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  • Blue Moods Blue Moods Quick View

    $21.99
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    Blue Moods

    A short, but intensely cool set from a formidable quintet led by Miles Davis and featuring Teddy Charles on vibes, Elvin Jones on drums, Charles Mingus
    on double bass, and Britt Woodman on trombone. Recorded in 1955 by legendary engineer Rudy Van Gelder at his studio in Hackensack, NJ, Blue
    Moods is the epitome of '50s cool jazz. A laid-back, introspective set, the tracks ebb and flow as Davis' trademark mellow-tone weaves deftly through
    Charles' vibe chording, which drifts across the sonic pallet like harmonic clouds. An absolute must-have for fans of the cool jazz genre, Blue Moods is ice
    cold - an absolute treasure on vinyl.
    1. Nature Boy
    2. Alone Together
    3. There's No You
    4. Easy Living
    Miles Davis
    $21.99
    Vinyl LP - Sealed Buy Now
  • Good Mood Fool Good Mood Fool Quick View

    $17.99
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    Good Mood Fool

    In the winter Luke Temple moved into a cottage, a small one, in upstate New York. The snow fell quietly. He had frozen blueberries and bread and eggs and Coors Original. He sang and drank and played and drank and ate and shoveled snow and when the snow melted and the roads cleared he had his friends. Eliot Kirmsky (Glass Ghost) and Mike Johnson (Dirty Projectors) dug into Luke's hut and together they built a fire. Luke called it Good Mood Fool.


    Originally from Cape Anne, Massachusetts, Luke moved to the North West, sleeping rough in the woods,
    working in a candy store and as a janitor at a suburban mall. While in Seattle Luke met some people headed down the coast. All of his aimlessness lasted a year and half before Luke had had enough. He enrolled in school of the Museum of Fine Arts and spent five years painting portraits, after which Luke moved to New York and worked as a muralist and plasterer. As painting drifted from the foreground little songs started to emerge. He tried them out at the famous Sidewalk CafÉ Monday open mic and the people there liked it.


    After recording two critically acclaimed albums for Mill Pond, to little commercial reception, Luke was at the point of quitting a career in music. In 2008, feeling free in his new state, he made what would become the first Here We Go Magic album, forming the band and releasing the self-titled debut in 2009. Positive critical and commercial response to the record kept Luke busy with Here We Go Magic through touring and recording two more full lengths and an EP. Since Here We Go Magic's 2012 release, A Different Ship, Luke has returned to his original solo ideas.


    In a sense Good Mood Fool is an extension of the first self-titled Here We Go Magic record. It was recorded with the same sense of freedom and joy. The meat of the record finds Luke taking a sharp turn in order to keep himself interested. First single Katie is a prime slice of mid-80s intelligent pop, almost So-era Peter Gabriel in its rhythms and sound. Meanwhile, Florida is a blue-eyed soul hit, a lazy sunny evening of summer beauty. Good Mood Fool draws from myriad influences, from the hushed soulful wail of Curtis Mayfield to the dense
    harmonies of Gill Evans and the Bulgarian Women's Choir. It is meant to be clear in production and in content, hiding nothing.

    1. Hard Working Hand
    2. Katie
    3. Florida
    4. Those Kids
    5. Jessica Brown Findlay
    6. Sue
    7. Terrified Witness
    8. Love Won't Receive
    9. Hardest Working Self Made Mexican
    Luke Temple
    $17.99
    Vinyl LP - Sealed Buy Now
  • Turn Blue Turn Blue Quick View

    $19.99
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    Turn Blue

    The Black Keys' 2014 album, Turn Blue, was released on Nonesuch Records.
    Produced by Danger Mouse, Dan Auerbach and Patrick Carney, Turn Blue features 11
    tracks including the first single, "Fever."


    Turn Blue was recorded at Sunset Sound in Hollywood during the summer of 2013 with
    additional recording done at the Key Club in Benton Harbor, MI and Auerbach's Easy Eye
    Sound in Nashville in early 2014. Of the new album, the band says Turn Blue could refer to:


    A: Suffocation

    B: Sadness

    C: Numbness from extreme cold

    D: A Cleveland late night TV host from the 1960s named Ghoulardi

    E: All of the above


    Moreover, Carney comments, "We are always trying to push ourselves when we make a
    record-not repeat our previous work but not abandon it either. On this record, we let the songs
    breathe and explored moods, textures and sounds. We're excited for the world to hear Turn
    Blue."


    This is the eighth full-length album from the duo and follows 2011's critically and commercially
    acclaimed El Camino, which is now certified RIAA Platinum. Internationally, El Camino is Gold
    in Belgium, Spain, Italy and Holland; Platinum in Ireland, France and the U.K.; and double
    Platinum in Australia, Canada and New Zealand. The record also resulted in three awards at the
    55th annual Grammy Awards-Best Rock Performance, Best Rock Song, and Best Rock Album.
    The band now has a total of six Grammy Awards including three in 2010 for their breakout,
    RIAA Platinum album, Brothers.

    1. Weight of Love

    2. In Time
    3. Turn Blue

    4. Fever
    5. Year in Review
    6. Bullet in the Brain
    7. It's Up to You Now
    8. Waiting on Words

    9. 10 Lovers
    10. In Our Prime
    11. Gotta Get Away
    The Black Keys
    $19.99
    Vinyl LP - Sealed Buy Now
  • Blue And Sentimental Blue And Sentimental Quick View

    $19.99
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    Blue And Sentimental

    During the Blue Note 75th anniversary celebration the label released 100 essential Blue Note LPs and asked New York Times readers what titles they'd like to see make the list. This album is one of five new reissues that were hand-selected by Blue Note President, Don Was, based on New York Times reader recommendations.


    Ike Quebec's 1961-1962 comeback albums for Blue Note were all pretty rewarding, but Blue and Sentimental is his signature statement of the bunch, a superbly sensuous blend of lusty blues swagger and achingly romantic ballads. True, there's no shortage of that on Quebec's other Blue Note dates, but Blue and Sentimental is the most exquisitely perfected.


    Quebec was a master of mood and atmosphere, and the well-paced program here sustains his smoky, late-night magic with the greatest consistency of tone. Part of the reason is that Quebec's caressing tenor sound is given a sparer backing than usual, with no pianist among the quartet of guitarist Grant Green, bassist Paul Chambers, and drummer Philly Joe Jones. It's no surprise that Green solos with tremendous taste and elegance (the two also teamed up on Green's similarly excellent Born to Be Blue), and there are plenty of open spaces in the ensemble for Quebec to shine through.


    His rendition of the Count Basie-associated title cut is a classic, and the other standard on the original LP, Don't Take Your Love from Me, is in a similarly melancholy vein. Green contributes a classic-style blues in Blues for Charlie, and Quebec's two originals, Minor Impulse and Like, have more complex chord changes but swing low and easy.


    Through it all, Quebec remains the quintessential seducer, striking just the right balance between sophistication and earthiness, confidence and vulnerability, joy and longing. It's enough to make Blue and Sentimental a quiet, sorely underrated masterpiece.


    -Steve Huey (All Music Guide)

    1.Blue And Sentimental
    2.Minor Impulse
    3.Don't Take Your Love From Me
    4.Blues For Charlie
    5.Like
    6.Count Every Star
    Ike Quebec
    $19.99
    Vinyl LP - Sealed Buy Now
  • Desmond Blue (Pure Pleasure) Desmond Blue (Pure Pleasure) Quick View

    $34.99
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    Desmond Blue (Pure Pleasure)

    As intended, this album presents alto sax specialist Paul Desmond as never featured before, with the backing of a string orchestra. The record, filled with such beautiful jazz standards as My Funny Valentine, I've Got You Under My Skin, and Body and Soul, is very rich in texture, yet subtle and mellow overall in mood. It's unyielding purpose: to soothe the souls of its listeners. Desmond's style and tone shine with an alluring quality, and the record is filled with melodies that don't fail to stimulate the sophisticated jazz listener. Desmond's melodies are eloquently detailed and charmingly spun in the midst of the string orchestra arranged and conducted by Bob Prince. The legendary Jim Hall is featured as guest guitarist, playing yet another scintillating role and using his classic comping style. Hall is perhaps the most highly respected of all jazz guitarists for his good taste and witty inventiveness. Desmond has always been most familiar to the jazz public for his sweeping scale passages and his seemingly effortless spontaneity during periods of improvisation, although here he is often featured in a more lyrical ballad style on such romantic tunes as My Funny Valentine, Late Lament, and Then I'll Be Tired of You. This album is a highly innovative and meticulously crafted work, reflecting the ongoing success of both Desmond and Hall within the 1960s and the cool jazz period. Both of these musicians spent time working with Dave Brubeck and later lent themselves to many of Antonio Carlos Jobim's bossa nova projects. The arrangements are extraordinary throughout this collection, including the charming Valentine, which begins with a fantastic Elizabethan flavor. The intro sets up the mood to carry Desmond into the first chorus, which then glides into a 20th century style. The tune I Should Care is »a shimmering debt to Ibert and one of the most imaginative blendings you will ever hear of strings, reeds, French horn and harp,« according to the liner notes. The tone of the album: lush, reflective, thought-provoking, and soul-stirring. This work is quite a plus for any listener and especially those who consider themselves avid fans of Paul Desmond.



    Musicians:



    • Paul Desmond (saxophone)

    • Jim Hall (guitar)

    • Bob Prince (arranger, conductor & strings)



    Recording: 1962 at Webster Hall, New York City, by Ray Hall

    Production: George Aviakan



    Format: 2LPs 33rpm / gatefold sleeve



    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. Desmond Blue
    3. Then I'll Be Tired of You
    4. I've Got You Under My Skin
    5. Late Lament
    6. I Should Care
    7. Like Someone In Love
    8. Ill Wind
    9. Body and Soul
    Paul Desmond
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sky Blue Sky Sky Blue Sky Quick View

    $24.99
    Buy Now
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    Sky Blue Sky

    2-LP Wilco Set also Comes Complete with the CD of the Album!


    It's been a while since the last offering from Jeff Tweedy and Co, but three years of slavering from fans is about to be rewarded with this seventh studio album. Well... Sky Blue Sky was well worth the wait! Though Wilco are known as purveyors of alt country rock, Sky Blue Sky is an astounding demonstration of their ability to move between soulful acoustic folk, jazzy blues, country skank and pumping rock. Tweedy has the vocal range of three people, from country lilt to blues ache to folk sweetness - all this often in the space of one song. And what songs they are. 'You Are My Face' is a classic Wilco segue, as a sleepy 'Beatles-esque' ditty is suddenly interrupted with a jazz guitar explosion twinned with Tweedy's achy blues voice before returning seamlessly to piano tinkle and smooth vocals. There are stories of love lost and found, told with originality, humour and sweetness. 'How can I warn you my tongue turns to dust? Lack of disgust doesn't mean that I don't care. It means I'm partially there,' sings Tweedy on the delicately beautiful 'Please Be Patient With Me'. The instrumentation is a mini-rock opera in itself. Glorious riffs, thumping piano and virtuoso guitar solos from Nels Cline are orchestrated with skill, complementing the intricately composed and woven melodies. Simple and soothing, yet rich and rewarding, this is an album you unknowingly yearn for, like a cool hand on a hot forehead. A great album from a band in their prime. Our highest recommedation!


    Wilcos first studio album in three years, Sky Blue Sky, has been perhaps the most ardently awaited release of 07. Eager fans had taken to shouting out pleas for information to bandleader Jeff Tweedy during his recent solo acoustic tour, and the web chatter has been virtually deafening. Critic Katie Toms of Londons The Observer addressed fan speculation in an advance review, declaring, with unalloyed delight: Boy, was it worth the wait.... Simple and soothing, yet rich and rewarding, this is an album you unknowingly yearn for, like a cool hand on a hot forehead. A great album from a band in their prime.


    Sky Blue Sky is as eloquently straightforward as Wilcos last studio recording, the Grammy-winning A Ghost Is Born, was daringly experimental. Tweedys lyrics deal forthrightly with romantic separation and reconciliation, their bittersweet quality giving way, as the album progresses, to a more uplifting, redemptive mood. Tweedy quite literally banishes the darkness on the penultimate track, the inspiring, gospel-tinged What Lightthe albums first singleand concludes with a deeply affecting, til-death-do-us-part lullaby, On and On and On.


    There are hints of early-seventies Southern California folk-rock sweetness in the harmonies throughout the band-produced Sky Blue Sky, a bluesy Allman Brothers feel to the guitar /keyboard interplay, and plenty of brash guitar solos that take songs like You Are My Face and Shake It Off in thrilling, unexpected directions. This is especially good news for the crowds that will fill the Bonnaroo Festival in Manchester, Tennessee, this June, where the band plays the first U.S. date of its 2007 world tour in support of Sky Blue Sky. Principal songwriter Tweedy cut these tracks in the bands Chicago studio with members John Stirratt (bass, vocals), Glenn Kotche (drums), Mike Jorgensen (keyboards), Nels Cline (guitars) and Pat Sansone (guitars, keyboards, vocals)all of whom are also becoming notable performers in their own right. A Ghost Is Born co-producer Jim ORourke returns as music contributor.

    1. Either Way
    2. You Are My Face
    3. Impossible Germany
    4. Sky Blue Sky
    5. Side With the Seeds
    6. Shake It Off
    7. Please Be Patient With Me
    8. Hate It Here
    9. Leave Me (Like You Found Me)
    10. Walken
    11. What Light
    12. On and on and on
    Wilco
    $24.99
    180 Gram Audiophile Virgin Vinyl - 2 LPs Sealed Buy Now
  • Little Girl Blue (Pure Pleasure) Little Girl Blue (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    Little Girl Blue (Pure Pleasure)

    Little Girl Blue, released in 1957, was Nina Simone's first recording, originally issued on the Bethlehem label. Backed by bassist Jimmy Bond and Albert 'Tootie' Heath, it showcases her ballad voice as one of mystery and sensuality and showcases her up-tempo jazz style with authority and an enigmatic down-home feel that is nonetheless elegant. The album also introduced a fine jazz pianist. Simone was a solid improviser who never strayed far from the blues. Check the opener, her reading of Duke Ellington's Mood Indigo, which finger-pops and swings while keeping the phrasing deep-blue. It is contrasted immediately with one of the -- if not the -- definitive reads of Willard Robison's steamy leave-your-lover ballad Don't Smoke in Bed. The title track, written by Rodgers & Hart, features Good King Wenceslas as a classical prelude to one of the most beautiful pop ballads ever written. It is followed immediately by the funky swing in Love Me or Leave Me with a smoking little piano solo in the bridge where Bach meets Horace Silver and Bobby Timmons.


    It's also interesting to note that while this was her first recording, the record's grooves evidence an artist who arrives fully formed; many of the traits Simone displayed throughout her career as not only a vocalist and pianist but as an arranger are put on first notice here. My Baby Just Cares for Me has a stride shuffle that is extrapolated on in the piano break. Her instrumental and improvising skills are put to good use on Tadd Dameron's Good Bait, which is transformed into something classical from its original bebop intent. You'll Never Walk Alone feels more like some regal gospel song than the Rodgers & Hammerstein show tune it was. Of course, one of Simone's signature tunes was her version of I Loves You, Porgy, which appears here for the first time and was released as a single. Her own Central Park Blues is one of the finest jazz tunes here.



    Musicians:



    • Nina Simone (piano, vocal)

    • Jimmy Bond (bass)

    • Albert "Tootie" Heath (drums)



    Recording: 1957



    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. Mood Indigo
    2. Don't Smoke In Bed
    3. He Needs Me
    4. Little Girl Blue
    5. Love Me Or Leave Me
    6. My baby Just Cares For Me
    7. Good Bait
    8. Plain Gold Ring
    9. You'll Never Walk Alone
    10. I Loves You Porgy
    11. Central Park Blues
    Nina Simone
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Blues Singer Blues Singer Quick View

    $39.99
    Buy Now
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    Blues Singer

    Import

    Pressed On 180 Gram Audiophile Vinyl

    Housed In A Gatefold Sleeve

    Grammy Award 2004 Winner In The Category 'Best Traditional Blues Album'

    The album is all acoustic and dedicated to John Lee Hooker with the line, In Memory of John Lee Hooker. You are missed.

    Not known for his acoustic work, Buddy Guy unplugs for a rare album-length excursion into folk blues. The guitarist gets down and dirty with 12 tracks that sound like they were recorded after hours in his living room or on his back porch.

    Guy's stinging leads are still evident as is his emotive voice, but both are less flamboyant in the unplugged setting. Accompanied by spare stand-up bass and brushed drums, Guy sounds nearly possessed on covers from Skip James (Hard Time Killing Floor), Johnny Shines (Moanin' and Groanin'), Son House (Louise McGhee), and John Lee Hooker (Sally Mae) among others. It's a low-key, low-down affair made for late nights, rainy days, and the saddest of moods.

    Guy is just as convincing here--arguably more so--as on his barnstorming electric albums, making Blues Singer one of the bravest and most poignant albums in his catalogue.

    The album earned Guy the 2004 Grammy Award for 'Best Traditional Blues Album'.

    LP 1
    1. Hard Time Killing Floor
    2. Crawlin' Kingsnake
    3. Lucy Mae Blues
    4. Can't See Baby
    5. I Love The Life I Live
    6. Louise McGhee


    LP 2
    1. Moanin' and Groanin'
    2. Black Cat Blues
    3. Bad Life Blues
    4. Sally Mae
    5. Anna Lee
    6. Lonesome Home Blues

    Buddy Guy
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • I Find The Blues Everywhere I Find The Blues Everywhere Quick View

    $32.99
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    I Find The Blues Everywhere

    Import


    RARE Memphis Slim LP, recorded in Paris in 1961, and never reissued on vinyl or CD! Although Slim was an incredible vocalist, here the Memphis bluesman chooses let the piano be his voice, leading the audience through various moods-from the sombre "Bluesnik", to the lively "The Hustler". Without so much as a single drum to keep the beat, Slim's tempo never falters as transitions from one genre to the next, for a dizzying and awe-inspiring performance of which only the very best are capable.

    1. Panic Street
    2. The Hustler
    3. Carried Away
    4. Bluesnik
    5. Back Home
    6. Olympia Boogie
    7. Sonophone Boogie
    8. Blue Slim
    9. Musing
    10. West Side Trot
    11. Hotfan's Delight


    Recorded in Paris on July 7th, 1961

    Memphis Slim
    $32.99
    180 Gram Audiophile Virgin Vinyl LP + CD - Sealed Buy Now
  • Cinder Cinder Quick View

    $19.99
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    Cinder

    Unlike past recordings where the band tried to capture their live potential, this time they thought about how they might perform the songs later. As such, the tracks on Cinder are much shorter, trimmed down, and classic in composition. Sally Timms (Mekons) and Chan Marshall added guest vocals. ...the music pulls you into its deep blue moods, lifts you out, and leaves you cleansed - Rolling Stone.
    1. Ever Since
    2. She Passed Through
    3. Amy
    4. Sad Sexy
    5. Cinders
    6. This Night
    7. Flutter
    8. The Zither Player
    9. It Happened
    10. Great Waves
    11. Dream Evie
    12. Feral
    13. Doris
    14. Rain On
    15. Ember
    16. Michele
    17. Too Soon, Too Late
    18. Last Dance
    19. In Fall
    The Dirty Three
    $19.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Duke Ellington Meets Coleman Hawkins Duke Ellington Meets Coleman Hawkins Quick View

    $49.99
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    Duke Ellington Meets Coleman Hawkins

    For years Duke Ellington and tenor saxophonist Coleman Hawkins promised each other that they would one day find a way to collaborate on an album. Finally, in 1962, they recorded at the famed Rudy Van Gelder Studios in New Jersey, with a small personnel from the Ellington band. The event was marked by the combination of the guest tenor's distinctive and expansive tones, the rich ensemble sound, and of course, the extraordinary Ellington compositions. Duke Ellington covered the piano and brought with him Aaron Bell, brass; Lawrence Brown, trombone; Sam Woodyard, drums; and Ray Nance, cornet and violin. What became obvious almost immediately was the interplay of Hawkin's tenor and Harry Carney on alto saxophone and the alto voicing of Johnny Hodges. Highlights include the infectious calypso-like opening of Limbo Jazz that moves from solos by Hodges, Ray Nance and Lawrence Brown to a solo by Coleman Hawkins. Ellington's classic Mood Indigo is the perfect vehicle for Hawkins with his rich, resonant phrasing. Wanderlust, which was first recorded in 1938, is revived here with Lawrence Brown and Ray Nance contributing to the blues mood of the piece. Duke Ellington Meets Coleman Hawkins features two legendary masters of jazz in a meeting that remains as masterful and thrilling as it did when it first took place in 1962.


    This title is not eligible for discount.

    1. Limbo Jazz
    2. Mood Indigo
    3. Ray Charles' Place
    4. Wanderlust
    5. You Dirty Dog
    6. Self Portrait (Of the Bean)
    7. The Jeep Is Jumpin'
    8. The Ricitic
    Duke Ellington & Coleman Hawkins
    $49.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Hootin' 'N Tootin' Hootin' 'N Tootin' Quick View

    $49.99
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    x

    Hootin' 'N Tootin'

    Blue Note Reissue




    As much as I'd love to relay all kinds of anecdotes about the challenges Steve Hoffman and Kevin Gray encounter during the mastering sessions, I witness none. These boys know the sound of the facility and the Van Gelder masters like the backs of their hands. Back home a month later, I unpack some test pressings Chad Kassem has sent me. I hear the most realistic-sounding drums ever reproduced by my system. It's as though I'm sitting at the point of creation, experiencing the same high that brought such gifted musicians together as one. Steve Hoffman, Kevin Gray, Chad Kassem, and Don MacInnis have done Rudy Van Gelder and his Blue Note artists proud. Jason Victor Serinus, Stereophile, April 2008


    In Hootin' 'N Tootin', the listener is afforded the opportunity of hearing numbers of a famous orchestra noted for its smart arrangements along the rhythm and blues influence. The moods expressed are in the down home and down to Earth groove. Under the leadership of Fred Jackson, tenor sax, the listener is propelled into the world of the new truth.


    This title is not eligible for discount.

    1. Dippin' in the Bag
    2. Southern Exposure
    3. Preach Brother
    4. Hootin' 'N Tootin'
    5. Easin' on Down
    6. That's Where It's At
    7. Way Down Home
    Fred Jackson
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • The Genius After Hours (Speakers Corner) The Genius After Hours (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    The Genius After Hours (Speakers Corner)

    No ifs and buts! Ray Charles belongs in every jazz collection. Friends of pure jazz tend to forget this in the light of his numerous hits in categories such as gentle ballads, and even country and western songs, and rhythm'n'blues during the more than 60 years of Charles' extremely successful (also financially speaking) career.


    The producer Neshui Ertegun gathered together a star-studded cast for this Atlantic Records studio recording. There was David Newman on the tenor sax, Joe Harris on the drums, and even Oscar Pettiford on the bass. Not forgetting Ray Charles himself who was an excellent jazz pianist.


    The studio was saturated with the blues! A relaxed mood prevailed, just as one might imagine it. The musicians came to the studio after a concert, they were completely drained, worn out, exhausted: they had the blues and then they played the blues.


    Even a standard work such as Gershwin's The Man I Love was turned into an elegy. Only Ain't Misbehavin', which reminds one more of Earl Hines than Fats Waller, and Charlesville - a fast blues number - were treated to a change of tempo.


    The Genius After Hours is a self-portrait that exhibits the less well-known talents of this exceptional artist during the second half of the last century. It makes great listening for all lovers of jazz, soul, blues, rhythm'n'blues, country and western, pop, funk You name it, Charles has got it!


    Musicians:


    • Ray Charles (piano)
    • Dave 'Fathead' Newman (alto saxophone, tenor saxophone)
    • Emmott Dennis (bassoon)
    • Joseph Bridgewater, John Hunt (trumpet)
    • Roosevelt Sheffield, Oscar Pettiford (bass)
    • Joe Harris, William Peebles (drums)


    Recording: April 1956 and September 1957 in New York City in mono

    Production: Nesuhi Ertegun & Jerry Wexler

    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. The Genius After Hours
    2. Ain't Misbehavin'
    3. Dawn Ray
    4. Joy Ride
    5. Hornful Soul
    6. The Man I Love
    7. Charlesville
    8. Music, Music, Music
    Ray Charles
    $34.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Gargoyle (Awaiting Repress) Gargoyle (Awaiting Repress) Quick View

    $23.99
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    Gargoyle (Awaiting Repress)

    Early in 2016, Mark was at home in LA, working on some ideas for what might turn into his next album when he got an email from a friend, an English musician named Rob Marshall, thanking Mark for contributing to a new project he was putting together, Humanist. The pair first met in 2008, when Marshall's former band Exit Calm supported Soulsavers, who Mark was singing with at the time. Now Rob was offering to write Mark some music to return the favour: "I was like, Hey man, I'm getting ready to make a record if you've got anything?'" Mark recalls. "Three days later he sent me *10 things !"


    In the meantime, Mark had written 'Blue Blue Sea', a rippling mood piece that he thought might be a more fruitful direction for his new record. "It's almost always how my records start," he explains. "I let the first couple of songs tell me what the next couple should sound like, and it's really the same process when I'm writing words. Whatever my first couple of lines are, tell me what the next couple should be. I've always built things like that, sort of like making a sculpture I guess."


    Within an hour, Mark had written words and vocal lines for two of the pieces Rob had cooked up at Mount Sion Studios in Kent and pinged through the virtual clouds to California. Rob's music fitted perfectly with the direction Mark had been pondering: in essence, a more expansive progression from the moody Krautrock-influenced electronica textures of his two previous albums, 'Blues Funeral' and 'Phantom Radio'. Eventually, Rob Marshall would co-write six of the songs on the new Mark Lanegan Band album. "I was very thankful to become reacquainted with him," Mark deadpans.


    The remainder of the album was written, recorded and produced by Lanegan's longtime musical amanuensis Alain Johannes at his 11 AD base in West Hollywood. Everything was done and dusted within a month, unusually fast by Lanegan's recent standards. "I definitely feel like I'm a better songwriting than I was 15 years ago," he says. "I don't know if I'm just kidding myself or what, but it's definitely easier now to make something that is satisfying to me. Maybe I'm just easier on myself these days, but it's definitely not as painful a process, and therefore I feel I'm better at it now. But part of the way that I stay interested in making music is by collaborating with other people. When I see things through somebody else's perspective it's more exciting than if I'm left to my own devices."


    While sharing roots with its two predecessors, on Gargoyle there's a significant up-shift in the swaggering power load of such keynote songs as Nocturne and Beehive, while the lyrics' tonal palette is more varied. The album title comes from a lyric in Blue Blue Sea - "Gargoyle perched on gothic spire" - and was chosen for its hint of self-deprecation. "I'm most proud of the songs that are atypical to stuff that I've done in the past," says Mark. "So I really like Old Swan, because it's an expression of positivity, which is completely anti-anything I've done before!" He laughs. "Y'know, I haven't played this record for too many people yet. I played it for Greg Dulli, who played on some of it, and he was like, 'Wow, I had to listen to it twice - it sounds like he's having a good time '


    It's been a long journey traveled, not always easy, but in 2017, at the age of 52, Lanegan's got the look of permanence about him. Like that gargoyle on the gothic spire .

    1. Deaths Head Tattoo
    2. Nocturne
    3. Blue Blue Sea
    4. Beehive
    5. Sister
    6. Emperor
    7. Goodbye To Beauty
    8. Drunk On Destruction
    9. First Day Of Winter
    10. Old Swan
    Mark Lanegan
    $23.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • What The Toll Tells What The Toll Tells Quick View

    $21.99
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    What The Toll Tells

    On their second full-length, Two Gallants weave urgent back-alley storytelling with no-frills instrumentation that alternately boils with visceral fervor and mourns with plaintive restraint. The youthful duo play a strain of rock that falls somewhere between folk, punk, and old-time blues and the resulting sound is much more than the sum of its parts. Two Gallants draw on Old West images and themes of revenge, redemption, and shifty morality to create wide-swinging moods trafficking in brash ferocity, repentant regret, and freewheelin' Americana.
    1. Las Cruces Jail
    2. Steady Rollin'
    3. Some Slender Rest
    4. Long Summer Day
    5. Prodigal Sun, The
    6. Threnody
    7. 16th St. Dozens
    8. Age of Assassins
    9. Waves of Grain
    10. Big Lucille
    11. Negrophilia Blues
    Two Gallants
    $21.99
    Vinyl LP - Sealed Buy Now
  • The Third The Third Quick View

    $16.99
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    The Third

    Kitty, Daisy & Lewis return with their new album, three years on since their hugely acclaimed Smoking In Heaven . An early fan, Mick Jones of The Clash, was keen to get involved as producer and spent four months rehearsing in their home for the new album.

    Kitty, Daisy & Lewis The Third was recorded and finished in the summer of 2014 and sets them apart,embracing a spread of influences from blues to disco, but always sounding unmistakably Kitty Daisy& Lewis. The stories in this album resonate with moods and melodies that touch you in ways that are both uplifting and unnerving. With three different writers and multi-instrumentalists in the band, each track is a sparkling gem that reflects a different facet of experience.

    1. Whenever You See Me
    2. Baby Bye Bye
    3. Feeling Of Wonder ( Feat. Mick Jones)
    4. No Action
    5. Good Looking Woman
    6. Turkish Delight
    7. It Ain t Your Business
    8. Ain t Always Better Your Way
    9. Never Get Back
    10. Bitchin' In The Kitchen
    11. Whiskey
    12. Developer s Disease
    13. I Should Have Known
    Kitty, Daisy & Lewis
    $16.99
    Vinyl LP - Sealed Buy Now
  • The Prisoner The Prisoner Quick View

    $19.99
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    The Prisoner


    Reissued As Part Of The Blue Note 75th Anniversary Vinyl Reissue Campaign


    As one of the first albums Herbie Hancock recorded after departing Miles Davis' quintet in 1968, as well as his final album for Blue Note, The Prisoner is one of Hancock's most ambitious efforts. Assembling a nonet that features Joe Henderson (tenor sax, alto flute), Johnny Coles (flugelhorn), Garnett Brown (trombone), Buster Williams (bass), and Albert Tootie Heath (drums), he has created his grandest work since My Point of View. Unlike that effort, The Prisoner has a specific concept -- it's a tribute to Dr. Martin Luther King, evoking his spirit and dreams through spacious, exploratory post-bop. Often, the music doesn't follow conventional patterns, but that doesn't mean that it's alienating or inaccessible. It is certainly challenging, but Hancock's compositions (and his arrangement of Charles Williams' Firewater) have enough melody and space to allow listeners into the album. Throughout the record, Hancock, Coles, and Henderson exchange provocative, unpredictable solos that build upon the stark melodies and sober mood of the music. The tone is not of sorrow or celebration, but of reflection and contemplation, and on that level, The Prisoner succeeds handsomely...

    - Stephen Thomas Erlewine (All Music)

    1. I Have a Dream
    2. The Prisoner
    3. Firewater
    4. He Who Lives in Fear
    5. Promise of the Sun
    6. The Prisoner
    7. Firewater
    Herbie Hancock
    $19.99
    Vinyl LP Reissue - Sealed Buy Now
  • Yusef Lateef: Live at Ronnie Scott's Yusef Lateef: Live at Ronnie Scott's Quick View

    $23.99
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    Yusef Lateef: Live at Ronnie Scott's

    Live at Ronnie Scott's January 15th 1966


    This is a previously unreleased live club performance from Yusef Lateef, the brilliant multi-instrumentalist whose mixing of jazz and Eastern music was a great influence on some of the finest musicians of the era including John Coltrane and Pharaoh Sanders.


    Accompanied at Ronnie Scott's by the house band of pianist Stan Tracey, double bassist Rick Laird and drummer Bill Eyden, most of the repertoire played comes from Lateef's earlier recordings for Savoy and Prestige such as Jazz Moods and Eastern Sounds. Lateef plays flute on The Dreamer and Last Night Blues (it was the last night of the run). He plays the shenai - a kind of oboe - on Blues from The Orient, the xun - a Chinese flute - on Song of Delilah, and tenor saxophone on Yusef's Mood.


    The evening's performance was recorded by Les Tomkins at the request of Ronnie Scott. The musicians were unaware they were being recorded as Scott believed they would be at their best and most unselfconscious this way. This record was mastered at Gearbox Records directly from the original 1/4" tapes.


    Cut on Haeco Scully lathe with Westrex RA1700 series amps, Westrex 3DIIA cutting head and Telefunken U73B tube limiter; Maselec master control and equalisation.

    1. Angel Eyes
    2. Blues From The Orient
    3. Song Of Delilah
    4. Last Night Blues
    5. Yusef's Mood
    Yusef Lateef
    $23.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • The Final Comedown (Pure Pleasure) The Final Comedown (Pure Pleasure) Quick View

    $34.99
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    The Final Comedown (Pure Pleasure)

    Guitarist Grant Green is known for laid back non-chordal single note playing. He was underrated during his life, but is now seen as one of the greatest guitarists of his era. During the early 60's, both his fluid, tasteful playing in organ/guitar/drum combos and his other dates for Blue Note established Green as a star. He was off the scene for a while in the mid-60's, but came back strong in the late '60's and '70's when this album was recorded.



    The Final Comedown was Blue Note's first film soundtrack and is an excellent debut into the Blaxploitation soundtrack genre of the period. As Grant Green's entry into this blaxploitation genre it does differ to a certain degree from his other works. There are pensive mood pieces along with more funky percussive tunes. Like any film score, the moods shift from tense to tranquil, featuring staccato horn punches, dramatic tympani, bongo driven beats and wah wah guitar. Grant Green brings a deeper jazz feel to the tracks with in particular the title track being more akin to his other Blue Note material of the period.



    Musicians:



    • Grant Green (guitar)

    • Wade Marcus (composer, conductor)

    • Richard Tee (piano, organ)

    • Irving Markowitz, Marvin Stamm (trumpet, fluegel horn)

    • Phil Bodner (flute, piccolo, alto saxophone, oboe)

    • Harold Vick (alto saxophone, tenor saxophone)

    • Gordon Edwards (electric bass)

    • Grady Tate (drums)

    • Ralph MacDonald (conga, bongo)






    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. Past, Present And Future
    2. The Final Comedown
    3. Father's Lament
    4. Fountain Scene
    5. Soul Food - African Shop
    6. Slight Fear And Terror

    7. Afro Party
    8. Luanna's Theme
    9. Battle Scene
    10. Traveling To Get To Doc
    11. One Second After Death
    Grant Green
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Made To Love Magic Made To Love Magic Quick View

    $24.99
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    Made To Love Magic


    Reissue


    The rarities collection, Made to Love Magic, contains demos captured in 1968 (when Drake was studying at Cambridge University) as well as solo-acoustic sketches of later songs - and a newly discovered piece, Tow the Line, which Drake scholars believe is one of the last things he committed to tape. The song, recorded in 1974, was found, unlabeled, at the end of a master tape when original engineer John Wood was mixing this album.


    Tow the Line, which lasts 2:16, is classic Drake, as simple as Pink Moon or any of his later works but almost more compelling because of its assertive, driving rhythm. Drake was an unerringly precise guitarist, and Tow the Line is an excellent showcase for his devices: He outlines the verses using a tapestry of delicate, yet tense, descending chords, and then chops out blunt, almost growly blues references on the refrain.


    There are other delights on Magic, among them a solo treatment of River Man (from Five Leaves Left) without the string orchestra; the somber, anguishing love ode Clothes of Sand; and a relaxed journey through Rider on the Wheel. Far more interesting than typical demos, laced with the shadowy moods some artists spend years chasing in studios, these casual performances suggest that there was never anything casual about Drake's art: Even when he was just jotting down some idea, he couldn't help infecting it with that strange, mournful magic.


    - Tom Moon (Rolling Stone)

    1. Rider On The Wheel
    2. Magic
    3. River Man
    4. Joey
    5. Thoughts Of Mary Jane
    6. Mayfair
    7. Hanging On A Star
    8. Three Hours
    9. Clothes Of Sand
    10. Voices
    11. Time Of No Reply
    12. Black Eyed Dog
    13. Tow The Line
    Nick Drake
    $24.99
    Vinyl LP - Sealed Buy Now
  • Electr-O-Pura Electr-O-Pura Quick View

    $21.99
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    Electr-O-Pura

    Electro-O-Pura is the classic 1995 album from Hoboken, NJ's favorite sons Yo La Tengo that brilliantly bridges the band's underground adventures of yesteryear with the keen sense of melody and mood that would inform many of the group's subsequent releases. The dynamic 14-song set is equally turbulent and subdued, emotionally dark and atmospherically light, yet altogether engaging and ambitious, no better exemplified than on the up-tempo pop number Tom Courtenay and the slow-building Blue Line Swinger. Matador Records 120g vinyl reissue with MP3 coupon.
    1. Decora
    2. Flying Lesson (Hot Chicken #1)
    3. The Hour Grows Late
    4. Tom Courtenay
    5. False Ending
    6. Pablo and Andrea
    7. Paul is Dead
    8. False Alarm
    9. The Ballad of Red Buckets
    10. Dont Say A Word (Hot Chicken #2)
    11. (Straight Down to the) Bitter End
    12. My Hearts Reflection
    13. Attack On Love
    14. Blue Line Swinger
    Yo La Tengo
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • Out of the Forrest Out of the Forrest Quick View

    $34.99
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    Out of the Forrest

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


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


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


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


    This title is not eligible for discount.

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

    $29.99
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    Roots

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


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


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


    This title is not eligible for discount.

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

    $21.99
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    Thelonious Himself

    Because Thelonious Monk's artistic vision was so personal and peculiar, hearing him in a solo setting is perhaps the best way to begin to understand him.


    This 1957 album was his first to consist of exclusively solo material. His lines are fractured, his ideas are deliberate, his mood is introspective, and the end result is an album of both stunning beauty and jarring surprise, often at once. The three originals included are all significant: Functional shows how Monk's irregularities translate into a blues format. 'Round Midnight, his most famous composition, is boiled down to its very core. The finale Monk's Mood is a fragile ballad that eventually adds color from tenor John Coltrane and bassist Wilbur Ware--the only spot on the record with accompaniment.


    That said, it's equally as fascinating to hear Monk reinvent the five timeless standards in his own image.


    -Marc Greilsamer

    1. April In Paris
    2. Ghost Of A Chance
    3. Functional
    4. I'm Getting Sentimental Over You
    5. I Should Care
    6. 'Round Midnight
    7. All Alone
    8. Monk's Mood
    Thelonious Monk
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
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