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  • Atmosphere For Lovers and Thieves (Pure Pleasure) Atmosphere For Lovers and Thieves (Pure Pleasure) Quick View

    $34.99
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    Atmosphere For Lovers and Thieves (Pure Pleasure)

    Ben Webster is still a whale of a tenor player, his approach for the ballads being as poignant and lyrical as ever. On such romantic tunes as My Romance and What's New that breathy tone and broad-beamed phrasing are well in evidence, whilst the underlying humour and swing are more to the fore in the more muscular Easy To Love. Autumn Leaves is great Webster. The tempo is exactly right and Ben is in the groove from the start. The pianist is a long way away from Ben's beloved stride men, but he swings gently and forms nice background patterns for the tenor player's improvisations. The bass has been somewhat heavily recorded, but his drive is admirable nevertheless.



    Stardust, a lovely tune but sometime a drag for jazz improvisation, shows that Ben is a real master of flowing, keenly phrased ballad construction. Yesterdays is played so close to the microphone that momentarily I suspected a gas leak. But Ben always has that aerated vibrato well under control, and never overdoes what has throughout the years become something of a mannerism in his playing.



    Musicians:



    • Ben Webster (tenor saxophone)

    • Ole Kongsted (tenor saxophone)

    • Arnved Meyer (trumpet)

    • John Darville (trombone)

    • Kenny Drew (piano)

    • Niels Jorgen Stein (piano)

    • Niels-Henning Ørsted Pederson (bass)

    • Hugo Rasmussen (bass))

    • Alex Riel (drums)

    • Hans Nymand (drums)



    About Pure Pleasure



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



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



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



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



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



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



    and that the lacquer discs are newly cut.


    1. Blue Light
    2. Stardust
    3. Whats New
    4. Autumn Leaves
    5. Easy To Love
    6. My Romance
    7. Yesterdays
    8. Days of Wine and Roses
    Ben Webster
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Complete 1960 Sextet Cellar Session (Discontinued) The Complete 1960 Sextet Cellar Session (Discontinued) Quick View

    $27.99
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    x

    The Complete 1960 Sextet Cellar Session (Discontinued)

    Import


    The superb November 1960 session recorded by the Ben Webster Johnny Hodges sextet in studio conditions at the Jazz Cellar, in San Francisco without an audience. The two great saxophonists were the only horn players heard at the session. They were backed by a rhythm section of piano, guitar, bass and drums. These recordings are exceptional in that no other date exists in their collaborative featuring them as the only horns.

    1. Ben's Web
    2. Side Door (Don't Kid Yourself)
    3. Blues'll Blow Your Fuse
    4. I Can't Believe That You're In Love With Me
    5. Dual Highway
    6. Big Ears
    7. Shorty Gull
    8. Ifida
    9. Big Smack
    10. I'd Be There
    11. Just Another Day
    12. Lollalagin Now

    Ben Webster
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • See You At The Fair See You At The Fair Quick View

    $49.99
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    See You At The Fair

    Ben Webster's final American recording was one of his greatest. At 55, the tenor saxophonist was still very much in his prime but considered out of style in the U.S. and would soon permanently move to Europe. Joining Webster on this fine quartet set is Hank Jones and Roger Kellaway on piano, bassist Richard Davis and drummer Osie Johnson. Webster's tone has rarely sounded more beautiful than on Someone to Watch Over Me and Our Love Is Here to Stay.


    This title is not eligible for discount.

    1. Someone to Watch Over Me
    2. In a Mellow Tone
    3. Over the Rainbow
    4. Our Love Is Here to Stay
    5. The Single Petal of a Rose
    6. See You at the Fair
    7. Stardust
    8. Fall of Love
    9. While We're Dancing
    10. Lullaby of Jazzland
    Ben Webster
    $49.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Gerry Mulligan Meets Ben Webster (200 Gram) Gerry Mulligan Meets Ben Webster (200 Gram) Quick View

    $34.99
    Buy Now
    x

    Gerry Mulligan Meets Ben Webster (200 Gram)


    Classic 1959 Session By Two Jazz Giants!


    200-Gram Vinyl Pressing By Quality Record Pressings!


    Mastered By Ryan K. Smith At Sterling Sound From The Original Analog Tapes


    Sleeved In A Deluxe Tip-On Jacket From Stoughton Printing


    Gerry Mulligan Meets Ben Webster was just one of may meets albums that Gerry Mulligan appeared on during the period when this classic was recorded - Nov. 3 and Dec. 2, 1959, in Los Angeles. Mulligan and Pepper Adams were the baritone saxophonists during the golden age of modern jazz, both masters of the unwieldy and deep-toned instrument.


    History was made here, as was a classic record for the ages. Now, hear Gerry Mulligan Meets Ben Webster in all its sonic glory, courtesy of Analogue Productions and Quality Record Pressings! Mastered and cut to lacquer by Ryan K. Smith at Sterling Sound, working from the original analog tapes, this 33 1/3 edition sounds spectacular, pressed on super-silent 200-gram vinyl by Gary Salstrom and his crew at Quality Record Pressings. Nothing but the best packaging is allowed here either - you'll get a handsome heavyweight tip-on jacket from Stoughton Printing.


    Mulligan was an innovator of the west coast cool jazz style who flourished playing with all manner of jazz musicians. The tunes he and Webster recorded are smooth, lush and emotional, driven along by a rhythm section that swings with just the right amount of bop. The result is an album that's included among NPR's Basic Jazz Record Library.


    Let this silky and supple set make its presence known - order your copy of Gerry Mulligan Meets Ben Webster today, and prepare to be enveloped by the sound.


    This title is not eligible for discount.

    1. Chelsea Bridge
    2. The Cat Walk
    3. Sunday
    4. Who's Got Rhythm
    5. Tell Me When
    6. Go Home
    Gerry Mulligan & Ben Webster
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Ben Webster Meets Oscar Peterson Ben Webster Meets Oscar Peterson Quick View

    $49.99
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    Ben Webster Meets Oscar Peterson

    1959's Ben Webster Meets Oscar Peterson brings together two of the greatest stylists in American musical history. Here, in a program of timeless songs, pianist Oscar Peterson proves to be the perfect foil, his effortless swing an excellent set-up for the unhurried scoops, slurs and bent notes of tenor saxophone balladeer Ben Webster. Supporting musicians include Ray Brown on bass and Ed Thigpen on drums. On par with Webster's classic Soulville.


    This title is not eligible for discount.

    1. Touch of Your Pips
    2. When Your Lover has Gone
    3. Bye Bye Blackbird
    4. How Deep Is The Ocean (How High is The Sky)
    5. In The Wee Small Hours Of The Morning
    6. Sunday
    7. This Can't Be Love
    Ben Webster
    $49.99
    200 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Encounters Ben Webster Encounters Ben Webster Quick View

    $49.99
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    Encounters Ben Webster

    Mastered by George Marino at Sterling Sound


    ...these are all truly classic Verve titles that you simply don't want to miss...most importantly, the sound of these reissues is nothing short of astounding. Particularly the early Billie and Ella mono records are incredible treasures of sonic beauty. I'd definitely ask Santa for the whole set, or, if you want to cherry pick, the most classic titles. Whatever you decide, you owe yourself at least a half dozen! Winner of a 2012 Positive Feedback Online Writers' Choice Award - Danny Kaey, Positive Feedback Online, November/December 2011


    As critic Nat Hentoff makes clear, Coleman Hawkins and Ben Webster were larger than life. Formidable, even forbidding presences, they revealed a depth of feeling in their playing that spoke of their vast life experiences, as great writers or painters speak through their work.


    Recorded in 1957.


    Coleman Hawkins, tenor saxophone

    Ben Webster, tenor saxophone

    Ray Brown, bass

    Herb Ellis, guitar

    Oscar Peterson, piano

    Alvin Stoller, drums


    This title is not eligible for discount.

    1. Blues for Yolande
    2. It Never Entered My Mind
    3. La Rosita
    4. You's Be So Nice to Come Home To
    5. Prisoner of Love
    6. Tangerine
    7. Shine On Harvest Moon
    Coleman Hawkins
    $49.99
    200 Gram Audiophile Virgin Vinyl LP 45RPM - Sealed Buy Now
  • Soulville Soulville Quick View

    $49.99
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    Soulville

    Ben Webster, wrote the jazz historian J. E. Behrend, was two men in one: in fast pieces he was a musician with a throaty, croaking vibrato, while in slow ones he was a master of erotic and intensive ballads. In this compilation of both his own works and standard numbers with the promising title of Soulville, 'Big Ben' shows the gentle and the rougher sides of his nature. The album starts things off with a few good and honest blues numbers, but it's in the classics Lover Come Back To Me and Makin' Whoopee that the very heartbeat of the Age of Swing can easily be discerned.


    This title is not eligible for discount.

    1. Soulville
    2. Late Date
    3. Time on My Hands
    4. Lover, Come Back to Me
    5. Where Are You
    6. Makin' Whoopee
    7. Ill Wind
    8. Who?
    9. Boogie Woogie
    10. Roses of Picardy
    Ben Webster
    $49.99
    200 Gram Audiophile Virgin Vinyl 45 RPM LP - Sealed Buy Now
  • Gentle Ben (45 RPM) Gentle Ben (45 RPM) Quick View

    $54.99
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    Gentle Ben (45 RPM)

    That Rich, Humid, Giant Sax Tone Blooms Like On Few Other Webster Recordings


    Mastered By Kevin Gray At Cohearent Audio


    200-Gram Gatefold 45 RPM Double LP Pressed At Quality Record Pressings


    ...Webster's trademark sensual sound is on full display and, of course, he's backed by Montoliu, an outstanding Spanish piano veteran who accompanied all the great jazz artists passing through Europe...This is one of the first releases by Analogue Productions pressed at their new in-house pressing plant Quality Record Pressings, and the record bears a close resemblance in appearance to records from Pallas - beautiful looking and perfectly quiet...The superb 200-gram LP comes in a rice paper sleeve and jacket of heavy cardboard...Highest Recommendation. Recording = 10/10; Music = 8.5/10 - Dennis D. Davis, Hi-Fi+, Issue 81


    This recording was made 10 months before Ben Webster's death in 1972. Webster, who had left the United States in 1965 to settle in Europe - first in Copenhagen and then in Amsterdam - was visiting fellow musician and friend Tete Montoliu in Barcelona. Webster and pianist Montoliu went back a ways, having played together regularly in Webster's Copenhagen days. In fact, Montoliu cited Webster and Don Byas as his two chief musical influences. Webster and Montoliu understood each other deeply, and their comfort with on another is palpable in this recording. Their accompaniment of one another is seamless. On board with these two is Montoliu's regular working trio-mates, Eric Peter on bass and Peer Wyboris on drums.


    There's no shortage of Webster's trademark breathy, fat tenor tone here. In fact, given the sparse arrangement, that rich, humid, giant sax blooms like on few other recordings. Highlights include Ben's Blues, Sweet Georgia Brown, The Man I Love and Don't Blame Me.


    This title is not eligible for discount.


    LP 1
    1. Ben's Blues

    2. The Man I Love

    3. My Nephew Bent

    4. How Long This Has Been Going On


    LP 2
    1. Sweet Georgia Brown
    2. Don't Blame Me
    3. Did You Call
    4. Barcelona Shout

    Ben Webster
    $54.99
    200 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • The Warm Moods (Pure Pleasure) (Awaiting Repress) The Warm Moods (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
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    The Warm Moods (Pure Pleasure) (Awaiting Repress)

    Actually I am not big fan of jazz mixing with strings - it seems to have a muzaky feeling to it. But ... this album is so well done, Webster's playing is so amazing, that there is no way anyone could call this muzak. The sound is excellent. It was recorded at Radio Recorders - a great sound studio that was very popular in Hollywood in the 50s. The strings are extremely lush and Webster sounds as if he is in the room with you. One additional note - Webster's signiture breathy sound is much less breathy than in later albums. Not better, not worse - just a different sound than I am used to hearing. I highly suggest this LP to any Webster fan and anyone looking for a big fat mellow sound.« By T. Butler on August 7, 2004


    I grew up on late 70s and early 80s R&B and soul music and then aggressively got into hip-hop. Hip hop music was the music that began to expose me to the jazz classics that seldomly became sampled in the art form. I'm grateful for that and I have been an avid collector of jazz music for 15 years now. I buy music randomly and at the spur of the moment and from many artists I have never heard of ... so yes, do own a whole lot of musical garbage! but sometimes I get lucky .. like this album here. This was my first Ben Webster album (of which I now own five) and this one still remains my favorite. This is music for a grown spirit ... it is indeed warm and quiet and lush. Buy this as soon as possible, you'll enjoy it



    Musicians:



    • Ben Webster (tenor saxophone)

    • Armond Kaproff (cello)

    • Cecil Figelski (viola

    • Lisa Minghetti (violin)

    • Don Bagley (bass)

    • Donn Trenner (piano)

    • Frank Capp (drums)



    Recording: 1961 at Radio Recorders Studio, Los Angeles




    About Pure Pleasure



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



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



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



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



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



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



    1. The Sweetheart Of Sigma Chi
    2. Stella By Starlight
    3. With Every Breath I Take
    4. Accent On Youth
    5. But Beautiful
    6. Time After Time
    7. Nancy
    8. I'm Beginning To See The Light
    9. It Was So Beautiful
    10. The Whiffenpoof Song
    11. It's Easy To Remember
    12. There's No You
    Ben Webster
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Coleman Hawkins And Confreres Coleman Hawkins And Confreres Quick View

    $49.99
    Buy Now
    x

    Coleman Hawkins And Confreres

    Mastered by George Marino at Sterling Sound


    Ben Webster had long before passed through the ranks of imitator, then pupil and finally master. His college attendance, as one might put it, in the Duke Ellington Orchestra gave him a sureness of expression in his great showpieces and he also learned to hold his own against such musical giants as Paul Gonsalves and Jimmy Hamilton. Hawk was able to thoroughly enjoy his fame in numerous Jazz At The Philharmonic concerts given all over the world, where, of course, he had to assert himself against many other saxophone players. Two such JATP ensembles are to be found on the Confrères LP. The relaxed atmosphere is particularly noticeable in the title Sunday in which Roy Eldridge comes into the limelight with a brilliant solo. And just listen to George Buvivier's marvelous bass playing (in Nabab!) where he certainly has no reason to hide in the shadow thrown by Ray Brown. Coleman Hawkins' voluminous, supple sound which had a great influence on the styles of musicians ranging from Dexter Gordon and Sonny Rollins up to Joe Lovano, is best heard after Roy's solo in Honey Flower.


    Originally released in 1958.


    Musicians:


    Coleman Hawkins, tenor saxophone

    Ray Brown, bass

    George Duvivier, bass

    Roy Eldridge, trumpet

    Herb Ellis, guitar

    Hank Jones, piano

    Oscar Peterson, piano

    Mickey Sheen, drums

    Alvin Stoller, drums

    Ben Webster, tenor saxophone


    This title is not eligible for discount.

    1. Maria
    2. Sunday
    3. Hanid
    4. Honey Flower
    5. Nabob
    Coleman Hawkins
    $49.99
    200 Gram Audiophile Virgin Vinyl LP 45RPM - Sealed Buy Now
  • The Soul Of Ben Webster The Soul Of Ben Webster Quick View

    $49.99
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    The Soul Of Ben Webster

    A memorable 1958 set featuring the tenor stylings of the great Ben Webster and trumpeter Art Farmer.


    This title is not eligible for discount.

    1. Fajista
    2. Cool Train
    3. When I Fall In Love
    4. Ev's Mad
    5. Chelsea Bridge
    6. Ash
    7. Charlotte's Piccolo
    Ben Webster
    $49.99
    200 Gram Audiophile Virgin Vinyl 45 RPM LP - Sealed Buy Now
  • Coleman Hawkins Encounters Ben Webster (Bonus Track) Coleman Hawkins Encounters Ben Webster (Bonus Track) Quick View

    $27.99
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    Coleman Hawkins Encounters Ben Webster (Bonus Track)

    Import


    Includes bonus tracks from the same session but not included on the original LP

    1. Blues For Yolande
    2. It Never Entered My Mind
    3. La Rosita
    4. Cocktails For Two
    5. You'd Be So Nice To Come Home To
    6. Prisoner Of Love
    7. Tangerine
    8. Shine On Harvest Moon
    9. La Rosita (short alt. version)*


    *Bonus Track

    Coleman Hawkins
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Gerry Mulligan Meets Ben Webster Gerry Mulligan Meets Ben Webster Quick View

    $27.99
    Buy Now
    x

    Gerry Mulligan Meets Ben Webster

    Import


    Direct Metal Mastering


    Limited edition high definition premium 180gm vinyl LP repressing of this classic Jazz album. Originally issued on vinyl, the ongoing popularity of LP pressings and repressings has ensured the longevity of this format for years to come. Jazz Wax Records. 2010.

    1. Chelsea Bridge 7:23
    2. The Cat Walk 5:47
    3. Sunday 7:25
    4. Who's Got Rhythm 7:42
    5. Tell Me When 5:06
    6. Go Home 10:04
    Gerry Mulligan
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Lady Day (Pure Pleasure) Lady Day (Pure Pleasure) Quick View

    $34.99
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    Lady Day (Pure Pleasure)

    Excerpt from George Avakian's notes on the album sleeve:



    When planning this album, I had a hellish time trying to choose what I thought were the absolute cream of Billie Holiday. In the course of this wrestling, it struck me that not only were Billie's vocals incredibly perfect, but that I could not remember a single instance of anyone playing a bad solo or even a bad phrase among the hundred or more performances I had to choose from in the golden period of her work. Checking over records (which was almost unnecessary, because I could still remember them almost note for note) was a rather beautiful and somewhat shattering experience. Jazz, a product of so many things - musical evolution, the social scene of a particular time, the economic atmosphere of the moment, what somebody had for breakfast that day - and none of those tings will ever come together again as they did when these records were made.



    Musicians:



    • Billie Holiday (vocal)

    • Ben Webster, Lester Young (tenor saxophone)

    • Johnny Hodges (alto saxophone)

    • Roy Eldridge, Buck Clayton (trumpet)

    • Benny Goodman, Art Shaw (clarinet)

    • John Truehart (guitar)

    • Teddy Wilson (piano)

    • John Kirby (bass)

    • Cozy Cole, Joe Jones (drums)




    About Pure Pleasure



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



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



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



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



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



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



    1. Miss Brown To You
    2. I Wished On the Moon
    3. What A Little Moonlight Can Do
    4. If You Were Mine
    5. Summertime
    6. Billie's Blues
    7. I Must Have That Man
    8. Foolin' Myself
    9. Easy Living
    10. Me, Myself and I
    11. A Sailboat In the Moonlight
    12. I Cried For You
    Billie Holiday
    $34.99
    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
    Buy Now
    x

    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.



    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
  • Two Of A Mind (Speakers Corner) Two Of A Mind (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Two Of A Mind (Speakers Corner)

    Although the beautiful sound, mutual understanding and harmonic balance mostly predominate, the music of alto saxophonist Paul Desmond performing together with baritone saxophonist Gerry Mulligan is far from what one calls 'easy listening'. For many, it is even difficult to identify the melody of evergreens such as Stardust and The Way You Look Tonight. (And what theme is tucked away in Two Of A Mind????)
    The recording in the RCA Victor Studio took place over several days in 1962, and this is why different bass players and percussionists are heard - Wendell Marshall, Joe Benjamin and John Beal each take their turn on the bass, while Connie Kay and Mel Lewis change places behind the drum set. These musicians form a brilliant team, and that there is no piano is both deliberate and inevitable for Gerry Mulligan recordings of the day. By the way, the second saxophonist in The Way You Look Tonight is Paul Desmond - by means of over-dubbing in the middle of the stereo recording!
    The present LP could certainly take a rightful place in a 'Best Of' collection alongside the other recordings by Gerry Mulligan with Ben Webster and Stan Getz.



    Musicians:



    • Gerry Mulligan (bassoon)

    • Paul Desmond (alto saxophone)

    • Joe Benjamin, John Beal, Wendell Marshall (bass)

    • Connie Kay, Mel Lewis (drums)




    Recording: 1962 at RCA Victor's Studio A, New York City by Ray Hall, Bob Simpson and Mickey Crofford

    Production: Bob Prince and George Avakian





    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. All the Things You Are
    2. Stardust

    3. Two of a Mind
    4. Blight of the Fumble Bee
    5. The Way You Look Tonight
    6. Out of Nowhere
    Paul Desmond & Gerry Mulligan
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Out of the Forrest Out of the Forrest Quick View

    $34.99
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    Out of the Forrest

    Part of the ultimate audiophile Prestige stereo reissues from Analogue Productions - 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 33 1/3.


    All mastered from the original analog master tapes by mastering maestro Kevin Gray. 200-gram LPs pressed at Acoustic Sounds' state-of-the-art pressing plant, Quality Record Pressings, plated by Gary Salstrom


    Deep groove label LP pressings, tip-on jackets on thick cardboard stock


    From the time Coleman Hawkins firmly established the tenor saxophone on the jazz map, it has been one of the most potent forces in the music, its best practitioners able to raise the roof with a jumping blues, soothe the savage beast with a tender love ballad, and do just about anything in between. At the time of this recording (1961), Jimmy Forrest, the St. Louis-born reedman, was a veteran of the Fate Marable, Jay McShann, Andy Kirk, and Duke Ellington bands. Later in his career he starred with Count Basie. Here he leads a quartet of teammates from the combo of Sweets Edison, including the young Austrian pianist Joe Zawinul, through a gamut of the aforementioned moods from Crash Program to the caressing That's All, with a few tips of the cap to Ben Webster along the way. With Joe Zawinul, Tommy Potter and Clarence Johnston.


    This title is not eligible for discount.

    1. Bolo Blues
    2. I Cried for You (Now It's Your Turn to Cry Over Me)
    3. I've Got a Right to Cry
    4. This Can't Be Love
    5. By the River Sainte Marie
    6. Yesterdays
    7. Crash Program
    8. That's All
    Jimmy Forrest
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Legrand Jazz (Awaiting Repress) Legrand Jazz (Awaiting Repress) Quick View

    $27.99
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    Legrand Jazz (Awaiting Repress)

    Import


    French composer and pianist Michel Legrand's album Legrand Jazz in its entirety, featuring his first recorded collaboration with Miles Davis.


    Legrand Jazz compiled three June 1958 New York sessions featuring many of the finest jazz musicians in the history of the genre. Featuring John Coltrane, Bill Evans, Herbie Mann, Ben Webster, Hank Jones, Paul Chambers & Max Roach, among others.


    One Pressing Limited Edition

    1. Wild Man Blues(Louis Armstrong-Jelly Roll Morton)
    2. Round Midnight(Thelonious Monk-Cootie Williams-Bernie Hanighen)

    3. The Jitterbug Waltz (Fats Waller)

    4. Django (John Lewis)

    5. Nuages (Django Reinhardt)

    6. Round Midnight (Thelonious Monk-Cootie Williams-Bernie Hanighen)

    7. Rosetta (Earl Hines-William Henri Woode)

    8. Dont Get Around Much Anymore (Duke Ellington-Sidney Keith Russell)

    9. Blue And Sentimental (Count Basie-Mack David-Jerry Livingston)

    10. Stompin At The Savoy (Benny Goodman-Chick Webb-Edgar M. Sampson)

    11. A Night In Tunisia (Dizzy Gillespie-Frank Paparelli)

    12. In A Mist (Bix Beiderbecke)

    Michel Legrand & Miles Davis
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Roots Roots Quick View

    $29.99
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    Roots

    Somehow this 1961 Reprise title seems to have escaped the audiophile must-have list. It's a true hidden classic and an incredibly warm recording. The small combo setting really allows these two heavyweights, Jimmy Witherspoon and Ben Webster ,to shine. The mood is laid-back and down-home. Accompanying musicians include trumpeter Gerald Wilson, pianist Ernie Freeman, bassist Ralph Hamilton and drummer Jim Miller. Roots was recorded at the often underrated or forgotten Radio Recorders in Hollywood, California. The studio, built in 1929, was one of the truly great - and great-sounding - studios of its day with an unbelievable discography of classics to its name.


    Includes Nobody Knows You When You're Down and Out and I'm Gonna move To the Outskirts of Town.


    Jimmy Witherspoon made his first records with Jay McShann's band in 1945. Four years later, he would record under his own name with the McShann band and produced his first hit Ain't Nobody's Business.


    This title is not eligible for discount.

    1. I'd Rather Drink Muddy Water
    2. I'm Gonna move To the Outskirts of Town
    3. Key To the Highway
    4. Did You Ever
    5. Confessin' the Blues
    6. Nobody Knows You When You're Down and Out
    7. Your Red Wagon
    8. Rain Is Such a Lonesome Sound
    9. Cherry Red
    10. It's A Low Down Dirty Shame
    11. Just A Dream
    12. Please, Mr. Webster
    Jimmy Witherspoon
    $29.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Side By Side Side By Side Quick View

    $49.99
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    Side By Side

    Mastered by George Marino at Sterling Sound


    ...these are all truly classic Verve titles that you simply don't want to miss...most importantly, the sound of these reissues is nothing short of astounding. Particularly the early Billie and Ella mono records are incredible treasures of sonic beauty. I'd definitely ask Santa for the whole set, or, if you want to cherry pick, the most classic titles. Whatever you decide, you owe yourself at least a half dozen! Winner of a 2012 Positive Feedback Online Writers' Choice Award - Danny Kaey, Positive Feedback Online, November/December 2011


    When Norman Granz signed Johnny Hodges to a recording contract in 1951, it was a prelude to Hodges' leaving the Duke Ellington orchestra to lead his own small band. Four years later Hodges was back in the Ellington fold, but he continued to record for Granz under his own name. Side By Side, recorded in 1958 and 1959, is a throwback to the small-group sessions Ellington recorded with Hodges and other members of his orchestra in the Thirties, but with a couple of important differences: the absence of Ellington himself on several cuts (with Billy Strayhorn taking over on piano), and the presence of such notable non-Ellingtonians as drummer Jo Jones and trumpeters Roy Eldridge and Harry Sweets Edison.


    Originally released in 1959.


    Duke Ellington, piano

    Johnny Hodges, alto saxophone

    Lawrence Brown, trombone

    Harry Sweets Edison, trumpet

    Roy Eldridge, trumpet

    Al Hall, bass

    Johnny Hodges, alto saxophone

    Jo Jones, drums

    Wendell Marshall, bass

    Les Spann, flute, guitar

    Billy Strayhorn, piano

    Ben Webster, tenor saxophone


    This title is not eligible for discount.

    1. Stompy Jones
    2. Just Squeeze Me
    3. Big Shoe
    4. Going Up
    5. Just a Memory
    6. Let's Fall in Love
    7. Ruint
    8. Bend One
    9. You Need to Rock
    Duke Ellington & Johnny Hodges
    $49.99
    200 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
  • Phantom Thread (Original Motion Picture Soundtrack) Phantom Thread (Original Motion Picture Soundtrack) Quick View

    $32.99
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    Phantom Thread (Original Motion Picture Soundtrack)

    Jonny Greenwood's score to Paul Thomas Anderson's new feature film, Phantom Thread, is releasing via Nonesuch Records.


    Phantom Thread is set in the glamour of 1950s post-war London, where renowned dressmaker Reynolds Woodcock (Daniel Day-Lewis) and his sister Cyril (Lesley Manville) are at the center of British fashion, dressing royalty, movie stars, heiresses, socialites, debutants, and dames with the distinct style of The House of Woodcock. Women come and go through Woodcock's life, providing the confirmed bachelor with inspiration and companionship, until he comes across a young, strong-willed woman, Alma (Vicky Krieps), who soon becomes a fixture in his life as his muse and lover. Once controlled and planned, he finds his carefully tailored life disrupted by love.


    With Phantom Thread, Oscar-nominated filmmaker Paul Thomas Anderson paints an illuminating portrait both of an artist on a creative journey and the women who keep his world running. Phantom Thread is Anderson's eighth movie, and his second collaboration with Daniel Day-Lewis. The film's soundtrack includes eighteen compositions by Greenwood. It was recorded in London with a sixty-member string orchestra conducted by Robert Ziegler and is featured more prominently in the film than any of Greenwood's scores have been before. The Phantom Thread score was nominated for Golden Globe and BAFTA awards and has received the Best Score prizes from film critics' associations in Boston, Chicago, Los Angeles, Phoenix, San Francisco, Seattle, and St. Louis.


    The composer spoke to Variety about the process of creating a score that reflected the film's romance and glamour: We talked a lot about '50s music, what was popularly heard then as well as what was being written and recorded. Nelson Riddle and Glenn Gould's Bach recordings were the main references. I was interested in the kind of jazz records that toyed with incorporating big string sections; Ben Webster made some good ones. Greenwood continues, The smaller groups, and solo players, work like close-ups [and] not necessarily to accompany [a] visual, but rather, to focus your attention on and make you feel directly engaged with the characters. The bigger orchestral things often worked best for drawing you back to see the bigger situation.


    Anderson and Greenwood's previous collaborations include the soundtrack for Academy Award-winning There Will Be Blood (2007), The Master (2012), and Inherent Vice (2014), all released by Nonesuch. Indiewire says of their collaboration: Paul Thomas Anderson fans are well accustomed to how instrumental Jonny Greenwood's music is to the auteur's body of work. Whether it's the foreboding strings in There Will Be Blood or the discordant percussion in The Master, Greenwood's original scores expertly capture Anderson's tones. This fact is especially true in Phantom Thread, which marks the fourth collaboration between Anderson and Greenwood.


    Widely known as the guitarist for Radiohead, Jonny Greenwood is also a highly respected composer. In addition to the Anderson film soundtracks, Nonesuch also released his score for Norwegian Wood, his collaboration with Polish composer Krzysztof Penderecki, and his performance of Steve Reich's Electric Counterpoint. Most recently, the label released Junun-a collaboration between Greenwood, composer/musician Shye Ben Tzur, and a group of Indian musicians called the Rajasthan Express that was recorded in the fifteenth-century Mehrangarh Fort in Jodhpur, India. Paul Thomas Anderson came along to document the sessions. The resulting impressionistic film, also entitled Junun, debuted at the New York Film Festival, before screening at several other international festivals.

    1. Phantom Thread I
    2. The Hem
    3. Sandalwood I
    4. The Tailor of Fitzrovia
    5. Alma
    6. Boletus Felleus
    7. Phantom Thread II
    8. Catch Hold
    9. Never Cursed
    10. That's As May Be
    11. Phantom Thread III
    12. I'll Follow Tomorrow
    13. House of Woodcock
    14. Sandalwood II
    15. Barbara Rose
    16. Endless Superstition
    17. Phantom Thread IV
    18. For the Hungry Boy
    Jonny Greenwood
    $32.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Sound Of Jazz (Pure Pleasure) (Awaiting Repress) The Sound Of Jazz (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    The Sound Of Jazz (Pure Pleasure) (Awaiting Repress)

    The Sound Of Jazz is a 1957 edition of the CBS television series Seven Lively Arts, and was one of the first major programmes featuring jazz to air on American network television.
    The one-hour program aired on Sunday, December 8, 1957, at 5 p.m. Eastern Time, live from CBS Studio 58, the Town Theater at 851 Ninth Avenue in New York City. The show was hosted by New York Herald-Tribune media critic John Crosby, directed by Jack Smight, and produced by Robert Herridge. Jazz writers Nat Hentoff and Whitney Balliett were the primary music consultants.
    The Sound Of Jazz brought together 32 leading musicians from the swing era including Count Basie, Lester Young, Ben Webster, Billie Holiday, Jo Jones and Coleman Hawkins; the Chicago style players of the same era, like Henry 'Red' Allen, Vic Dickenson, and Pee Wee Russell; and younger 'modernist' musicians such as Gerry Mulligan, Thelonious Monk, and Jimmy Giuffre. These players played separately with their compatriots, but also joined to combine various styles in one group, such as Red Allen's group and the group backing Billie Holiday on Fine and Mellow.
    The show's performance of Fine and Mellow reunited Billie Holiday with her estranged long-time friend Lester Young for the final time. Jazz critic Nat Hentoff, who was involved in the show, recalled that during rehearsals, they kept to opposite sides of the room. Young was very weak, and Hentoff told him to skip the big band section of the show and that he could sit while performing in the group with Holiday.




    Musicians:



    • Red Allen Stars

    • Billie Holiday & Band

    • Count Basie All Stars

    • The Jimmy Giuffre Trio

    • Mal Waldron

    • Pee Wee Russell




    About Pure Pleasure



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



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



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



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



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



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



    1. Wild Man Blues - The Henry "Red" Allen All-Stars

    2. Rosetta -  Henry Allen And His Orchestra

    3. Fine And Mellow - Billie Holiday with Mal Waldron & The All Stars

    4. Blues - Jimmy Giuffre;Pee Wee Russell

    5. I Left My Baby - Count Basie with All-Stars featuring Jimmy Rushing

    6. The Train And The River -  The Jimmy Giuffre Trio

    7. Nervous - Mal Waldron

    8. Dickie's Dream - Count Basie with All-Stars

    9. Wild Man Blues (Alternate Take) - The Henry "Red" Allen All-Stars
    Various Artists
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Love Calls (Pure Pleasure) Love Calls (Pure Pleasure) Quick View

    $34.99
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    x

    Love Calls (Pure Pleasure)

    Think of 'Lockjaw' Davis and ten to one you think of Count Basie. Think of Paul Gonsalves and - same thing, you think of Duke Ellington. The top tenors, in other words, of the top big bands; musicians from the top league where the competition is toughest. Yet there is no battle here, no contest, no vying to outdo the other in terms of velocity.


    If you know these two men only by hearsay, you may have reservations about them as balladeers. They both have reputations for derring-do of a different kind. Davis has never hesitated to do battle with the most frenetic performers, with those who would stick at nothing to win, and lost - to him. And Gonsalves was the hero of one of the great nights in jazz history, when he blew twenty-seven romping, stomping choruses on Duke Ellington's Diminuendo And Crescendo In Blue at Newport 1956.


    It is easy for jazzmen to become typed, so that the public demands the repeated display of just one particular facet of his talent. This has happened to the two men showcased in this album, where the other side of their musical personalities is brought into focus. Although they have both developed highly individual styles, their original sources of inspiration were masters of the ballad - Ben Webster in Davis' case, Coleman Hawkins in that of Gonsalves.


    Their different approaches to the ballad make this recording consistently interesting and surprising. Both are soulful, both are rhapsodical. But Davis plays with clear, confident articulation, a buzz in his tone, and a bite in his phraseology. Generally he is the more driving and passionate of the two. The Gonsalves style is, on the other hand, sinuous, insinuating and less direct. His imaginative lyricism is more tender and often melancholy, his tone well-produced and finely rounded.


    The breathy sub-tone, which Gonsalves uses so well, adds a curiously confidential and intimate dimension. It is like the musical equivalent of a whispered aside or a delicate suggestion. But both men alternate very adroitly between the discreet and the bold. Their mutual understanding is, in fact, positively uncanny at times, for they had never previously recorded together, and preparation before the sessions was minimal. In the studio their long term professionalism stood them in good stead, as did that of their accompanists, whose taste and sensitivity contribute so much to the recording's appeal. Never obtrusive, they remain in close, listening support, Hanna and Barksdale being quick to prolong or emphasize the thoughts of the two soloists.


    Musicians:



    • Eddie 'Lockjaw' Harris, Paul Gonsalves (tenor saxophone)

    • Roland Hanna (piano)

    • Everett Barksdale (guitar)

    • Ben Tucker (bass)

    • Grady Tate (drums)



    Recording: 1967 at RCA Victor's Studio B, New York City, by Bernard Keville

    Production: Brad McCuen


    About Pure Pleasure



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



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



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



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



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



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

    1. Love Is Here To Stay
    2. When Sunny Gets Blue
    3. If I Ruled The World
    4. Time After Time
    5. Just Friends
    6. Don't Blame Me
    7. I Should Care
    8. The Man With The Horn
    9. We'll Be Together Again
    10. A Weaver Of Dreams
    11. If I Should Lose You
    Eddie Lockjaw Davis
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Art Tatum & Ben Webster Quartet (Out Of Stock) The Art Tatum & Ben Webster Quartet (Out Of Stock) Quick View

    $27.99
    x

    The Art Tatum & Ben Webster Quartet (Out Of Stock)

    Import


    Los Angeles, California, September 11, 1956

    1. All The Things You Are
    2. Gone With The Wind
    3. Have You Met Miss Jones?
    4. Night and Day
    5. Where or When
    6. My Ideal
    7. My One And Only
    Ben Webster & Art Tatum
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
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