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  • Capra Black (Pure Pleasure) Capra Black (Pure Pleasure) Quick View

    $34.99
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    Capra Black (Pure Pleasure)

    Capra Black remains one of the seminal recordings of jazz's black consciousness movement. A profoundly spiritual effort that channels both the intellectual complexity of the avant-garde as well as the emotional potency of gospel, its focus and assurance belie Billy Harper's inexperience as a leader. Backed by an all-star supporting unit including trombonist Julian Priester and drummer Billy Cobham, Harper's tenor summons the brute force and mystical resolve of John Coltrane but transcends its influences to communicate thoughts and feelings both idiosyncratic and universal. This is music of remarkable corporeal substance that somehow expresses the pure language of the soul.



    Musicians:



    • Billy Harper (saxophone)

    • Dick Griffin, Julian Priester (trombone)

    • Jimmy Owens (trumpet)

    • George Cables (piano)

    • Reggie Workman (bass)

    • Billy Cobham, Elvin Jones, Warren Smith (drums)

    • Barbara Grant, Gene McDaniels, Laveda Johnson, Pat Robinson (vocals)



    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. Capra Black
    2. Sir Galahad
    3. New Breed
    4. Soulfully, I Love You/Black Spiritual Of Love
    5. Cry Of Hunger
    Billy Harper
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Consummation (Pure Pleasure) Consummation (Pure Pleasure) Quick View

    $34.99
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    Consummation (Pure Pleasure)

    Of the many albums recorded by the Thad Jones/Mel Lewis Orchestra, this was the greatest. This set introduced Jones' best-known composition, A Child Is Born, and also has a colourful rendition of his sly Tiptoe, and finds the big band ripping the roof off during the lengthy and very exciting Fingers. The all-star cast (which includes flugelhornist Jones, drummer Lewis, trumpeter Marvin Stamm, trombonist Jimmy Knepper, tenor great Billy Harper, the reeds of Jerome Richardson, Jerry Dodgion and Eddie Daniels, keyboardist Roland Hanna, and bassist Richard Davis, among others) is well served by Thad Jones' inventive and swinging arrangements. A classic.




    Musicians:



    • Thad Jones (trumpet, fluegel horn, conductor)

    • Billy Harper (tenor saxophone, flute)

    • Jimmy Knepper (trombone)

    • Jerome Richardson (alto saxophone, soprano saxophone, flute)

    • Joe Farrell (basson, clarinet)

    • Roland Hanna (electric piano, piano)

    • David Spinozza (guitar)

    • Mel Lewis (drums)




    Recording: January and May 1970 at A&R Studios, New York City, by Don Hahn

    Production: Sonny Lester



    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.  Dedication

    2.  It Only Happens Every Time

    3.  Tiptoe

    4.  A Child Is Born

    5.  Us


    1.  Ahunk Ahunk

    2.  Fingers

    3.  Consummation

    Thad Jones
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Gil Evans Orchestra Plays The Music Of Jimi Hendrix (Speakers Corner) The Gil Evans Orchestra Plays The Music Of Jimi Hendrix (Speakers Corner) Quick View

    $34.99
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    The Gil Evans Orchestra Plays The Music Of Jimi Hendrix (Speakers Corner)

    Critics find this album rather difficult to evaluate. Their judgement ranges from a colourful mixture to a successful cover album to a masterly fusion and an homage to an artist whose life came to an end far too soon - Jimi Hendrix. Jimi had long been gone when this album was recorded in 1974. But it is almost superfluous to look back to the legendary Hendrix if you focus on the great Gil Evans. After such milestones as Birth Of The Cool and Sketches Of Spain it isn't difficult to regard these late audiophile masterpieces as a logical development of Evans's exceptional skill as an arranger.
    When you listen - or rather experience - how the crystal-clear sound in Angel is heightened to an emphatic ballad on the saxophone, or how rich soulful vocals storm ahead in a funky style (Crosstown Traffic), or fluffy, cloud-like sounds are built up on the flutes in Castles Made From Sand, then it is no longer of importance who thought out the music. It is sufficient that it exists and is pleasing to all who hear it. It is also unimportant whether one reveres Hendrix's immemorable melodies or whether one pays homage to Evans's visionary soundworld: a recording such as this could only be born of the two.




    Musicians:



    • Gil Evans (arranger, conductor, piano)

    • David Sanborn, Billy Harper (saxophone, flute)

    • Billy Harper (saxophone, flute)

    • Lewis Soloff (trumpet)

    • Tom Malone (synthesizer, trombone, flute, bass)

    • David Horowitz (electric piano, synthesizer)

    • John Abercrombie (guitar)

    • Don Pate (bass)

    • Warren Smith, Jr. (chimes, percussion, vibraphone)

    • Bruce Ditmas (drums)



    Recording: 1974 at RCA's Studio B, New York City, by Bob Simpson
    Production: Mike Lipskin




    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. Angel
    2. Crosstown Traffic/ Little Miss Lover
    3. Castles Made of Sand/Foxey Lady
    4. Up From the Skies
    5. 1983 - A Merman I Should Turn to Be
    6. Voodoo Child (Slight Return)
    7. Gypsy Eyes
    8. Angel
    9. Castles Made of Sand
    10. Up From the Skies
    11. Gypsy Eyes
    Gil Evans Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Step Back Step Back Quick View

    $17.99
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    Step Back

    Blues legend Johnny Winter will release a new studio album, Step Back, via Megaforce Records. The album, the followup to 2011's Roots, will find Winter exploring a more aggressive vintage-blues style.


    The album also will feature a host of special guests, including Eric Clapton, Ben Harper, Billy Gibbons, Joe Perry, Dr. John, Leslie West, Brian Setzer and Joe Bonnamassa.


    "If there's good people, other good musicians, people enjoy it. I just love it, Winter says. [Step Back] is just to bring it to the people of today who haven't listened to the old music. It's better than anything they hear today.


    Produced by Winter's guitarist, Paul Nelson, Step Back opens with "Unchain My Heart," which features Winter and his band joined by the Blues Brothers horns. ZZ Top's Billy Gibbons is featured on "Where Can You Be."


    "I never had the opportunity to jam with him [in the Sixties and Seventies]," Gibbons says. "I was content to remain in awe and admiration."


    "If it weren't for Johnny Winter, I would have never picked up the guitar," adds Aerosmith's Joe Perry, who joins Winter on Lightnin' Hopkins' "Mojo Hand."


    Other highlights include Winter's guitar and vocal trade-offs with Harper on Willie Dixon's "Can't Hold Out (Talk to Me Baby)," Winter and Clapton's rendition of Bobby Bland's "Don't Want No Woman" and Winter and Dr. John honoring Fats Domino with "Blue Monday."


    "When you hear that sound come out of that Firebird guitar, you know it can be the one and only Johnny Winter," says Setzer, who is featured on Clarence "Gatemouth" Brown's "Okie Dokie Stomp."


    - Jackson Maxwell (Guitar World)

    1. Unchain My Heart - Johnny Winter
    2. Can't Hold Out (Talk To Me Baby) - Johnny Winter with Ben Harper
    3. Don't Want No Woman - Johnny Winter with Eric Clapton
    4. Killing Floor - Johnny Winter with Paul Nelson
    5. Who Do You Love - Johnny Winter
    6. Okie Dokie Stomp - Johnny Winter with Brian Setzer
    7. Where Can You Be - Johnny Winter with Billy Gibbons
    8. Sweet Sixteen - Johnny Winter with Joe Bonamassa
    9. Death Letter -Johnny Winter
    10. My Babe - Johnny Winter with Jason Ricci
    11. Long Tall Sally - Johnny Winter with Leslie West
    12. Mojo Hand - Johnny Winter with Joe Perry
    13. Blue Monday - Johnny Winter with Dr. John
    Johnny Winter
    $17.99
    Vinyl LP - Sealed Buy Now
  • The Best Of King Curtis The Best Of King Curtis Quick View

    $29.99
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    The Best Of King Curtis

    Limited Anniversary Edition


    Pressed On 180 Gram Vinyl


    Mastered Impeccably From The Atco Records Stereophonic Tapes By Joe Reagoso


    King Curtis will be forever known as one of the leading voices of the 60's soul renaissance and truly one of the more championed musicians during his short lifetime. Thanks to today's respect and care given to his music by a whole new generation of musicians and fans, King Curtis forever reigns as one of soul's pioneers. Much like Ray Charles, Otis Redding, and other superstars before him, Curtis Owsley (King Curtis) had the necessary ingredients of stellar musicianship and songwriting acumen which successfully reached across all gospel, soul, rock and pop genres.


    King Curtis created some of his greatest sides ever for ATCO Records, where he spent his time on earth creating some of the most masterful and funkiest soul music ever waxed. In 1968, he was honored with his first greatest hits collection simply titled "The Best of King Curtis." This stunning array of his most memorable hit singles and stellar album staples continues to illustrate how important a force he was then and still is today, over four decades since!


    "The Best of King Curtis" features a heavy menu of his finest moments like the funk infused "Harper Valley P.T.A." and Stevie Wonder's "I Was Made To Love Her", the definitive balladry of Ben E. King's "Spanish Harlem", and of course his chart toppers "Ode To Billie Joe" "Soul Serenade" and a definitive tribute to his friend Otis Redding with "(Sittin' On) The Dock Of The Bay" which truly opened up a worldwide audience to this sorely missed genius.


    This 1968 Greatest Hits LP hasn't been available on vinyl for many decades... that is until now! Friday Music is very proud to announce for the first time ever the stunning 180 Gram Audiophile Vinyl release of The Best Of King Curtis. Mastered impeccably from the original ATCO Records tapes by Joe "Philly Soul" Reagoso at Friday Music Studios and Capitol Mastering in Hollywood, these classic tracks truly reach sonic heights in the audiophile vinyl domain.


    To further enhance your listening enjoyment, we have also included the original artwork elements by Loring Eutemey and the classic photo of King Curtis by Stephen Paley.


    The soul lives on here at the Friday Music label, and as with our recent original pioneering soul albums from Ray Charles, Aretha Franklin, Solomon Burke, Wilson Pickett, The Spinners and others, we feel this stunning King Curtis 180 Gram Audiophile Vinyl will be a much anticipated and welcomed release to all the soul, funk and rock audiophile vinyl fans.

    1. Harper Valley P.T.A
    2. Ode To Billy Joe
    3. Soul Serenade
    4. I Heard It Through The Grapevine
    5. (Sittin' On) The Dock Of The Bay
    6. Memphis Soul Stew
    7. Spanish Harlem
    8. Jump Back
    9. Something On Your Mind
    10. You've Lost That Lovin' Feelin'
    11. Makin' Hey
    12. I Was Made To Love Her
    King Curtis
    $29.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
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