Authorized & Certified VPI Dealer

A World of Vinyl

Site Search
Menu Free shipping on domestic orders over $49.99! - We ship worldwide!
20% Off Vinyl - LP20
Home > Products for: '

Bill Evens

'
Results per page:
  • Undercurrent Undercurrent Quick View

    $24.99
    Buy Now
    x

    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
  • The Complete Village Vanguard Recordings, 1961 (Awaiting Repress) The Complete Village Vanguard Recordings, 1961 (Awaiting Repress) Quick View

    $99.99
    Buy Now
    x

    The Complete Village Vanguard Recordings, 1961 (Awaiting Repress)


    4 LP Box Set Pressed On 180 Gram Vinyl


    Includes 12 Page Booklet


    Ranked time after time as one of the best live jazz recording sessions in history, and yielding two of Evans' most classic albums (Waltz for Debby, Sunday
    at the Village Vanguard), The Complete Village Vanguard Recordings, 1961 represents the pinnacle of spontaneous musical communication: three men
    breathing as one on a tiny bandstand.


    This box set is the ultimate collectible item for any jazz fan. Pressed on 180-gram vinyl, this four-LP set comes with a 12-page booklet, complete with
    new liner notes by reissue producer Bill Belmont, as well as the original liner notes by the producer of the original recordings,Orrin Keepnews.
    Reproductions of session notes and photographer Steve Schapiro's proof sheets from the performances add vintage context to the packaging. Also
    included in the box is a stunning metallic and black poster of the famous cover - Evans, in profile, deep in concentration at his piano.


    Everything Bill Evans, Scott LaFaro, and Paul Motian had been working on for the previous 18 months led to this moment on June 25, 1961. The little-known pianist and his trio performed afternoon and evening sets that Sunday to a small audience that unknowingly sat through what would become a very
    famous - and final - set by the trio as a whole. The 25-year old LeFaro died tragically in a car accident just ten days later. The performances on these
    LPs demonstrate a new and more interactive approach to playing as a trio, one in which all instruments carry melodic responsibilities and function as
    equal voices. Contrapuntal dialogues take place between Evans's poetic piano and LaFaro's bass, with Motian's sustained riveted ride cymbal providing a
    carpet of stars. These recordings provide something of a sonic time capsule: sequenced in the original order of the five sets; the audience's murmurings
    and applause peppered throughout; even an interrupted take is left intact.


    This box set is the definitive keepsake for audiophiles, Bill Evans fans and jazz collectors, alike, and, in its limited run, will go quickly.

    LP 1
    1. Spoken Introduction
    2. Gloria's Step (Take 1, Interrupted)
    3. Alice In Wonderland (Take 1)
    4. My Foolish Heart
    5. All Of You (Take 1)
    6. Announcement And Intermission


    LP 2
    1. My Romance (Take 1)
    2. Some Other Time
    3. Solar
    4. Gloria's Step (Take 2)
    5. My Man's Gone Now
    6. All Of You (Take 2)


    LP 3
    1. Detour Ahead (Take 1)
    2. Discussing Repertoire
    3. Waltz For Debby (Take 1)
    4. Alice In Wonderland (Take 2)
    5. Porgy (I Loves You, Porgy)
    6. My Romance (Take 2)
    7. Milestones


    LP 4
    1. Detour Ahead (take 2)
    2. Gloria's Step (Take 3)
    3. Waltz For Debby (Take 2)
    4. All Of You (Take 3)
    5. Jade Visions (Take 1)
    6. Jade Visions (Take 2)
    7. ...A Few Final Bars

    Bill Evans Trio
    $99.99
    180 Gram Audiophile Virgin Vinyl LP Box Set - 4 LPs Sealed AWAITING REPRESS Buy Now
  • Kill Bill Volume 2 Soundtrack Kill Bill Volume 2 Soundtrack Quick View

    $34.99
    Buy Now
    x

    Kill Bill Volume 2 Soundtrack

    One of the great pleasures of a Quentin Tarantino soundtrack is knowing that it won't be a standard modern-day soundtrack, filled with filler and acts that the label is trying to break. Instead, it will consist of music that even hardcore record collectors will find unusual or at least ripe for revival. The soundtrack to the first volume of his revenge epic Kill Bill blended those two inclinations, but the soundtrack to the second film is almost nothing but unusual music. Some names are familiar, but the music isn't -- there are three selections from Ennio Morricone, rockabilly cult hero Charlie Feathers makes his second Kill Bill appearance, Johnny Cash's latter-day A Satisfied Man is here, and Malcolm McLaren's About Her is a clever trip-hop spin on the Zombies' She's Not There. The rest is devoted to music that sounds like the soundtrack to a Mexican spaghetti Western, which really isn't all that far off from what large parts of Kill Bill, Vol. 2 actually is. This makes for a unified soundtrack album, but one that lacks the immediate impact of Kill Bill, Vol. 1, since nothing is as gripping upon the first listen as the haunting Twisted Nerve, the mesmerizing funk of Battle Without Honor or Humility, or the crazed intensity of the 5.6.7.8's' version of Woo Hoo. That said, it is cinematic, unpredictable, and absorbing, gaining resonance after a viewing of the film, as all good soundtracks do; it only pales in comparison to its predecessor, which was good not just as a soundtrack, but as an album of its own account.

    -All Music Guide
    1. A Few Words from the Bride - Uma Thurman
    2. Goodnight Moon - Shivaree
    3. Il Tramonto - Ennio Morricone
    4. Can't Hardly Stand It - Charlie Feathers
    5. Tu Mira - Lole Y Manuel
    6. Summertime Killer - Luis Bacalov
    7. The Chase - Philip Brigham / Alan Reeves / Phil Steele
    8. The Legend of Pai Mei - David Carradine / Uma Thurman
    9. L'Arena - Ennio Morricone
    10. A Satisfied Mind - Johnny Cash
    11. A Silhouette of Doom - Ennio Morricone
    12. About Her - Malcolm McLaren
    13. Truly Utterly Bill - David Carradine / Uma Thurman
    14. Malaguena Salerosa - Chingón
    15. Urami Bushi - Meiko Kaji
    Various Artists
    $34.99
    Vinyl LP - Sealed Buy Now
  • Kill Bill Vol. 2 Soundtrack Kill Bill Vol. 2 Soundtrack Quick View

    $18.99
    Buy Now
    x

    Kill Bill Vol. 2 Soundtrack

    One of the great pleasures of a Quentin Tarantino soundtrack is knowing that it won't be a standard modern-day soundtrack, filled with filler and acts that the label is trying to break. Instead, it will consist of music that even hardcore record collectors will find unusual or at least ripe for revival. The soundtrack to the first volume of his revenge epic Kill Bill blended those two inclinations, but the soundtrack to the second film is almost nothing but unusual music. Some names are familiar, but the music isn't -- there are three selections from Ennio Morricone, rockabilly cult hero Charlie Feathers makes his second Kill Bill appearance, Johnny Cash's latter-day A Satisfied Man is here, and Malcolm McLaren's About Her is a clever trip-hop spin on the Zombies' She's Not There. The rest is devoted to music that sounds like the soundtrack to a Mexican spaghetti Western, which really isn't all that far off from what large parts of Kill Bill, Vol. 2 actually is. This makes for a unified soundtrack album, but one that lacks the immediate impact of Kill Bill, Vol. 1, since nothing is as gripping upon the first listen as the haunting Twisted Nerve, the mesmerizing funk of Battle Without Honor or Humility, or the crazed intensity of the 5.6.7.8's' version of Woo Hoo. That said, it is cinematic, unpredictable, and absorbing, gaining resonance after a viewing of the film, as all good soundtracks do; it only pales in comparison to its predecessor, which was good not just as a soundtrack, but as an album of its own account.

    -All Music Guide
    1. A Few Words from the Bride - Uma Thurman
    2. Goodnight Moon - Shivaree
    3. Il Tramonto - Ennio Morricone
    4. Can't Hardly Stand It - Charlie Feathers
    5. Tu Mira - Lole Y Manuel
    6. Summertime Killer - Luis Bacalov
    7. The Chase - Philip Brigham / Alan Reeves / Phil Steele
    8. The Legend of Pai Mei - David Carradine / Uma Thurman
    9. L'Arena - Ennio Morricone
    10. A Satisfied Mind - Johnny Cash
    11. A Silhouette of Doom - Ennio Morricone
    12. About Her - Malcolm McLaren
    13. Truly Utterly Bill - David Carradine / Uma Thurman
    14. Malaguena Salerosa - Chingón
    15. Urami Bushi - Meiko Kaji
    Various Artists
    $18.99
    Vinyl LP - Sealed Buy Now
  • The Bill Evans Album (Speakers Corner) The Bill Evans Album (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    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.


    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
  • And His Mother Called Him Bill (Speakers Corner) And His Mother Called Him Bill (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    And His Mother Called Him Bill (Speakers Corner)

    When Billy Strayhorn died of cancer in 1967, Duke Ellington was devastated. His closest friend and arranger had left his life full of music and memories. As a tribute, Ellington and his orchestra almost immediately began recording a tribute to Strayhorn, using the late arranger's own compositions.



    The album features well-known and previously unrecorded Strayhorn tunes that showcase his range, versatility, and, above all, the quality that Ellington admired him most for: his sensitivity to all of the timbral, tonal, and color possibilities an orchestra could bring to a piece of music.



    Full of informality and soulful verve, these recordings feel like they are an afterthought, an unwillingness to completely let go, a eulogy whose final words are questions, elegantly stated and met with only the echo of their last vibrations ringing in an empty room, full of wondering, longing, and helplessness, but above all the point of the questions themselves: "Is this enough?" or "Can there ever be enough to pay an adequate tribute to this man?"
    They are interesting questions, because only five years later we would all be saying the same thing about Ellington. For a man who issued well over 300 albums, this set is among his most profoundly felt and very finest recorded moments.






    Musicians:



    • Duke Ellington (piano)

    • Cat Anderson, Mercer Ellington (trumpet)

    • Clark Terry (fluegel horn)

    • Lawrence Brown, Chuck Connors (trombone)

    • Johnny Hodges (alto saxophone)

    • Russell Procope (alto saxophone, clarinet)

    • Jimmy Hamilton (tenor saxophone, clarinet)

    • Paul Gonsalves (tenor saxophone)

    • Aaron Bell (bass)

    • Steve Little (drums)




    Recording: August and September 1967 in RCA Victor's Studio A, New York City, by Ed Begley

    Production: Brad McCuen





    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.



    and that the lacquer discs are newly cut.


    1. Boo-Dah
    2. U.M.M.G. (Upper Manhattan Medical Group)
    3. Blood Count 9

    4. Smada
    5. Rock Skippin' at the Blue Note

    6. Rain Check
    7. Midriff
    8. My Little Brown Book
    9. Lotus Blossom
    10. Snibor
    11. After All
    12. All Day Long
    13. Lotus Blossom
    14. Day Dream
    15. The Intimacy of the Blues
    16. Charpoy
    Duke Ellington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Wild Bill Davis And Johnny Hodges In Atlantic City (Speakers Corner) Wild Bill Davis And Johnny Hodges In Atlantic City (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Wild Bill Davis And Johnny Hodges In Atlantic City (Speakers Corner)

    In the Sixties, the two befriended musicians Wild Bill Davis and Johnny Hodges often met up for jam sessions, at galas with Duke Ellington, and in various studios to make recordings for several record companies. However, their live concerts in Grace's Little Belmont in Atlantic City in 1966 were the declared highlights for critics, the public and musicians alike. This is not only proved by the masses of people who swarmed to the club, which was always jam-packed, it is also reflected in the sales figures of their recordings.



    On the present recording, the listener is offered a first-class programme of own compositions, Duke Ellington hits, and head arrangements. Good Queen Bess and Rockville are quite exceptional, and the other titles are hardly less enthralling. The rhythm group is hotter than hot with Lionel Hampton's Bobby Durham on the drums, and the two grand old men of swing really let themselves go. The trombonist Lawrence Brown, musical buddy from the Duke Ellington Orchestra, grooves in the background and we can be happy (thanks to the producer Rad McCuen!) that we can still thoroughly enjoy this great disc almost 50 years later.



    Recording: August 1966 live at Grace's Little Belmont, Atlantic City (USA), by Ed Begley

    Production: Brad McCuen



    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. It's Only A Paper Moon
    2. Taffy
    3. Good Queen Bess
    4. L B Blues
    5. In A Mellotone
    6. Rockville
    7. I'll Always Love You
    8. It Don't Mean A Thing (If It Ain't Got That Swing)
    9. Belle Of The Bellmount
    Wild Bill Davis & Johnny Hodges
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • On A Monday Evening On A Monday Evening Quick View

    $29.99
    Buy Now
    x

    On A Monday Evening

    Live At Madison, Wisconsin's Union Theater On Monday, November 15, 1976


    Liner Notes By Grammy Award-winning Jazz Historian Ashley Kahn


    On A Monday Evening offers jazz fans a rare treat: an unreleased (and never bootlegged!) concert recording of The Bill Evans Trio, featuring Eddie Gomez and Eliot Zigmund. Captured live at Madison, Wisconsin's Union Theater on Monday, November 15, 1976, this recording finds Evans at the top of his game, performing both contemporary compositions from that era, as well as his longstanding signature tunes to a packed house. New liner notes by GRAMMY Award-winning jazz historian Ashley Kahn round out the package, featuring commentary by Eddie Gomez and Eliot Zigmund.

    1. Sugar Plum
    2. Up With The Lark
    3. Time Remembered
    4. T.T.T. (Twelve Tone Tune)
    5. Someday My Prince Will Come
    6. Minha (All Mine)
    7. All of You
    8. Some Other Time
    Bill Evans Trio
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Tony Bennett/Bill Evans Album The Tony Bennett/Bill Evans Album Quick View

    $21.99
    Buy Now
    x

    The Tony Bennett/Bill Evans Album

    One of the best albums of either's career, The Tony Bennett / Bill Evans Album spotlights two legends at work in equal partnership, tackling classics from
    the Great American Songbook with masterful ease. A consistently enthusiastic and balanced musical partnership, Bennett and Evans shine both
    individually and in tandem-Evans supporting Bennett with his steady left hand and then frequently diving into melodically inventive solos at the end of the
    phrase. Recorded in intimate sessions at Fantasy Studios in Berkeley, CA, without even a bassist or drummer present, this album is the product of
    meticulous personal involvement by the two giants of their genres. Bennett and Evans selected the tunes, worked out the arrangements semi-spontaneously, and picked the final takes to be used. The result was a perfect jazz/pop crossover worthy of many repeat listens. A must-have on vinyl for
    any serious fan of either of these two greats.
    1. Young And Foolish
    2. The Touch Of Your Lips
    3. Some Other Time
    4. When In Rome
    5. We'll Be Together Again
    6. My Foolish Heart
    7. Waltz For Debby
    8. But Beautiful
    9. Days Of Wine And Roses
    Tony Bennett & Bill Evans
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • Just As I Am Just As I Am Quick View

    $34.99
    Buy Now
    x

    Just As I Am

    Import

    In a career laden with highlights and hallmarks in the annals of soul history, 'Just As I Am' is rather overlooked as one of the best soul debuts ever issued. Beautifully remastered, 'Just as I Am' is presented to a new generation of listeners who may have missed out the first time.


    With this remastering comes an intimacy, warmth, and immediacy to the recordings that was only hinted at with previous versions; it's almost as if Withers is in a living room singing to a small group of people, rather than making a record.

    Of course, the instantly recognizable anthem Ain't No Sunshine gets all of the acclaim it so richly deserves, but also in tracks like Harlem, Grandma's Hands and Better Off Dead you can hear the intensity and maturity of Bill's performances.
    Even when he's doing covers, Withers makes them sound as if they are his own compositions.


    Give this classic record a spin, and get ready to be submersed in the Soul of one of the true masters of the genre!

    1. Harlem
    2. Ain't No Sunshine

    3. Grandma's Hands
    4. Sweet Wanomi
    5. Everybody's Talkin'
    6. Do It Good
    7. Hope She'll Be Happier
    8. Let It Be
    9. I'm Her Daddy
    10. In My Heart
    11. Moanin' And Groanin'
    12. Better Off Dead
    Bill Withers
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Money Talks  (Awaiting Repress) Money Talks (Awaiting Repress) Quick View

    $19.99
    Buy Now
    x

    Money Talks (Awaiting Repress)

    Alongside other pioneering crossover acts like New York's S.O.D., Texas' D.R.I., and fellow Californians Suicidal Tendencies, Santa Monica's Cryptic Slaughter was influenced in equal parts by the lessons of political punk rock and no-holds-barred thrash metal. On its 1986 debut, Convicted, the quartet had opened a significant door, pushing hardcore into realms of sheer speed and furious hatred it had only flirted with in the past. So how in hell were they supposed to top this unbelievably crude but crucial document? Well, longtime fans will always bicker over favorites, but there seems to exist a split decision between that landmark first effort and its worthy successor, 1987's Money Talks. Defenders of the latter will probably tell you that Money Talks, with its cleaner production, more piercing lyrics, and varied tempos, struck the perfect balance between Convicted's innocent primitivism and the excessive refinement of third opus Stream of Consciousness. But the truth is that these differences seem both minimal and trivial after all these years; let's drop the subject and let the music do the talking. On Money Talks, Cryptic Slaughter's self-mandated crusade against the system begins with the album's Reagan-bashing cover artwork. From there on out, standout tracks like the title track, Wake Up, Freedom of Expression?, and All Wrong pack just as much power and intensity, if not outright insanity, as earlier Cryptic Slaughter favorites. One department they'd definitely improved in was Bill Crooks' lyrics, which proved even more intelligent and incisive this time around without sacrificing any of the brute conviction in his delivery. Simply put, with its tightly wound construction highlighting the nervous tension between punk and metal at euphoric new levels, Money Talks remains a peerless example of '80s hardcore.


    - Eduardo Rivadavia (All Music Guide)

    1. Money Talks
    2. Set Your Own Pace
    3. Could Be Worse
    4. Wake Up
    5. Freedom of Expression?
    6. Menace to Mankind
    7. Too Much, Too Little
    8. Human Contrast
    9. Tables are Turned
    10. Positively
    11. All Wrong
    12. American Heroes
    Cryptic Slaughter
    $19.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Broke Til Midnight Broke Til Midnight Quick View

    $19.99
    Buy Now
    x

    Broke Til Midnight

    East coast-to-LA transplants Roll The Tanks have signed to Epitaph and will release release their hook-laden debut album Broke Til Midnight in 2014.


    Broke Til Midnight hits right in the gut upon first listen. A record that leaves no room for uncertainty in 13-tracks that beg listeners to hit repeat and enjoy the ride. It helps that band members Danny Carney (vocals/guitar), Aaron Stuart (guitar/ vocals), Mike Wakeman (bass/vocals), and Joe Sirois (drums) are fans of enduring songsmiths Tom Petty & The Heartbreakers, The Pixies, and The Clash from where they draw inspiration to carry on the torch. "We're going to make records because that's what we want to do - make records," says Carney. "No clunkers, no fillers. Records where you almost die making them." Though the band didn't die while making the album, they did have to wait until 12 AM for when their paychecks cleared at the bank in order to pay their bar tabs; hence the album title Broke Til Midnight.


    Epitaph Label CEO and Bad Religion guitarist/songwriter Brett Gurewitz shares his thoughts on the signing:


    "Roll The Tanks write the kind of songs that make you want to be a songwriter. The kind of inspiring rock n roll songwriting that made me want to devote myself to this crazy life in the first place. They bring to mind Strummer, Pixies, Petty, The Kinks but not because that's what they sound like, rather because they're cut from the same cloth. These guys are a great band, I can't wait for people to hear them."


    An unpretentious, classic rock inspired "band's band," Roll The Tanks are primed and ready to carry the torch for energetic, solid rock music. They know the value of a dollar from grinding their days away waiting tables, driving trucks, and working as carpenters to pay the bills so they can dedicate their evenings (and as much time as they can put into the stage and the road) to honing their already formidable songwriting chops. Music is their passion. And as their name implies, they are prepared to flatten all obstacles.

    1. 24th & Buckets
    2. Broke Til Midnight
    3. Toeing The Line
    4. Waiting on a Storm
    5. Goddnight Jimmy Lee
    6. Computer Money
    7. Record Players
    8. Hornet
    9. Lock Your Daughters Up
    10. Assumption Army
    11. Insufficient Funds
    12. My Soapbox
    13. Pistolero
    Roll The Tanks
    $19.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Concert of the Century - A Tribute to Charlie Parker Concert of the Century - A Tribute to Charlie Parker Quick View

    $26.99
    Buy Now
    x

    Concert of the Century - A Tribute to Charlie Parker


    First Time Available On Wide Release Vinyl


    Pristinely Restored 1980 Live Recording


    6 Of The Greatest Jazz Legends In Their Prime


    180 Gram Audiophile 2LP Vinyl With Gatefold


    On a cold November evening in 1980, 3000 jazz fans filled the Salle Wilfrid Pelletier Hall of Place des Arts
    in Montreal, Quebec to attend what promised to be, a swinging evening featuring six of the biggest names
    in bebop. Billed The Concert of the Century - A Tribute to Charlie Parker, and under the direction of
    Dizzy Gillespie - one of the best jazz trumpeters of all time - the event featured legendary performers:
    Hank Jones - piano, Ray Brown - bass, Milt Jackson - vibes, Philly Joe Jones - drums and James Moody
    on tenor sax and flute. Local club owner Roue Doudou Boicel, who produced the concert, had the foresight
    to record the concert in its entirety. A limited quantity bootleg LP of the concert soon appeared and then
    disappeared from the marketplace, those tapes lay dormant for over 30 years.


    This historic recording opens with rapturous applause that sets the tone with Dizzy's own "Blues 'N' Boogie.
    "Also featured are several classic standards - some more well known then others - including "Darben The
    Redd Foxx," "Time On My Hands," "Get Happy," "The Shadow Of Your Smile" and "Stardust." All the players are
    at the top of their game and having a blast, as evidenced by the banter and repartee between songs.


    Concert of the Century, pristinely restored and remastered, features two tracks that weren't on the original
    pressing from the early '80s - Ralph Rainger's "If I Should Lose You" and an incredible eight minute bass
    solo by Ray Brown.

    LP 1
    1. Blue 'n' Boogie
    2. If I Should Lose You
    3. Darben the Redd Foxx
    4. Time On My Hands


    LP 2
    1. Get Happy
    2. The Shadow of Your Smile
    3. Bass Solo/Manhã de Carnaval/Work Song (featuring Ray Brown)
    4. Stardust

    Dizzy Gillespie
    $26.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Babel Babel Quick View

    $16.99
    Buy Now
    x

    Babel


    Babel follows the 2009 release of Mumford & Sons' debut album, Sigh No More. It is produced by Markus Dravs.


    Fantastic 4 Star review from American Songwriter!



    There are some guitar sounds so indelibly stuck into our collective pop-consciousness that even those who can't tell a minor from a major chord can identify the band or player from just a few riffs -a dreamy John Lennon lick, the cosmic climb of Joe Perry, Slash's slash, Nirvana's fuzzy-barre rips, the post-punk fury of Sonic Youth. Now, the chugging, kinetic strum of Mumford & Sons is slowly creeping onto this revered list - not born out of extreme skill or virtuosity but by sheer branding, note for note. And it's how the band's second album, Babel, opens on the title track: with that same very strum, born somewhere between English mountain folk and an old time Appalachia. You can nearly hear the sweat flying off Marcus Mumford, his Martin instrument hiked high on his chest, every time he and banjo player Winston Marshall attack their strings.

    So it's no coincidence, it seems, that the band's highly anticipated sophomore record begins exactly where we might expect, and the rest of LP that follows proves that this isn't an attempt to smash any expectations with a sudden progression of their style. For those devotees looking for the Mumfords to evolve drastically, well, you're out of luck. But who would that audience be, anyway? The band is no doubt polarizing: old time and bluegrass faithfuls wouldn't be caught dead with a copy of Sigh No More, and their most ardent followers are more likely to have an iPod stocked with Coldplay and John Mayer than Bill Monroe or Doc Watson. Even pop addicts can't deny the catchy craft of "Little Lion Man" or "The Cave." No one is looking for their Kid A. Thus Babel's not a new sentence in the book of Mumford & Sons - it's what happens after an ellipses. And in many ways, that suits them just fine. It will most definitely suit their fans.


    Marcus Mumford has always been a bit of a melancholy fellow, and even a marriage to pixie-haired starlet Carey Mulligan, sold-out shows and Grammy nominations haven't shaken the teary introspection from this set of songs. Obviously, Babel deals in a lot of religious imagery and lyrics - with all the success and opportunities to indulge, it seems the boys have taken a moment to ask a few questions of their maker. "This cup of yours tastes holy/but a brush with the devil can clear your mind," Mumford sings on the second track "Whispers in the Dark." It's an anthem call with a firm statement: "I'm a cad but I'm not a I'm not a fraud / I set out to serve the lord." Maybe the trials and tribulations of being simultaneously loved and harangued have worn on the Mumford's, but at least they can prove to themselves, their audience or even their lord that this stuff comes from the heart.


    The album's single, "I Will Wait," is an easy crowd-pleaser moment with an arena-ready hushed chorus, set to those furious strings. The lyric and melody could easily be a Fray song if you removed the plucking banjo -and that's the amazing thing about Mumford & Sons. Purists aside, there's no one else that can get an audience from ages eight to eighty screaming along to a bunch of acoustic instruments or urge a kid to choose guitar lessons over computer games. Every time they perform - live or on Babel - they do it with sheer fervor, as if it's both their first and last time.


    While the band is mostly known for their "Americana" sound, they also pull references from their side of the pond: from both classic British countryside folk and Celtic punk bands like The Pogues. Those influences run a little more clear on Babel - "Ghosts That We Knew" and "Reminder" are both soft, melancholy stunners born out of grassy hills and cockney-tinged tales told in wood-paneled bars. And "Broken Crown" is the boys at their angriest yet: "I'll never be your chosen one," Mumford sings lightly before launching into an all-out war over minstrel plucks. It's a force of a song, and not your firmest pick nor hard-earned callous could weather that storm.


    Babel has some other unexpected moments, too, like on "Hopeless Wanderer," which begins with keys instead of strum, and "Lover of the Light" is a sunnier moment, perhaps a nod to the singer's recent vows ("to have and to hold," Mumford howls on the track). And the album's closer, "Not Without Haste," is a beautiful lullaby meant more for singing a restless man to sleep than a still-innocent child.


    There's also a continuation of the Mumford's love of literary references, with the boys even copping recently to ripping a line from Hilary Mantel's Wolf Hall - this is the band, after all, that was able to loop Macbeth's fateful cry of "stars, hide your fires" into their rollicking song "Roll Away Your Stone." So while the album title, Babel, is most likely a biblical reference, it's hard not to think of Jorge Louis Borges' short story, The Library of Babel. In it Borges imagines a universe composed of an endless library that contains every book in every possible permutation, and, therefore, nothing at all. This excess causes great despair for people of the library as they try to search for meaning in all of it. They fret. They come up empty.


    Babel may not hold all the answers, and it may not be some exotic transformation of their original formula - it's a safe bet to say that nothing from the Mumford & Sons may ever be. In The Library of Babel, the final realization that everything repeats itself is the universe's saving grace. And in Babel, you could say the same. Though there may not be endless possibilities, there's comfort - elegance, even - in that familiar, now nearly iconic rip of those strings, strummed in the way only those boys from West London can strum. It's not perfect, but it's perfectly Mumford & Sons.


    1. Babel
    2. Whispers In The Dark
    3. I Will Wait
    4. Holland Road
    5. Ghosts That We Knew
    6. Lover Of The Light
    7. Lovers' Eyes
    8. Reminder
    9. Hopeless Wanderer
    10. Broken Crown
    11. Below My Feet
    12. Not With Haste
    Mumford And Sons
    $16.99
    Vinyl LP - Sealed Buy Now
  • Menagerie Menagerie Quick View

    $34.99
    Buy Now
    x

    Menagerie

    Import

    Bill Withers has been making a comeback since the release of the documentary Still Bill, but there are many who would argue that, although he hasn't recorded an album since 1985, he never really left. His musical legacy has found a place in our hearts and settled into our subconscious, none more so than Menagerie's opening track "Lovely Day". Every song as smooth as the next, this upbeat album is perfect for the summer to come. There's a relaxed vibe running through every note - even in the more up-tempo songs - and a consistency here that shows Bill at his best. Now's the perfect time to add this certified gold record that hasn't been reissued on vinyl since 1978 to your ever-growing Bill Withers collection!

    1. Lovely Day
    2. I Want To Spend The Night
    3. Lovely Night For Dancing
    4. Then You Smile At Me
    5. She Wants To (Get On Down)
    6. It Ain't Because Of Me Baby
    7. Tender Things
    8. Wintertime
    9. Let Me Be The One You Need
    Bill Withers
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • You Must Believe In Spring You Must Believe In Spring Quick View

    $34.99
    Buy Now
    x

    You Must Believe In Spring

    Import

    You Must Believe In Spring is an album by jazz pianist Bill Evans recorded in August 1977. This well-rounded set features the highly influential pianist Bill Evans in a set of typically sensitive trio performances. With his longtime bassist Eddie Gomez and his drummer of the period, Eliot Zigmund, Evans explores such songs as We Will Meet Again, Jimmy Rowles's classic The Peacocks and the Theme from M*A*S*H. It's a solid example of the great pianist's artistry.


    In Evans' hands, melodies and time signatures are often more whispered, more shadowed, than stated, as in the opening B Minor Waltz (For Ellaine) and the somber, reflective title track, which blossoms, after Gomez' mid-song solo. Evans boasted such a unique, unmistakable touch-emotional and beautiful and even soft, but never sweet. As a rule, Evans could pick up the program from an elementary school chorus festival and play it inventively and beautifully. This set is no exception.

    1. B Minor Waltz (For Ellaine)
    2. You Must Believe In Spring
    3. Gary's Theme
    4. We Will Meet Again (For Harry)
    5. The Peacocks
    6. Sometime Ago
    7. Theme From M*A*S*H
    Bill Evans
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Naked & Warm Naked & Warm Quick View

    $37.99
    Buy Now
    x

    Naked & Warm

    Import

    Bill Withers is an American singer-songwriter and musician who performed from 1970 until 1985. He recorded several major hits, including Lean on Me, Ain't No Sunshine, Use Me, Just the Two of Us, Lovely Day, and Grandma's Hands. Withers won three Grammy Awards and was nominated for four more. His life was the subject of the 2009 documentary film Still Bill. He was inducted into the Rock and Roll Hall of Fame in 2015.


    Naked & Warm is his fifth studio album and is even funkier than his debut. Here Withers returns to the simple ways of his past, working five or six musicians for the kind of hard groove that doesn't have many parallels in black music these days, says music journalist Robert Christgau.


    Musicians include Larry Fatback Tolbert on drums, Dorothy Ashby (harp), Melvin Dunlap (bass) Benorce Blackmon (guitar) and Jerry Knight (bass).


    Naked & Warm is laid back and smooth; a classic Withers album.

    1. Close To Me
    2. Naked & Warm
    3. (Heaven! Oh! Heaven!)
    4. Where You Are
    5. Dreams
    6. If I Didn't Mean You Well
    7. I'll Be With You
    8. City Of The Angels
    9. My Imagination
    Bill Withers
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • If... If... Quick View

    $19.99
    Buy Now
    x

    If...

    If is the debut solo album from Bill Ryder-Jones. Written as a tribute to Italian avant-garde author Italo Calvinos postmodern novel If On A Winters Night A Traveller, If is mapped out as soundtrack inspired by the book. Grand orchestral movements sit side by side with stark, nakedly emotional vocal pieces that weave a a bleak but beautifully moving and always visceral narrative.


    The album was recorded in various locations around Ryder-Jones hometown of Liverpool, including a Scandinavian Church, the Grade II listed warehouse Elevator Studios and his mothers house. Musicians, friends, parents and even the Liverpool Philharmonic Orchestra pulled together in order for If to become a reality. The Liverpool Philharmonic joined Ryder-Jones at the friary in Everton Valley for the instrumental tracks, of which there are five out of the ten on the record.


    Taking its cue from Abel Korzeniowskis off-kilter soundtrack for Tom Fords acclaimed film A Single Man, Ifs influences are eclectic and diverse, from modern cinema composers like Michael Galasso (Seraphine) and Clint Mansell (The Wrestler, Black Swan) to psychedelic sorcerer Syd Barrett, Nick Cave and nineties Welsh indie-psych disciples Gorkys Zygotic Mynci.

    1. If...
    2. The Reader (Malbork)
    3. Leaning (Star Of Sweden)
    4. By The Church Of Apollonia
    5. Le Grand Desorde
    6. Enlace
    7. Intersect
    8. The Flowers #3 (Lotus)
    9. Give Me A Name
    10. Some Absolute End (The End)
    Bill Ryder-Jones
    $19.99
    Vinyl LP - Sealed Buy Now
  • Just As I Am (Speakers Corner) (Awaiting Repress) Just As I Am (Speakers Corner) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Just As I Am (Speakers Corner) (Awaiting Repress)

    Just As I Am - anyone who sets off on a late career can already have earned himself quite a reputation, although in the case of Bill Withers it had had nothing to do with music at this stage. Withers served for many years with the US Navy, had a job as a milkman, and installed toilets in jets for American aeroplane construction companies; all the while he bombarded record companies with self-produced demo tapes which landed in the dustbin. In 1971 came his breakthrough when the successful producer Booker T. Jones hauled him on board and sent him into the recording studio with guitarist Stephen Stills, drummer Al Jackson and bass player Donald 'Duck' Dunn.



    In his debut album Withers demonstrates his universal, mature competence as a singer, composer and performer, which was hardly surpassed in his later recordings. Harlem, an unadorned milieu-funk number about the New York slums, Grandma's Hands, with its obligatory retrospect of his childhood, and the sentimental ballad Ain't No Sunshine with its prayer-wheel-like »I know, I know ...«, repeated over and over again on the offbeat, are the musical credo of a experienced artist in his mid-thirties who at last is given a hearing. There's simply no alternative to this recording by the great songwriter with the small repertoire.



    Musicians:



    • Bill Withers (vocal, guitar)

    • Booker T. Jones (arranger, organ, guitar)

    • Steven Stills (guitar)

    • Donald Duck Dunn, Chris Ethridge (bass)

    • Al Jackson, Jim Keltner (drums)

    • Bobbie Hall Porter (percussion)




    Recording: 1971 at Sunset Sound Recorders by Bill Lazerus and at Wally Heider Recording Studio by Bill Halverson, both Hollywood, Ca.

    Production: Booker T. Jones





    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.



    and that the lacquer discs are newly cut.


    1. Harlem
    2. Ain't No Sunshine

    3. Grandma's Hands
    4. Sweet Wanomi
    5. Everybody's Talkin'
    6. Do It Good
    7. Hope She'll Be Happier
    8. Let It Be
    9. I'm Her Daddy
    10. In My Heart
    11. Moanin' And Groanin'
    12. Better Off Dead
    Bill Withers
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Live At Carnegie Hall Live At Carnegie Hall Quick View

    $39.99
    Buy Now
    x

    Live At Carnegie Hall

    Import

    Reissued for the First Time Since 1975 on 180 Gram Audiophile Vinyl


    Bill Withers' 'Live At Carnegie Hall' was recorded almost 40 years ago on a rainy Friday evening, but it is still regarded as one of the best live performances in the history of Soul music.


    With beautiful renditions of his classics 'Ain't No Sunshine', 'Use Me', 'Grandma's Hands' and of course his biggest hit 'Lean On Me', this shouldn't come as a surprise. Withers' brand of melancholy Soul plucks at your heartstrings and creates a wistful yearning, but it is still one of the most uplifting pieces of music you will ever find.

    LP 1
    1. Use Me
    2. Friend Of Mine
    3. Ain't No Sunshine
    4. Grandma's Hands
    5. World Keeps Going Around
    6. Let Me In Your Life
    7. Better Off Dead
    8. For My Friend


    LP 2
    1. I Can't Write Left-Handed
    2. Lean On Me
    3. Lonely Town, Lonely Street
    4. Hope She'll Be Happier
    5. Let Us Love
    6. Medley: Harlem/Cold Baloney

    Bill Withers
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Undercurrent Undercurrent Quick View

    $27.99
    Buy Now
    x

    Undercurrent

    Import


    Other than four piano solos from April 4, 1962, this set was pianist Bill Evans' first recordings after a hiatus caused by bassist Scott LaFaro's tragic death in a car accident. The first of two meetings on record in a duo format with guitarist Jim Hall, the collaborations are often exquisite. Both Evans and Hall had introspective and harmonically advanced styles along with roots in hard-swinging bebop. The six selections on the original LP have been expanded to ten for this reissue with the inclusion of two alternate takes and previously unheard versions of Stairway to the Stars and I'm Getting Sentimental Over You. There is more variety than expected on the fine set with some cookers, ballads, waltzes, and even some hints at classical music. Recommended.

    1. My Funny Valentine
    2. I Hear A Rhapsody
    3. Dream Gypsy
    4. Stairway to the Stars*
    5. Romain
    6. Skating In Central Park
    7. Darn That Dream
    8. Stairway To The Stars
    9. I'm Getting Sentimental Over You*


    *Bonus Track

    Bill Evans & Jim Hall
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Undercurrent (Pure Pleasure) (Awaiting Repress) Undercurrent (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Undercurrent (Pure Pleasure) (Awaiting Repress)

    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.



    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 AWAITING REPRESS Buy Now
  • Helpers On The Other Side Helpers On The Other Side Quick View

    $13.99
    Buy Now
    x

    Helpers On The Other Side

    Adding flourishes to the formula established on their debut Out of Africa, Alternative Tentacles' flagship band Triclops! continues its assault on all pretenders to the punk / psych / prog throne.


    The sound on this album is varied, but one might say it's akin to fIREHOSE crossing streams with Goblin in an acid vat. There's even an acoustic bridge in With SARS, I'll Ride the Wind that sounds like a fever-warbled classic rock jammer.


    Triclops! is an acid-punk version of avant-garde classical composition with cinematic textures--an absurdist soundscape replete with comedic relief that acknowledges its own pure ridiculousness. This career suicide / cult-accepted approach to exhibitionism finds kindred spirits in envelope-pushing, progress-obsessed minds like Butthole Surfers, Slayer, David Lynch, Zappa, Heinlein, Timothy Leary, Melvins / Big Business, B. Traven, Deerhoof, Bill Hicks, Sun Ra, Fellini, Sonic Youth, and Scratch Acid.


    Having toured Europe and shared bills with Melt Banana, NoMeansNo, Big Business, and Jesus Lizard, these post-punk veterans' distinct sound is unmistakably Triclops!

    1. Glaciers (Cry of the Modern Neanderthal)
    2. Brown Summer
    3. Until All the Threads Are Stripped
    4. Send Conan Home
    5. Homage to Monte Cassino (Red)
    6. With SARS, I'll Ride the Wind
    Triclops!
    $13.99
    Vinyl LP - Sealed Buy Now
  • Love And Circumstance Love And Circumstance Quick View

    $42.99
    Buy Now
    x

    Love And Circumstance

    Import


    2010's Love And Circumstance is the fourth solo full-length from singer/songwriter/musician Carrie Rodriguez. The 12-song collection was produced by Lee Townsend (Bill Frisell) and recorded with Hans Holzen (guitar), Kyle Kegerreis (bass) and Eric Platz (drums). Other artists appearing here also include none other than Bill Frisell (guitar), Greg Leisz (pedal steel/slide guitars), Aoife ODonovan (background vocals) and Buddy Miller (background vocals).


    Carrie wraps herself around songs from influences and peers such as John Hiatt/Nick Lowe/Ry Cooder/Jim Keltner (aka Little Village), Buddy Miller & Julie Miller, David Rodriguez, Gillian Welch & David Rawlings, Richard Thompson, Townes Van Zandt, M. Ward, Merle Haggard & Bonnie Owens, Hank Williams, Lucinda Williams, and more. She even pays homage to her family heritage with the soulful Spanish ballad La Puñalada Trapera, popularized in the 1950s by her great-aunt, famed Mexican bolero balladeer Eva Garza.

    1. Big Love (John Hiatt, Nick Lowe, Ry Cooder, Jim Keltner)
    2. Wide River 2. to Cross (Buddy & Julie Miller)
    3. When I Heard Gypsy Davy Sing (David Rodriguez)
    4. Eyes on the Prize (M. Ward)
    5. Steal Your Love (Lucinda Williams)
    6. Waltzing's for Dreamers (Richard Thompson)
    7. I'm Not For Love (Sandrine)
    8. I Made A Lover's Prayer (Gillian Welch & Dave Rawlings)
    9. I Started Loving You Again (Bonnie Owens & Merle Haggard)
    10. Rex's Blues (Townes Van Zandt)
    11. I'm So Lonesome I Could Cry (Hank Williams)
    12. La Punalada Trapera (Sosa Tomas Mendez)
    Carrie Rodriguez
    $42.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Go to top