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  • The Bill Evans Album (Speakers Corner) The Bill Evans Album (Speakers Corner) Quick View

    $34.99
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    The Bill Evans Album (Speakers Corner)

    The global corporation Columbia recorded and released only two LPs with pianist Bill Evans. A meagre result when one considers the numerous concerts that the new trio undertook between 1969 and 1974. Together with Eddie Gomez, a phenomenon on the bass, and drummer Marty Mortell, the three established a firm - and ever better - trio. Evans became interested in the possibilities offered by the Fender Rhodes piano and used it for the first time in The Bill Evans Album.


    The LP is remarkable in that only Evans's own compositions were recorded - three previously recorded pieces and four brand-new works. Of particular note is the melancholy Two Lonely People, Evans's musical interpretation of a poem by Carol Hall. Sugar Plum and T.T.T. were to remain in his repertoire right up until his very last recordings. Unusual but very commendable because it begins with an ad hoc introductory improvisation is the electric piano version of Evans's most well-known composition - Waltz For Debby.


    The excellent technical facilities at the Columbia Studio were used to the full by Bill Evans, even though they were only recording a small ensemble. And that is why the seven numbers sound far better than most of the trio's live recordings. And as Bill Evans once said, it was with this trio that he could fulfill his musical ambitions.

    Musicians:



    • Bill Evans (piano, electric piano

    • Eddie Gomez (bass)

    • Marty Morrell (drums)




    Recording: May and June 1971 at CBS 30th Street Studio, New York, by Pete Weiss

    Production: Helen Keane




    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.


    This title is not eligible for discount.

    1. Funkallero
    2. The Two Lonely People
    3. Sugar Plum
    4. Waltz For Debby
    5. T.T.T. (Twelve Tone Tune)
    6. Re: Person I Knew
    7. Comrade Conrad
    Bill Evans
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Undercurrent Undercurrent Quick View

    $24.99
    Buy Now
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    Undercurrent

    Undercurrent on Numbered Limited Edition LP from Mobile Fidelity Silver Label


    Introspective, Almost-Hallucinogenic 1962 Album a Pinnacle for Both Jazz Icons


    Guitarist Hall Aids Pianist Evans in Rebounding from Tragedy


    Diverse Set Encompasses Ballads, Waltzes, Hard-Swinging Bop


    Divine Sonics: LP Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI


    Bill Evans catapulted to the top of the jazz world in June 1961 after reeling off three straight masterpiece sessions at New York's Village Vanguard with his trio. Yet the emotional highs came to a screeching halt shortly thereafter when bassist Scott LaFaro died in a car accident. Devastated, Evans refrained from playing for nearly a year. If not for an inspirational collaboration of tremendous creative outpouring, one wonders what fate may have befallen Evans. Undercurrent, the outcome of two studio sessions with guitarist Jim Hall, is that project.


    Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this Silver Label LP edition bursts forth with brilliant textures, you-are-there realism, and extraordinary tonalities. No other version outside of this analog copy brings you face-to-face with these two jazz giants' sonic communion, a kind of spiritual musical summit on which Evans' deft keyboard touches and Hall's reliably subtle phrasings seamlessly mesh and wonderfully dance, the compositions streaked with natural instrumental decay, full-frequency extensions, and poignant emotionalism that, on this LP, you can feel.


    While Evans managed to sit down for a few one-off takes between LaFaro's passing and these April-May 1962 dates, he largely remained on hiatus and abstained from recording. Whether it owes to the intimate pairing, he and Hall's brotherly chemistry, or the exquisite selection of program material, the results consistently come across as the equivalent of a private meditation-such is the level of introspective depth and quietly shaded interplay throughout. For Evans, the duet clearly functions as therapy, a healing episode in which his partner patiently lays back, shadowing moves and suggesting others, neither musician interested in the spotlight but each striving for (and achieving) transcendent beauty.


    In tackling standards such as Rodgers and Hart's "My Funny Valentine" and the Broadway classic "Darn That Dream," as well as the Hall original "Romain," the pair traverses complex harmonies with the astute elegance of a figure skater. At times, Evans and Hall go for broke on a hard-swinging romps, yet it's their implied melancholy and drifting, softly struck melodic refrains on waltzes and ballads that bestows Undercurrent with a nuanced romanticism and whispered atmosphere befitting the record's title.


    Indeed, even the album's cover-an iconic photograph by Toni Frissell-exhibits the surreal, almost-hallucinogenic properties of the fare contained within.


    This title is not eligible for discount.

    1. My Funny Valentine
    2. I Hear a Rhapsody
    3. Dream Gypsy
    4. Romain
    5. Skating in Central Park
    6. Darn That Dream
    Bill Evans & Jim Hall
    $24.99
    Vinyl LP - Sealed Buy Now
  • Undercurrent (Pure Pleasure) Undercurrent (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    Undercurrent (Pure Pleasure)

    This is the first of two superb albums recorded by Bill Evans, and guitarist Jim Hall, and it was recorded over two sessions in April and May 1962. Arrangements simply for piano and guitar are rare in Jazz, and it is even more seldom that the results are truly inspiring and as musically worthwhile as in this case. It is usual for intuitive musical relationships to develop over a number of years, but here we find two musicians who clearly shared an immediate understanding.



    Both men are on absolute top form here - Bill Evans was on fire throughout the early and mid sixties, and after the tragic death of his previous musical partner, virtuoso bass player Scott Le Faro (at the age of 23), he was searching for new directions. Jim Hall is a guitarist of tremendous skill and powerful technique, with a highly developed rhythmic and harmonic sense that shines through on this album. What is so special about the performances here is an almost telepathic anticipation of where the music is heading - both musicians contribute equally, and there is a constant exchange of ideas, each reacting to the other with apparent ease, whatever the mood.



    This is a brilliant jazz album, of great depth and tremendous atmosphere, and both players express some exceptional ideas. Highly recommended.




    Musicians:



    • Bill Evans (piano)

    • Jim Hall (guitar)




    Recording: April & May 1962 at Sound Makers, New York, by Bill Schwartau



    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. My Funny Valentine
    2. I Hear A Rhapsody
    3. Dream Gypsy
    4. Romain
    5. Skating In Central Park
    6. Darn That Dream
    Bill Evans & Jim Hall
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • New Bottle Old Wine (Pure Pleasure) New Bottle Old Wine (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    New Bottle Old Wine (Pure Pleasure)

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



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



    Musicians:



    • Gil Evans (arranger, conductor, piano)

    • Cannonball Adderley (alto saxophone)

    • Ernie Royal (trumpet)

    • Phil Bodner (reeds)

    • Harvey Philips (tuba),

    • Bill Barber (tuba)

    • Chuck Wayne (guitar)

    • Paul Chambers (bass)

    • Art Blakey (drums)

    • Philly Joe Jones (drums)



    Recording: April and May 1958 in New York City

    Production: Gil Evans and George Avakian



    About Pure Pleasure



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



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



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



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



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



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


    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    1. St Louis Blues
    2. King Porter Stomp

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

    7. Manteca
    8. Bird Feathers
    Gil Evans
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Great Jazz Standards (Pure Pleasure) Great Jazz Standards (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Great Jazz Standards (Pure Pleasure)

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




    Musicians:



    • Budd Johnson (tenor saxophone, clarinet)

    • Steve Lacy (soprano saxophone)

    • Al Block (woodwinds)

    • Johnny Coles, Allen Smith (trumpet)

    • Jimmy Cleveland (trombone)

    • Bill Barber (tuba)

    • Gil Evans (piano)

    • Chuck Wayne (guitar)

    • Dick Carter (bass)

    • Elvin Jones (drums)



    Recording: February 1959

    Production: Richard Bock




    About Pure Pleasure



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



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



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



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



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



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



    This title is not eligible for discount.

    Gil Evans
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Aretha With The Ray Bryant Combo (Speakers Corner) Aretha With The Ray Bryant Combo (Speakers Corner) Quick View

    $37.99
    Buy Now
    x

    Aretha With The Ray Bryant Combo (Speakers Corner)

    As is well known, early relationships are not always blessed, and it is certainly no secret that the collaboration between Aretha Franklin and Columbia's record producer John H. Hammond did not last long. Hammond's later attempts to candy Franklin's irrepressible natural voice with sugary arrangements and studio gimmicks did not go down well with the public. On the first Franklin disc from Columbia, however, it was honeymoon all the way. With a successful mix of pop and jazz standards, the super talent - Aretha had just turned 18 years old - brought her vocal chords to vibrate. Fired on with youthful √Član, these evergreens sound so fresh, new and intoxicating that the question of their genre is quite irrelevant. From a seesawing R & B (Won't Be Long) via bell-like waves of melody (Over The Rainbow) right up to the freely styled, jazzy Gershwin classic It Ain't Necessarily So - everything is right there! The Ray Bryant Trio - augmented with winds - proves itself a formidable ensemble with true presence yet unobtrusive accompaniment. If you compare the mature performances of Aretha Franklin in her subsequent years with Atlantic, you will soon recognize that the later 'First Lady of Soul' was in full command of her profession right from the very beginning.


    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:

    Aretha Franklin(vocals, electric piano)

    Quentin Jackson, Tyree Glenn (trombone)

    Al Sears (tenor saxophone)

    Ray Bryant (piano)

    Lord Westbrook, Skeeter Best (guitar)

    Milt Hinton, Bill Lee (bass)

    Belton Evans, Sticks Evans, Osie Johnson (drums)


    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.


    This title is not eligible for discount.

    1. Won't Be Long
    2. Over The Rainbow
    3. Love Is The Only Thing

    4. Sweet Lover

    5. All Night Long

    6. Who Needs You?

    7. Right Now

    8. Are You Sure

    9. Maybe I'm A Fool

    10. It Ain't Necessarily So

    11. (Blue) By Myself

    12. Today I Sing The Blues
    Aretha Franklin
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sunday at The Village Vanguard (Out Of Stock) Sunday at The Village Vanguard (Out Of Stock) Quick View

    $99.99
    x

    Sunday at The Village Vanguard (Out Of Stock)


    Mastered from the Original Master Tapes With Mobile Fidelity's One-Step Process: Sunday at the Village Vanguard UD1S 45RPM Box Set the Ultimate Analog Version of Bill Evans' 1961 Jazz Staple


    Deluxe Packaging Includes Opulent Box, Special Jackets and Unique Bonus Artwork: No Expense Spared, Strictly Limited to 3000 Numbered Copies


    Gorgeous Romanticism, Seamless Chemistry, Group Interplay, and Symbiotic Trio Performances Forever Changed Jazz: Evans' Live Masterwork Boasts Brilliant Sound, Lyrical Pianism, Magical Feel


    The gorgeous romanticism of Bill Evans' Sunday at the Village Vanguard cannot be overstated. Neither can the iconic record's place in history - nor what it signifies to generations upon generations of listeners hypnotized by the consummate playing, resplendent compositions, and seamless chemistry. Originally released in1961, the live set remains the gold standard for symbiotic trio performance, empathy, and communication. Because of Orrin Keepnews' brilliant recording, it also survives as one of the best-sounding jazz albums extant - a fact confirmed by its appearance on multiple reissues over the past few decades. But it's never sounded better than this.


    Evans' masterwork reaches three-dimensional sonic and emotional heights never before attained by analog recordings on this opulent Mobile Fidelity UD1S box set complete with special jackets and a unique insert. Strictly numbered to 3000 copies, this ultra-hi-fi audiophile edition literally and figuratively brings you closer to the music of this Riverside staple that, along with the complementary Waltz for Debby, transformed Evans into a legend and became a blueprint for how jazz trios should work together. You'll enjoy deep-black backgrounds, pointillistic details, and staggering dynamics. Experienced via UD1S, Sunday at the Village Vanguard places Evans and his esteemed colleagues in your listening room. Every note, breath, and movement captured by the microphones are reproduced with exquisite accuracy and wowing clarity.


    The deluxe packaging and gorgeous presentation of this Sunday at the Village Vanguard pressing befit its extremely select status. Housed in an opulent box, this UD1S edition contains special jackets and unique bonus artwork that further illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this Sunday at the Village Vanguard is a curatorial artifact meant to be preserved, poured over, touched, and examined. It is made for discerning listeners that prize sound and creativity, and who desire to fully immerse themselves in the music - and everything involved with the album, from the graphics to the textures.


    Recorded just ten days before bassist Scott LaFaro perished in a car accident, Sunday at the Village Vanguard changed the way jazz trios were perceived by audiences and musicians alike. Up until Evans, LaFaro, and drummer Paul Motian proved otherwise, a trio configuration meant two sidemen served as rhythmic support to spotlight the virtuosity of a headline performer or primary soloist. Here, the three instrumentalists operate in complete unison and achieve supreme democratic balance. Expressing their intent via shared conversations, they alight on sublime pieces flush with thematic discovery, improvisational dialog, and raw feeling.


    A quest for discovery informs the music as well as the playing. Evans' lyrical pianism met at every turn by LaFaro's chorded responses and harmonic counterpoints. Indeed, Sunday at the Village Vanguard remains LaFaro's standout moment, his soloing helping shape the melodies and striking a keen equilibrium between modality and traditionalism. Joining poignant renditions of Miles Davis, Cole Porter, and Gershwin numbers, two LaFaro originals - Jade Visions and the opening Gloria's Step - further demonstrate his genius. They furnish the album a supernatural aura that matches the jovial mood of the musicians. It's impossible to think this album could be improved in any way. Particularly now that this UD1S pressing brings the Village Vanguard into your room. Prepare to witness history. Again and again.


    More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior:

    Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a convert. Delicate converts are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.


    This title is not eligible for discount.

    1. Gloria's Step
    2. My Man's Gone Now
    3. Solar
    4. Alice in Wonderland
    5. All of You
    6. Jade Visions
    Bill Evans Trio
    $99.99
    Vinyl LP UltraDisc One-Step 45 RPM Box Set - 2 LPs Sealed Temporarily out of stock
  • Kind Of Blue (Box Set) (Out Of Stock) Kind Of Blue (Box Set) (Out Of Stock) Quick View

    $59.99
    x

    Kind Of Blue (Box Set) (Out Of Stock)

    Ranked 12/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time


    Best-Selling Album in Jazz History Receives the Prestigious Mobile Fidelity Treatment: Mastered from the Original Master Tapes


    Mobile Fidelity 180 gram 45RPM 2LP Box Set is Definitive Analog Version and Intended to Be Passed on to Generations


    If There's a Stairway to Heaven, This is the Soundtrack: Epochal 1959 Record the Mt. Rushmore of Jazz Sessions


    Dream Team of Davis, Adderley, Coltrane, Evans, Kelly, Chambers, Cobb Make History


    How does one properly introduce an epochal record? Perhaps by unequivocally stating that it is the best-selling jazz album in history. Or by affirming that, every year, it sells tens of thousands of copies more than five decades after its original release. Theres also the matter of its status as the most-referenced, and arguably, most important, jazz recording of all-time. And the Dream Team lineup of Miles Davis, Cannonball Adderley, John Coltrane, Bill Evans, Wynton Kelly, Paul Chambers, and Jimmy Cobb. Yes, Kind of Blue is utterly inimitable.


    Part of Mobile Fidelity's Miles Davis catalog restoration series, the landmark has been given the ultimate white-gloves treatment. Half-speed mastered from the original master tapes, and pressed on 45RPM LPs at RTI, this sumptuous box set of the often-reissued album is a must for even fans that already possess multiple versions. Such is the illuminating transparency, reference dynamics, organic warmth, and instrumental detail exposed by the thoroughly scrupulous mastering process. If there's a stairway to heaven, this is the soundtrack.


    In its three-decade-plus history, Mobile Fidelity has never been prouder to have the honor of handling efforts as important as Davis key recordings. Its why the labels engineers took every available measure to transport listeners to the March and April 1959 sessions that parlayed modal jazz into mainstream language. The blueprint for melodic improvisation and vamping, Kind of Blue simplifies tonal organization and chordal progression into an eminently beautiful, introspective tapestry stitched with swinging poetry, mellifluous soloing, compositional lyricism, transcendental harmonies, and group interplay of the highest caliber.


    While no one has ever completely identified the magic behind the records allure the otherworldly nature is part of its inherent charm much of the success lies with the band members. Davis intentionally handpicked these musicians to comprise this particular cast, with everyone from former foil Evans to blues maestro Kelly to percussive genius Cobb interacting and reacting with peerless skill.


    An audiophile favorite from the day it was issued, Kind of Blue takes on nirvanic sonic proportions via Mobile Fidelitys reissue. The expressive warmth, imaging clarity, frequency extension, and window-on-the-world breadth afforded by this new edition places music lovers right in the studio with the sextet. Close your eyes and, no matter how many times you may have heard it before, your experience will parallel that of the players that recorded these gems. Everyone shares in the excitement of not knowing what will happen and, as the music begins to lie out in front of you, you'll feel as if you've been whisked away to a jazz holy land. Quintessential.



    This title is not eligible for discount.

    1. So What
    2. Freddie Freeloader
    3. Blue in Green
    4. All Blues
    5. Flamenco Sketches
    Miles Davis
    $59.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM Box Set - 2 LPs Sealed Temporarily out of stock
  • East Coasting (Pure Pleasure) (Out Of Stock) East Coasting (Pure Pleasure) (Out Of Stock) Quick View

    $34.99
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    East Coasting (Pure Pleasure) (Out Of Stock)

    Charles Mingus is usually known for his wild, soulful and avant-garde compositions. East Coasting is mellow by comparison, but it still cooks on a musical level. The Mingus touches are there; the trombone, drummer Danny Richmond and of course the dark emotional undercurrent looms large, too. The personnel are all Mingus regulars, except for pianist Bill Evans, who would not be described as 'soulful' in the traditional sense, but his introverted and sensitive style works well with Mingus's music. His playing on West Coast Ghost (the album's stand-out track) and Celia are two examples of Evans' ability to understand an artist's musical vision and play accordingly in his own beautifully original style.East Coasting sounds like the prototypical 1950s jazz recording. It's something one would hear in an attic converted to a bedroom where an artist or lonely soul might live. It's what a lot of people might believe Jazz would or should sound like. Highly recommended to Jazz lovers and perhaps more importantly to young people who have just been blown away by Kerouac's novel On The Road and have become interested in exploring Jazz. East Coasting will allow them to get a taste of lost creative America.



    Musicians:



    • Charles Mingus (bass)

    • Clarence Shaw (trumpet)

    • Jimmy Knepper (trombone)

    • Shafi Hadi (tenor saxophone, alto saxophone)

    • Bill Evans (piano)

    • Dannie Richmond (drums)




    Recording: August 1957 in New York City




    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. Memories Of You
    2. East Coasting
    3. West Coast Ghost
    4. Celia
    5. Conversation
    6. Fifty-First Street Blues
    Charles Mingus
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
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