objects. The album has a contemplative and organic lyrical tone emphasized by the themes of goodness manifested in nature, hardship and wonder as necessities to human existence and growth. Additionally, the idea of maturation and development is further accented through the recurring mention of trees and their extending, enveloping branches. Rob created the High Places artwork by using photos taken by both band members. The images are drawn from nature but all have a subtle, mystical, golden motif, a fitting frame for the album's recurring themes.

    1. The Storm
    2. You in Forty Years
    3. The Tree with the Lights in It
    4. Visio's the First...
    5. Gold Coin
    6. Papaya Year
    7. Namer
    8. Golden
    9. A Field Guide
    10. From Stardust to Sentience
    High Places
    $13.99
    Vinyl LP - Sealed Buy Now
  • Stravinsky: Les Noces (Speakers Corner) Stravinsky: Les Noces (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Stravinsky: Les Noces (Speakers Corner)

    Although ten years separate the gigantic composition Le Sacre du Printemps and the dance cantata Les Noces, the more recent work has several things in common with its scandalous predecessor. Originally Stravinsky planned to use a vast orchestra of 150 musicians, but decided after numerous attempts to settle for four pianos, percussion, voices and mixed chorus.


    Concealed behind the innocuous title is not a peasant wedding but once again an archaic ritual, »which takes possession of several of the central figures, drives them on and eventually crushes them with its unrelenting movement« (AndrÉ Boucourechliev, Igor Stravinski, Fayard 1982). Ballet, rhythmic dance through and through, fuses with Russian melodic song and thereby exudes a folkloristic exoticism.


    Rarely performed yet zestful and a sheer delight for the ears is the burlesque tale Renard, a musical fable about Reynard the crafty Fox, the Cock, the Cat, and the Ram.
    Stravinsky himself conducted this recording made with a grand line-up of America's top composers at the piano keyboard - Samuel Barber, Lukas Foss, Aaron Copland and Roger Sessions. One certainly can't ask for more authenticity on record than these contemporary witnesses.


    Musicians:



    • Columbia Chamber and Percussion Ensembles

    • Igor Stravinsky (conductor)




    Recording: September 1962 at American Legion Hall, Hollywood, and January 1962 at Manhattan Center, New York, by Edwin Michalski
    Production: John McClure




    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. Les Noces ("The Wedding")
    2. Renard ("The Fox")
    3. Ragtime For Eleven Instruments
    Stravinsky
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Esther (Out Of Stock) Esther (Out Of Stock) Quick View

    $59.99
    x

    Esther (Out Of Stock)

    Available for the first time on super-silent 200-gram vinyl pressed at Quality Record Pressings!


    Mastered by Doug Sax


    If you like the sweet voice of Ayako Hosokawa, the sexy voice of Mari Nakamoto, the unique voice of Patricia Barber and the tender voice of Jacintha, then you must listen to Esther. Ofarim, an Israeli female vocalist, was in the 1970's a part of the duo Esther and Abi Ofarim and later she persued her career as a solo artist. Ofarim put out records in several styles throughout her career, including folk music (of Israel and other cultures and countries), folk-rock, novelty, and orchestrated folk-pop-classical-rock in the style of Judy Collins. Ofarim often released records in English, with virtually no trace of an Israeli accent, and also performed and recorded for a while with her one-time husband Abi.


    Although not too well-known to the English-speaking audience (particularly in the United States), Ofarim has impinged on the pop and rock consciousness from time to time. In 1968, she had a British number one hit (also a big seller in other countries, though not in the U.S.) with the novelty Cinderella Rockafella, recorded as part of a duo with husband Abi; Esther and Abi had another British hit, One More Dance, later that year.

    1. Kinderspiele
    2. Rataplan
    3. El Rey Nimrod
    4. Hayu Leiloth
    5. Nique Nac No Must
    6. Una Matica De Ruda
    7. La Vezina Catina
    8. Tziyunyanai Haderech
    9. La Scillitana
    10. Leil Galil
    11. Pamparapam
    12. Pavane
    Esther Ofarim
    $59.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
  • Prairieography (Out of Stock) Prairieography (Out of Stock) Quick View

    $19.99
    x

    Prairieography (Out of Stock)

    Prairieography - Del Barber's fourth album - is a departure for the acclaimed singer-songwriter, venturing farther into traditional country music than his previous releases.


    Recorded in his hometown of Winnipeg with co-producer William J. Western, Prairieography was born out of a love for the Canadian prairies, its people and their stories.

    1. Living With A Long Way To Go
    2. Farewell, God Bless You, Goodbye
    3. Walking In A Straight Line
    4. Arianna
    5. Country Girl
    6. Peter and Jenny Lee
    7. Its Harder Than You Think
    8. Big Smoke
    9. Yellowhead Road
    10. The Wind And The Wire
    11. The Sparrow And The Crow
    12. All That It Takes
    13. Tell Me Where To Start
    14. White Lines And Taillights
    Del Barber
    $19.99
    Vinyl LP - Sealed Temporarily out of stock
  • Brahms: Violin Sonatas No. 1 & No. 3 (Out Of Stock) Brahms: Violin Sonatas No. 1 & No. 3 (Out Of Stock) Quick View

    $34.99
    x

    Brahms: Violin Sonatas No. 1 & No. 3 (Out Of Stock)


    Features Gioconda De Vito On Violin And Edwin Fischer On Piano


    Gioconda De Vito was an Italian violinist born on July 22, 1907. She began formal violin lessons with an uncle, who was a professional violinist, at the age of 8. Three years later, she entered the Pesaro Conservatory. She graduated two years after that and started her career as a soloist. By age 17, she was teaching at the Conservatory in Bari. At age 25, she won an international violin competition in Vienna. She was then hired (supposedly through the influence of Mussolini) to teach at the Academy of Santa Cecilia in Rome. Since the Second World War interrupted her solo career, her London debut, which was very successful, didn't happen until 1948. She subsequently performed frequently in the major European venues, sometimes appearing with other important artists, including Yehudi Menuhin, Isaac Stern, Rafael Kubelik, and Furtwangler. She also twice played for the Pope (Pius XII). De Vito was one of several famous female violinists of the early Twentieth Century who were quickly forgotten by the general public - Ginette Neveu and Janine Andrade were two others. In 1961, she retired from playing and virtually from the violin itself. She was then only 54 years old. Although she toured Europe and other countries (Australia, Russia, India, Israel), she never played in the U.S. A highly admired player, she was nevertheless, almost an anachronism during her career. Her repertoire was old fashioned and did not include the concertos of Stravinsky, Prokofiev, Sibelius, Elgar, Bartok, Barber, Shostakovich, Khachaturian, Korngold, Glazunov, Berg, Walton, or Szymanowski. It is said that she was such a meticulous player, that she worked on the Brahms concerto for fifteen years before she played it in public.


    - Prone To Violins

    Johannes Brahms (1833 - 1897): Violin Sonata No. 1 in G, Op. 78
    1. Vivace ma non troppo
    2. Adagio
    3. Allegro molto moderato
    Johannes Brahms (1833 - 1897): Violin Sonata No. 3 in d minor, Op. 108
    4. Allegro
    5. Adagio
    6. Un poco presto e con sentimento
    7. Presto agitato
    Gioconda De Vito
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
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