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  • Live At The Sands: Before Frank Live At The Sands: Before Frank Quick View

    $49.99
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    Live At The Sands: Before Frank

    Swinging Hard and Heavy With Orchestral Support, Live Big-Band Album Recorded During the Count's Warm-Up Sets for Sinatra in Early 1966 in Vegas


    Incredible Sound: Mastered from the Original Master Tapes, Reissue Improves Upon Renowned Dynamics, Presence, Crispness, and Balances


    Long Out-of-Print, Seminal Classic is Perfect Complement to Sinatra's Live at the Sands


    Count Basie and Frank Sinatra had the perfect arrangement at the Sands. Before the Chairman hit the stage in Vegas, Count Basie and his big band warmed up the already enthusiastic crowd with a brief set of their own. A dynamite entertainer, the legendary leader causes hearts to race, hips to shake, and fingers to snap with high-energy readings of his trademark swing music, taken to feverish heights by both his first-rate orchestra and the incredibly swank setting. Fortunately, the finest of Basie and Co.'s introductory performances from the historic 1966 dates have been preserved here and serve as a seminal complement to Sinatra's iconic Live at the Sands.


    Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's analog version of Live at the Sands (Before Frank) gives you a dead-center, eighth-row seat at the famed Sin City club. You'll just need to supply your own table and cocktail. Renowned for its sonic clarity, transparency, crispness, and punch, the record is now tremendously enhanced, with improved tonality, a deeper soundstage, correct balances, and lifelike presence. Each horn occupies its own space, and Basie's transfixing piano-a focal point throughout-resonates with gorgeous detail and impeccable pacing. The collective's energy almost demands to be measured with an SPL meter.


    Captured in late January and early February 1966, Live at the Sands (Before Frank) contains most of Basie's signature pieces delivered with an enthusiasm, style, and brassiness that exceed that gracing nearly any of the Count's studio efforts. His band is stacked to the nines, with tenor saxophonist Eddie "Lockjaw" Davis, saxophonist/flautist Eric Dixon, and drummer "Sonny" Payne among the prized cast. The Sands dates marked the first time in years that these players, as well as trombonist Al Grey, gathered onstage together.


    Encouraged by Basie, the instrumentalists engage in a series of call-and-response passages and standout solos, not the least of which is Davis' turn on a white-hot "Jumpin' at the Woodside" and he and Dixon's exchanges on "This Could Be the Start of Something Big." No slouch, Basie approaches "Makin' Whoopee" with graceful playfulness, and oversees the assortment of uptempo swing numbers and mellow ballads with astute melodicism. A sublime version of the Don Gibson country standard "I Can't Stop Loving You," arranged by Quincy Jones, can almost be considered a bonus.


    No, it don't mean a thing if it ain't got that swing. And Basie and his mates have plenty of it on this superb outing. Big-band jazz seldom enjoyed such levels of rhythmic precision, expert charts, or unfettered joy. Unbelievably, this gem has been out of print for years, with original copies both on vinyl and CD commanding steep prices. Mobile Fidelity's reissue restores not only the sonics but the record's place in jazz history.


    This title is not eligible for discount.

    1. Introduction
    2. Splanky
    3. I Can't Stop Loving You
    4. I Needs to Be Bee'd With
    5. Flight of the Foo Birds
    6. Satin Doll
    7. Makin' Whoopee!
    8. Corner Pocket
    9. One O'Clock Jump
    10. Hello Little Girl
    11. Whirly Bird
    12. Blues for Ilene
    13. This Could Be the Start of Something Big
    14. Jumpin' at the Woodside
    Count Basie
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • April In Paris April In Paris Quick View

    $19.99
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    April In Paris

    Count Basie's band endured because of its leader's uncanny ability to put together fresh arrangements and strong soloists while maintaining the band's unique devotion to swing; this CD is among the most enduring of the big band recordings of the 1950s. The title tune is present in a justifiably famous rendition, a performance of swaggering swing and passion that was arranged by organist Wild Bill Davis. Frank Foster's Shiny Stockings, now a jazz standard, made its debut here, while Joe Newman's Midgets recasts the band as a bop combo. Throughout the recording are terrific solos by trumpeters Thad Jones and Newman and tenor saxophonists Foster and Frank Wess, all basking in the band's glorious swing. --Stuart Broomer


    Basie scored a smash in '56 with April in Paris , and this mid-'50s LP (featuring the original Basie band) became an instant big-band classic. A slew of alternate takes join that hit!

    1. April In Paris
    2. Corner Pocket
    3. Didn't You?
    4. Sweetie Cakes
    5. Magic


    6. Shiny Stockings
    7. What Am I Here For?
    8. Midgets
    9. Dinner With Friends
    10. Big Red

    Count Basie
    $19.99
    Vinyl LP - Sealed Buy Now
  • Ben Webster And Sweets Edison Ben Webster And Sweets Edison Quick View

    $54.99
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    Ben Webster And Sweets Edison

    Mastered by Bernie Grundman from the Original Analog Master Tapes! Only 2500 Numbered Limited Edition Copies Worldwide!


    The two jazz giants Ben Webster and Harry Sweets Edison had long wanted to record an album together, and in 1962, they did. Although associated with two different orchestras (Edison was with Basie and Webster was with Ellington), these two swing kings found that they had a lot in common.


    This album features both horn men on three medium tempo blues, Better Go, Kitty, and Did You Call Her Today. Other than this, Webster gets two tenor features, contributing absolutely luscious solos on both How Long Has This Been Going On, and My Romance. After listening to these songs, there can be no doubt that Webster is one of the best balladeers jazz has ever produced. Edison gets his moment in the sun too. On the album closer, Sweets plays a wonderful, even fairly modern sounding, rendition of Embraceable You using a Harmon mute. The ballads, enhanced by the wonderful harmonic sense of pianist Hank Jones, are the highlight of this release, and show both Webster and Sweets' unbeatable melodic sense.


    Ben Webster was considered to be on of the three most important 'swing tenors' along with Coleman Hawkins and Lester Young. Known by some as The Brute, he had a tough, raspy and brutal tone on stompes but could deliver warmth and sentiment on softer ballads. Trumpeter Harry Sweets Edison spent his early childhood in Kentucky where he was introduced to music by his uncle. After moving back to his hometown of Columbus, Ohio at the age of 12, he began playing the trumpet with local bands, eventually landing a spot with the Count Basie Orchestra.


    Tenor-saxophonist Ben Webster and trumpeter Harry Sweets Edison, both veterans of the swing era (although associated with different orchestras), had long wanted to record a full album together. The results, a swinging quintet set with pianist Hank Jones, bassist George Duvivier and drummer Clarence Johnston, are quite rewarding. There are two ballad features for the tenor (How Long Has This Been Going on and a beautiful version of My Romance) and one for Edison (Embraceable You) along with three medium-tempo collaborations. Nothing unexpected occurs but the melodic music is quite enjoyable. - Scott Yanow, Allmusic.com


    At a time when some are steering jazz up a rather shallow third stream and others are busy digging up its roots, Webster and Edison are only motivated by the sheer love of playing.


    This title is not eligible for discount.

    1. Better Go
    2. How Long Has This Been Going On
    3. Kitty
    4. My Romance
    5. Did You Call Her Today
    6. Embraceable You
    Ben Webster & Sweets Edison
    $54.99
    180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
  • The Atomic Mr. Basie The Atomic Mr. Basie Quick View

    $27.99
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    The Atomic Mr. Basie

    Side A



    1. The Kid From Red Band
    2. Duet
    3. Splanky
    4. Flight Of The Foo Birds
    5. Double-O
    6. Li'l Darlin'



    Side B



    1. Whirly-Bird
    2. Midnite Blue
    3. After Supper
    4. Fantail
    5. Teddy The Toad
    6. The Late Late Show

    Count Basie
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Kansas City Suite: The Music Of Benny Carter (Pure Pleasure) Kansas City Suite: The Music Of Benny Carter (Pure Pleasure) Quick View

    $34.99
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    Kansas City Suite: The Music Of Benny Carter (Pure Pleasure)

    A session from 1960 with Basie and his Orchestra on absolute top form. It's hardly surprising when you see the line up of star players and also the fact that every single selection was written by Benny Carter.



    The Kansas City that Count Basie found himself in had become the hard core of vital new jazz. It was a place where the musicians who expressed this new jazz could, from night through morning, and on again the next night, sit in on numerous jam sessions.It was a place where musicians like Walter Page, Benny Moten, Lester Young, Ben Webster, Andy Kirk, Coleman Hawkins and many more, could be found working, experimenting and living their music. This was Count Basie's Kansas City, and this is the Kansas City that Benny Carter has dedicated this music to. He has written an original modern jazz suite that is flavored with the elements of Kansas City stomp jazz, and tailored for the big brash sound of the Basie band of today. To Benny Carter, the different streets and places in Kansas City, where so many of these jazz greats lived and worked, and where so much of jazz history was written, evokes a mood, a rememberance of things past. He has, for this reason, titled the selections of this suite after these very same streets and places. The Kansas City of the '20s and 30s is now a legend, and the music that saw it's beginnings there has since developed and moved into the mainstream of today's jazz. It has reached its full maturity and greatness in the music of Benny Carter, and through the dynamic force of the great Basie band!




    Musicians:



    • Sonny Cohn (trumpet)

    • Thad Jones (trumpet)

    • Henry Coker (trombone)

    • Benny Powell (trombone)

    • Marshall Royal (alto saxophone,clarinet)

    • Billy Mitcheel (tenor saxophone, clarinet)

    • Charles Fowlkes (bassoon, bass clarinet, flute)

    • Count Basie (piano)

    • Freddie Green (guitar)

    • Eddie Jones (bass)

    • Sonny Payne (drums)




    Recording: September 1960 at United Recorders, Los Angeles, by Wally Heider

    Production: Teddy Reig



    About Pure Pleasure



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



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



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



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



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



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




    This title is not eligible for discount.

    1. Vine Street Rumble
    2. Katy-Do
    3. Miss Missouri
    4. Jackson County Jubilee
    5. Sunset Glow
    6. The Wiggle Walk
    7. Meetin' Time
    8. Paseo Promenade
    9. Blue Five Jive
    10. Rompin' At The Reno
    Count Basie And His Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • A Very Swingin' Basie Christmas A Very Swingin' Basie Christmas Quick View

    $21.99
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    A Very Swingin' Basie Christmas

    A Very Swingin' Basie Christmas! is a Christmas album by the Count Basie Orchestra, directed by Scotty Barnhart, and originally released by Concord Records in 2015.


    *Artwork to subject to change

    1. Jingle Bells
    2. Let It Snow (feat. Ellis Marsalis)
    3. It's the Holiday Season (feat. Johnny Mathis)
    4. Silent Night
    5. Good "Swing" Wenceslas
    6. The Christmas Song (feat. Ledisi)
    7. Little Drummer Boy
    8. Sleigh Ride
    9. Have Yourself a Merry Little Christmas (feat. Carmen Bradford)
    10. Winter Wonderland
    11. I'll Be Home for Christmas (feat. Ellis Marsalis and Plas Johnson)
    Scotty Barnhart & The Count Basie Orchestra
    $21.99
    Vinyl LP - Sealed Buy Now
  • Sinatra - Basie: An Historic Musical First Sinatra - Basie: An Historic Musical First Quick View

    $24.99
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    Sinatra - Basie: An Historic Musical First

    Sinatra-Basie: An Historic Musical First (or simply Sinatra-Basie) is a 1962 studio album by Frank Sinatra, arranged by Neal Hefti.


    As the title indicates, this was the first recording that Sinatra made with the Count Basie Orchestra.

    1. Pennies From Heaven

    2. Please Be Kind

    3. (Love Is) The Tender Trap

    4. Looking At The World Thru Rose Coloured Glasses

    5. My Kind Of Girl

    6. I Only Have Eyes For You

    7. Nice Work If You Can Get It

    8. Learnin' The Blues

    9. I'm Gonna Sit Right Down And Write Myself A Letter

    10. I Won't Dance
    Frank Sinatra
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • On My Way and Shoutin' Again On My Way and Shoutin' Again Quick View

    $27.99
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    On My Way and Shoutin' Again

    Import


    When Count Basie returned to Verve Records in 1962, Neal Hefti was contracted to write the tunes and arrangements, a revival of their partnership from the 1958 Roulette LP Basie Plays Hefti. While none of these selections is as famous as his songs like Cute, Little Pony, Splanky, Li'l Darlin', and Repetition, the substantial originality of this music is hard to deny, not to mention that the expert musicians playing his music bring these tracks fully to life in a livelier fashion than most laid-back Basie studio sessions. In fact, it has the feeling of a concert date that trumps the more clean, controlled environment of a session that was recorded on a three-track reel-to-reel. There's also plenty of room for exceptional solos from most of the participants, as Hefti is mindful of who is in the band and how each musician might sound when given his head.


    This is tried and true swing-oriented modern big-band music that actually sounds advanced for its time frame, and is solid as anything Basie has done post-April in Paris. The band is atypically bold and brazen on the opener, I'm Shoutin' Again, with Frank Wess on alto (not tenor) sax for his spirited solo. The great chart of Jump for Johnny is a hard bopper for Johnny Carson, basic Basie with tenor saxophonist Frank Foster and trumpeter Sonny Cohn trading licks. Hefti's best work is showcased during Together Again, as the hopping brass and singing horns take tuneful twists and turns. This set also includes the classic track The Long Night, a famous blues featuring the sly flute of Wess in front of the horn section and a masterful muted solo by trumpeter Thad Jones. There are other tunes that are derivative, as you can clearly hear the borrowed phrases of C Jam Blues/Duke's Place in the low-key then blasted-out Eee Dee, Shiny Stockings sprinkled about during the more typical laid-back Rose Bud, and Groove Merchant or Hallelujah, I Just Love Him So in the easy-swinging soul groove of Ain't That Right. Hefti's movie soundtrack experience comes to the fore on Shanghaied, definite spy music with Cohn's muted trumpet masking phobias and paranoia. There are two cute tunes: Skippin' with Skitch, led by three flutes (Wess, Eric Dixon, and Charlie Fowlkes); and the lightly strutting Ducky Bumps, featuring Henry Coker's trombone, with brief solos from Basie's piano and bassist Buddy Catlett.


    A solid and worthwhile album that has been out of print for far too long, this will be a welcome addition to any Basie lover's collection, and comes highly recommended to anyone even mildly interested in excellent large-ensemble mainstream jazz.


    - Michael G. Nastos (All Music Guide)

    1. I'm Shoutin' Again
    2. Ducky Bumps
    3. The Long Night
    4. Jump For Johnny
    5. Ain't That Right
    6. Together Again
    7. Shanghaied
    8. Skippin' With Skitch
    9. Eee Dee
    10. Rose Bud
    11. Lester Leaps In
    Count Basie
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Basic Plus Basic Plus Quick View

    $1,000.00
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    Basic Plus


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Behind the multiple award-winning Basic +, which outclasses many much more expensive competitors, there are over 30 years of research and experience, along with in-depth knowledge of the effectiveness of unconventional details.


    Via the optional ACCU + power supply, the Basic + is even usable in a very low interference battery mode where no stray electromagnetic interference can spoil the pure musical enjoyment. The Basic + provides up to 60 decibels of gain at one kilohertz and automatically adjusts its input to perfectly match the cartridge fitted. With an equalisation accuracy of well below 0.2dB this 1.5-kilogram phonostage provides the acoustic pleasure of a very good concert hall.


    Clearaudio Equipment
    $1,000.00
    Basic Plus Phonostage Buy Now
  • At The Sands At The Sands Quick View

    $34.99
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    At The Sands

    Sinatra at the Sands is a 1966 live album by Frank Sinatra, accompanied by Count Basie and his orchestra, conducted and arranged by Quincy Jones, recorded live at the Copa Room of the Sands Hotel and Casino in Las Vegas.


    It was Sinatra's first live album to be commercially released, and contains many definitive readings of the songs that are most readily associated with Sinatra.

    LP 1
    1. Come Fly With Me
    2. I've Got A Crush On You
    3. I've Got You Under My Skin
    4. The Shadow of Your Smile
    5. Street of Dreams
    6. One For My Baby (And One More For the Road)
    7. Fly Me To the Moon
    8. One O'Clock Jump
    9. The Tea Break (monologue)
    10. You Make Me Feel So Young


    LP 2
    1. All of Me
    2. The September Of My Years
    3. Get Me To the Church On Time
    4. It Was A Very Good Year
    5. Don't Worry 'Bout Me
    6. Makin' Whoopee! (instrumental)
    7. Where or When
    8. Angel Eyes
    9. My Kind of Town
    10. A Few Last Words (monologue)
    11. My Kind of Town (reprise)

    Frank Sinatra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Green Onions Green Onions Quick View

    $21.99
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    Green Onions

    Green Onions is the debut album by Booker T. & the M.G.s, originally released on Stax Records in October 1962. It reached number 33 on the pop album chart in the month of its release. The title single had been a hit worldwide and was covered by dozens of artists, including the Blues Brothers (featuring guitarist Steve Cropper), the Ventures, Al Kooper, the Shadows, Mongo Santamaría, Roy Buchanan (also featuring Steve Cropper and Jan Hammer), Count Basie and many others.
    1. Green Onions
    2. Rinky-Dink
    3. I Got A Woman
    4. Mo' Onions
    5. Twist And Shout
    6. Behave Yourself
    7. Stranger On The Shore

    8. Lonely Avenue
    9. One Who Really Loves You

    10. I Can't Sit Down
    11. A Woman, A Lover, A Friend
    12. Comin' Home Baby
    Booker T. & The MG's
    $21.99
    Vinyl LP - Sealed Buy Now
  • Bruce Springsteen - 1995 Radio Hour (Pre-Order) Bruce Springsteen - 1995 Radio Hour (Pre-Order) Quick View

    $36.99
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    Bruce Springsteen - 1995 Radio Hour (Pre-Order)

    On 9th December 1995 Springsteen performed at Philadelphia's Tower Theater, a number of tracks from which were broadcast across the US on a variety of FM Radio Stations, as part of a radio programme called 'Bruce Springsteen's Radio Hour'. In addition to the 10 songs broadcast, Bruce also completed a lengthy 35-minute interview with DJ/Presenter Bob Castos - also aired as part of the radio hour - which was recorded a few days earlier at the Count Basie Theatre in Red Brick, New Jersey, during which The Boss gave his own, detailed take on his new acoustic album.
    LP 1
    1.The Ghost Of Tom Joad
    2.Straight Time
    3.Darkness On The Edge Of Town
    4.Born In The USA
    5.Youngstown
    6.Sinaloa Cowboys
    7.Balboa Park
    8.Does This Bus Stop At 82nd Street?
    9.This Hard Land
    10.Streets Of Philadelphia


    LP 2
    Interview

    Bruce Springsteen
    $36.99
    Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
  • Eddie 'Lockjaw' Davis Cookbook Vol. 1 Eddie 'Lockjaw' Davis Cookbook Vol. 1 Quick View

    $21.99
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    Eddie 'Lockjaw' Davis Cookbook Vol. 1

    Eddie Lockjaw Davis and Shirley Scott set an enduring standard for tenor saxophone/organ groups, beginning with this their first recording together. Davis' authoritative, hard swinging style came through his seasoning as a key player in the Count Basie band. Scott, an accomplished pianist, took up the organ when she joined Davis in 1955, emerging with her distinctive, driving yet subtle style virtually fully formed. The music on this 1958 date holds few surprises; it's meat and potatoes all the way, but it's made using the choicest ingredients. The barbecue sauce is applied in moderation, as the band steers closer to Basie-style swing than to overt R&B riffing. Davis and his working band -- Scott and drummer Arthur Edgehill -- are joined here by reed player Jerome Richardson and bassist George Duvivier. Richardson, playing flute on most tracks, provides a useful complement to Davis' tenor. Duvivier is indispensable in anchoring the music with a commanding walking bass. Edgehill's quick, light touch helps maintain the swinging, jazzy feel. The tracks comprise three strong Davis originals, two standards, including But Beautiful, which ranks as a master class in ballad playing, and the albums's centerpiece, the 12-minute plus In the Kitchen. This slow blues by Johnny Hodges has room for extended soloing all around in a performance that underlines the skill, passion and artistry that made the Davis and Scott partnership a potent and influential combination.


    - Jim Todd (All Music Guide)

    1. Have Horn, Will Blow

    2. The Chef

    3. But Beautiful

    4. In The Kitchen

    5. Three Deuces

    6. Avalon
    Eddie Lockjaw Davis
    $21.99
    Vinyl LP - Sealed Buy Now
  • Lady Sings The Blues Lady Sings The Blues Quick View

    $19.99
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    Lady Sings The Blues

    Although Billie Holiday's repertoire covered barely more than a dozen pure blues numbers during the course of her long career from 1933 to 1959, music critics always referred to her as the 'Lady [who] sings the blues'. And that hasn't changed to this day. In truth the recordings she made for Columbia in the Thirties and those for Clef/ Verve between 1953 and 1957 were a highly varied mixture of titles from the American songbook and her own compositions.



    Her interpretations were a benchmark against which all aspiring singers were measured. Highly expressive, almost visual ballads went hand in hand with Billie Holiday's life and voice - and only she alone could sing them! Her voice was always embedded in the sound carpet produced by her accompanying musicians: Tony Scott and Paul Quinichette are two names who made their mark on her music in the mid-Fifties, and the rhythm group of Barney Kessel, Kenny Burrell and Chico Hamilton is really first class. The trumpeter Harry 'Sweets' Edison, a long-time friend from the Count Basie Band, sensitively accompanies the singer's mature voice.

    1. Lady Sings The Blues

    2. Trav'lin' Light

    3. I Must have That Man

    4. Some Other Spring

    5. Strange Fruit

    6. No Good Man

    7. God Bless The Child

    8. Good Morning Heartache

    9. Love Me Or Leave Me

    10. Too Marvelous For Words

    11. Willow Weep For Me

    12. I Thought About You

    Billie Holiday
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Jazz Party Jazz Party Quick View

    $39.99
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    Jazz Party


    200-Gram LP


    Mastered By Bernie Grundman From The Original Analog Tape


    Housed In A Tip-On Gatefold Jacket (From Stoughton Printing) For The First Time!


    Plated And Pressed At Quality Record Pressings!


    Ellington Soars To Unmatched Artistic Heights Alongside Impressive Jazz Stars Including Dizzy Gillespie, Johnny Hodges And Jimmy Rushing!


    The tremendously detailed audio effect achieved by Columbia's engineers is brought back to life on this 200-gram LP from Analogue Productions. You want Duke and his men at their best, this is it!


    Duke Ellington called his music American Music rather than jazz, and liked to describe those who impressed him as beyond category. He remains one of the most influential figures in jazz, if not in all American music and is widely considered as one of the 20th century's best known African American personalites. He received 13 Grammy Awards and was honored with the French Legion of Honor in 1973. Posthumous recognition of his work include a special award citation from the Pulitzer Prize Board.


    Dizzy's spectacular trumpet blooms here amidst the Ellingtonian aggregate. The sometimes tender, sometimes shouting blues style of Jimmy Rushing provides nice contrast in one of the most varied and satisfying Ellington recordings ever. Originally released on Columbia Records in 1959, Jazz Party In Stereo contains a formidable gallery of jazz stars including Dizzy Gillespie, Jimmy Rushing, Johnny Hodges, Clark Terry, Paul Gonsalves, and more!


    So what have we done to perfect this brilliant reissue? Mastering by Bernie Grundman from the original analog tape, for starters. Naturally we turned to our own Quality Record Pressings for the finest 200-gram, dead-silent background pressing. Top it off with a Stoughton Printing gatefold tip-on jacket with beautiful full-size inner pictures and you've got an audiophile's dream. A can't miss for your collection!


    This most unusual Duke Ellington record includes two selections featuring nine symphonic percussionists on timpani, vibes, marimbas, and xylophones. Dizzy Gillespie makes a historic appearance with Ellington's orchestra on 'U.M.M.G.' (a meeting that should have been repeated often but sadly never was), Jimmy Rushing (Count Basie's former vocalist) sings 'Hello Little Girl,' and both Johnny Hodges ('All of Me') and Paul Gonsalves ('Ready Go!') have chances to blow. - AllMusic


    This title is not eligible for discount.

    1. Malletoba Spank (Duke Ellington, Billy Strayhorn)
    2. Red Garter (Toot Suite, Pt. I)
    3. Red Shoes (Toot Suite, Pt. II)
    4. Red Carpet (Toot Suite, Pt. III)
    5. Ready, Go! (Toot Suite, Pt. IV)
    6. U.M.M.G. (Upper Manhattan Medical Group)
    7. All of Me
    8. Tymperturbably Blue
    9. Hello Little Girl
    Duke Ellington
    $39.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sweetenings (Pure Pleasure) Sweetenings (Pure Pleasure) Quick View

    $34.99
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    Sweetenings (Pure Pleasure)

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


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


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


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


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



    Musicians:



    • Harry Edison (trumpet)

    • Jimmy Forrest (tenor saxophone)

    • Jimmy Jones (piano)

    • Joe Benjamint (bass)

    • John Simmons (bass)

    • Charlie Persip (drums)



    Recording: November 1958 in New York
    Production: Teddy Reig




    About Pure Pleasure



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



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



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



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



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



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


    This title is not eligible for discount.

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

    $34.99
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    Color Changes (Pure Pleasure)

    Possessor of the happiest sound in jazz, flÜgelhornist Clark Terry always plays music that is exuberant, swinging, and fun. A brilliant (and very distinctive) soloist, he gained early experience playing trumpet in the viable St. Louis jazz scene of the early '40s (where he was an inspiration for Miles Davis) and, after performing in a Navy band during World War II, he gained a strong reputation playing with the big band of Charlie Barnet (1947-1948), the orchestra and small groups of Count Basie (1948-1951), and particularly with Duke Ellington (1951-1959). Terry, a versatile swing/bop soloist who started specializing on flÜgelhorn in the mid-'50s, had many features with Ellington (including Perdido) and started leading his own record dates during that era. He recorded regularly in the 1960s including a classic set with the Oscar Peterson Trio and several dates with the quintet he co-led with valve trombonist Bob Brookmeyer.



    This is one of flÜgelhornist Clark Terry's finest albums. Terry had complete control over the music and, rather than have the usual jam session, he utilized an octet and arrangements by Yusef Lateef, Budd Johnson, and Al Cohn. The lineup of musicians lives up to its potential, and the charts make good use of the sounds of these very individual stylists. The material, which consists of originals by Terry, Duke Jordan, Lateef, and Bob Wilber, is both rare and fresh, and the interpretations always swing.




    Musicians:



    • Clark Terry (trumpet, fluegel horn)

    • Jimmy Knepper (trombone)

    • Julius Watkins (french horn)

    • Yusef Lateef (tenor saxophone, flute; english horn, oboe)

    • Seldon Powell (tenor saxophone, flute)

    • Tommy Flanagan, Budd Johnson (piano)

    • Joe Benjamin (bass)

    • Ed Shaughnessy (drums)




    Recording: November 1960 at Nola Penthouse Studios, New York City, by Bob d'Orleans

    Production: Nat Hentoff




    About Pure Pleasure



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



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



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



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



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



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



    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    1. Blue Waltz (la Valse Bleue)
    2. Brother Terry
    3. Flutin and Fluglin

    4. No Problem
    5. La Rive Gauche
    6. Nahstye Blues
    7. Chat Qui Peche (A Cat That Fishes)
    Clark Terry
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Third Face of Fame (Pure Pleasure) The Third Face of Fame (Pure Pleasure) Quick View

    $34.99
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    The Third Face of Fame (Pure Pleasure)

    Georgie Fame's swinging, surprisingly credible blend of jazz and American R&B earned him a substantial following in his native U.K., where he scored three number one singles during the '60s and a top ten hit with Bonnie & Clyde in the States. Fame played piano and organ in addition to singing, and was influenced by the likes of Mose Allison, Ray Charles, Booker T and the MG's and Louis Jordan. Early in his career, he also peppered his repertoire with Jamaican ska and bluebeat tunes, helping to popularize that genre in England; during his later years, he was one of the few jazz singers of any stripe to take an interest in the vanishing art of vocalese, and earned much general respect from jazz critics on both sides of the Atlantic.



    This set finds him in a suaver, jazzier vein accompanied by a band made up of the cream of jazz musicians on the UK scene at the time. It was at this time, 1967 and 1968, that to much acclaim, he toured as featured vocalist with the Count Basie Orchestra throughout the UK & Europe.



    Musicians:



    • Georgie Fame (piano, organ, vocal) and orchestra




    Recording: 1968 by Mike Ross

    Production: Mike Smith



    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.



    This title is not eligible for discount.

    1. The Ballad of Bonnie and Clyde
    2. When I'm Sixty Four
    3. Ask Me Nice
    4. Exactly Like You
    5. Someone to Watch Over Me

    6. Blue Prelude
    7. Bullets Laverne
    8. This is Always
    9. Side By Side
    10. St. James Infirmary

    11. Mellow Yellow
    Georgie Fame
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Jazz Workshop (Speakers Corner) The Jazz Workshop (Speakers Corner) Quick View

    $37.99
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    The Jazz Workshop (Speakers Corner)

    As a soloist, Al Cohn was not such an inspired tenor sax player as his colleague Zoot Sims. But he was a superb arranger, an unprofitable yet highly important function when it comes to such workshops. And though Manny Albam also played the baritone sax, his real instrument was the pen. He arranged not only jazz, but also film music and musicals. His arrangements were multi-faceted and tailor-made to suit the accomplishments of the individual instrumentalists.

    For this particular Jazz Workshop, the record company RCA-Victor could afford the services of excellent session musicians: Joe Newman and Freddie Green came from the Basie Band, Al Cohn, Bernie Glow, and Nick Travis from the Woody Herman Band, and the studio musicians Dick Katz, Buddy Jones, and Osie Johnson were present at all times of day and night anyway.

    As long as you don't expect fierce battles between five tenors, or six tweeters on the trumpet, then you will enjoy this LP with its swinging, relaxed improvisations on such works as Rosetta, Linger Awhile, and I'm Coming Virginia - and you will realise that Lester Young's sound has been heard, cultivated and further developed by these musicians.

    Four trumpets, a tenor sax, and then a piano, guitar, bass, and drums into the bargain - that's certainly no common ensemble, but it certainly is a good reason to purchase this LP. And for certain, this album has been missing in your collection to this day.

    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:
    Al Cohn (tenor saxophone, arranger)
    Manny Albam (arranger)
    Joe Newman, Bart Valve, Bernie Glow, Joe Wilder, Phil Sunkel (trumpet)
    Nick Travis (trumper, trombone)
    Dick Katz (piano)
    Freddie Green (guitar)
    Buddy Jones (bass)
    Osie Johnson (drums)

    Recording: May 1955 in Webster Hall, New York City, in mono
    Production: Jack Lewis

    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. Rosetta
    2. The Song Is Ended
    3. Linger Awhile
    4. Every Time
    5. Haroosh
    6. Just Plain Sam
    7. I'm Coming Virginia
    8. Cohn Not Cohen
    9. Foggy Water
    11. Sugar Cohn
    12. Alone Together
    Al Cohn
    $37.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • CARPENTERBRUTLIVE CARPENTERBRUTLIVE Quick View

    $38.99
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    CARPENTERBRUTLIVE

    Carpenter Brut pays tribute to the post-hippie/pre-AIDS culture that then set the basis of electro & metal to give us a unique, violent & crazy 80s revival sound.
    1. Escape From Midwich Valley
    2. Division Ruine

    3. Roller Mobster

    4. Meet Matt Stryke
    ,
    5. Wake Up The President

    6. Chew Bubble Gum

    7. Turbo Killer

    8. Paradise Warfare

    9. Run, Sally, Run!

    10. Looking For Tracy Tzu
    11. Anarchy Road

    12. The Good Old Call

    13. Disco Zombi Italia

    14. Sexkiller On The Loose

    15. 5 118 574

    16. Le perv

    17. Hang'em All

    18. Maniac
    Carpenter Brut
    $38.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Introducing The 3 Sounds Introducing The 3 Sounds Quick View

    $54.99
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    Introducing The 3 Sounds

    What's remarkable about Introducing The 3 Sounds is how the trio's lightly swinging sound arrived fully intact. From the basis of this album, it sounds as if pianist Gene Harris, bassist Andrew Simpkins and drummer William Dowdy have been playing together for years. There's empathetic, nearly intuitive interplay between the three musicians and Harris' deft style already sounds mature and entirely distinctive.


    Bill Dowdy, drums
    Gene Harris, piano, celeste
    Andrew Simpkins, bass


    This title is not eligible for discount.

    1. Tenderly
    2. Willow Weep for Me
    3. Both Sides
    4. It's Nice
    5. O Sole Mio
    6. Blue Bells
    7. Goin' Home
    8. Woody 'N You
    The 3 Sounds
    $54.99
    180 Gram Audiophile Virgin Vinyl 45RPM LP - 2 LPs Sealed Buy Now
  • Blue Gene Blue Gene Quick View

    $21.99
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    Blue Gene

    Another of the mid-1950s Gene Ammons studio jam sessions for Prestige, Blue Gene lives up to its title by utilizing blues changes as the basis for three of its four selections. Pianist Mal Waldron wrote all these lines and the minor-key ballad, Hip Tip. Ammons was one of the most expressive saxophonists and, in Idrees Sulieman and Pepper Adams, he found soulmates among the other horns. Their musical cohesion here is top notch in thanks to the fact that each man had jammed with Gene on Prestige dates previously.
    1. Blue Gene
    2. Scamperin'
    3. Blue Greens and Beans
    4. Hip Tip
    Gene Ammons
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • Other Voices Other Voices Quick View

    $24.99
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    Other Voices

    After The Doors finished recording L.A. Woman in 1971, Morrison moved to Paris, France. In the meantime, the three other members stayed behind in Los Angeles where they worked on music for what would be The Doors' seventh studio album. When the legendary singer passed away on July 3, 1971, the trio agreed to continue on, using those songs as the basis for OTHER VOICES, with Krieger and Manzarek now sharing vocal duties. Released in 1971, the album featured the two singles Tightrope Ride and Ships w/ Sails.
    1. In The Eye Of The Sun (2015 Remastered Version)
    2. Variety Is The Spice Of Life (2015 Remastered Version)
    3. Ships W/Sails (2015 Remastered Version)
    4. Tightrope Ride (2015 Remastered Version)
    5. Down On The Farm (2015 Remastered Version)
    6. I'm Horny, I'm Stoned (2015 Remastered Version)
    7. Wandering Musician (2015 Remastered Version)
    8. Hang On To Your Life (2015 Remastered Version)
    The Doors
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Solo Piano Solo Piano Quick View

    $34.99
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    Solo Piano

    With Solo Piano, Glass presents himself unplugged - no electronic keyboards or synthesizers, and no overdubs, either - just solo piano. Metamorphosis was written in 1988 and takes its name from a play based on Kafka's short story. Its second track, Metamorphosis Two, formed the basis of one of the main musical themes in the film The Hours. It is also the song that the American rock band Pearl Jam uses as their introduction music to concerts.


    Mad Rush was written for the occasion of the Dalai Lama's first visit in New York City. Wichita Vortex Sutra is the result of a chance meeting between two long-time friends, Glass and poet Allen Ginsberg, in a bookstore in the East Village. 'We decided on the spot to do something together, reached for one of Allen's books, and chose the poem Wichita Vortex Sutra'.

    1. Metamorphosis One
    2. Metamorphosis Two
    3. Metamorphosis Three
    4. Metamorphosis Four
    5. Metamorphosis Five
    6. Mad Rush
    7. Wichita Sutra Vortex
    Philip Glass
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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