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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!
- 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
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$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The TrioPressed On 180-Gram Vinyl
Oscar Peterson was a Canadian jazz pianist and composer. He was called the Maharaja of the keyboard by Duke Ellington, but simply O.P. by his friends. He released over 200 recordings, won eight Grammy Awards, and received numerous other awards and honors. He is considered one of the greatest jazz pianists and played thousands of concerts worldwide in a career lasting more than 60 years.
Peterson made numerous duo performances and recordings with bassists Ray Brown, Sam Jones, and Irving Ashby, Herb Ellis, and Barney Kessel, pianists Count Basie, Herbie Hancock, Benny Green, and Oliver Jones, trumpeters Clark Terry and Louis Armstrong, and many other important jazz players.
Peterson redefined the jazz trio by bringing the musicianship of all three members to the highest level. Together with Joe Pass (guitar) and Niels-Henning Ørsted Pedersen (bass), Oscar Peterson (piano) called the trio in his own words, 'the most stimulating' and productive setting for public performances as well as in studio recordings.
The Trio is a 1973 live recording at the London House in Chicago. Winner of the 1975 Grammy Award for Best Jazz Performance By A Group, this energetic live set is the highlight of all three storied careers.
In his Allmusic review, critic Scott Yanow complimented the playing of Pass and Pedersen but wrote the reason to acquire this set is for the remarkable Oscar Peterson. The pianist brilliantly investigates several jazz styles... Peterson really flourished during his years with Norman Granz's Pablo label, and this was one of his finest recordings of the period.1. Blues Etude
2. Chicago Blues
3. Easy Listening Blues
4. Come Sunday
5. Secret Love$37.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Back On the Scene (MONO) (Out Of Stock)You to can be Back on the Scene with Bennie Green accompanied by Charlie
Rouse on tenor sax, Louis Hayes on drums, Joe Knight on piano and George
Tucker on Bass. As part of the Classic Blue Note Signature LP reissue
Series, this title was cut on Classic's All Tube Mono cutting system from
the original full track Mono master tapes by Bernie Grundman, pressed on
Classic's exclusive 200g Super Vinyl Profile and packaged in an authentic
tip-on cover making this a must have. Tunes include: I Love You, Melba's
Mood,Just Friends, You're Mine You, Bennie Plays The Blues, and
1. I Love You
2. Melba's Mood
3. Just Friends
4. You're Mine You
5. Bennie Plays The Blues
6. Green Street$24.99200 Gram Audiophile Virgin Vinyl Mono LP - Sealed Temporarily out of stock
Live Evolution Lost (Out of Stock)Green, Blue, and Red Colored Vinyl Box Set
Live Evolution Lost: The 13th Floor Elevators Live at the Houston Music Theatre is the first ever release of the complete performance of the band's legendary show from 18th February 1967.
The trailblazing 13th Floor Elevators released the first "psychedelic" rock album in America, transforming culture throughout the 1960s and beyond. Formed in late 1965 in a small town in Texas by Electric Jug playing Tommy Hall, guitarist & vocalist Roky Erickson, guitarist Stacy Sutherland they were joined by bass player Benny Thurman, and drummer John Ike Walton; at a time where Baptist and Mormon preachers fought for the population's spiritual wellbeing, and Country & Western music filled the bars on a Saturday night. Out of these conflicting extremes, the Elevators were born and began making a name for themselves in the burgeoning music scene in Austin, Texas.
Though Roky Erickson was the frontman, the group's sound and philosophy were created by the unpredictable & impulsive Tommy Hall. The Elevators followed their own spiritual cosmic route searching for a new path to enlightenment whilst all the while creating a reputation for excess. The band developed a sound that merged garage-punk and psychedelic experimentation. Their music, from the beginning, played and created under the influence of LSD, was raw, ambitious and hugely experimental with Sutherland's pioneering use of reverb and echo, and bluesy, acid-drenched guitar mixed with Tommy Hall's innovative electric jug 'psychedelic rock' was conceived.
A three album edition, on green, blue and red heavyweight vinyl, which for the first time features the whole of the Elevators' historic gig on 18th February 1967 at the Houston Music Theatre. It catches the band with its classic line-up before the release of 'Easter Everywhere' and is the only known complete recording of an Elevators' gig, and the latest to survive. Mastered by Sonic Boom and put together by band expert Paul Drummond, it includes one reel unissued for over forty-five years.LP1
1. (I've Got) Levitation
2. Roller Coaster
3. Fire Engine
4. Reverberation (Doubt)
1. Don`t Fall Down
2. Tried To Hide
3. Splash 1
4. You`re Gonna Miss Me
5. Monkey Island
1. Kingdom Of Heaven
2. She Lives (In A Time Of Her Own)
3. Jam Intro
4. Jam 1 - Roll Over Blue Suede Blues Jam
1. Jam 2 - Backwards Evolution Jam
2. Jam 3 - Ed`s Esoteric Jazz Jam
1. Jam 4 - (It's All Over Now) Baby Blue Jam
2. Jam 5 - She Lives Jam
3. Jam 6
Screen Print$69.99Colored Vinyl LP Box Set - 3 LPs Sealed Temporarily out of stock