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  • Lady Day (Pure Pleasure) Lady Day (Pure Pleasure) Quick View

    $34.99
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    Lady Day (Pure Pleasure)

    Excerpt from George Avakian's notes on the album sleeve:



    When planning this album, I had a hellish time trying to choose what I thought were the absolute cream of Billie Holiday. In the course of this wrestling, it struck me that not only were Billie's vocals incredibly perfect, but that I could not remember a single instance of anyone playing a bad solo or even a bad phrase among the hundred or more performances I had to choose from in the golden period of her work. Checking over records (which was almost unnecessary, because I could still remember them almost note for note) was a rather beautiful and somewhat shattering experience. Jazz, a product of so many things - musical evolution, the social scene of a particular time, the economic atmosphere of the moment, what somebody had for breakfast that day - and none of those tings will ever come together again as they did when these records were made.



    Musicians:



    • Billie Holiday (vocal)

    • Ben Webster, Lester Young (tenor saxophone)

    • Johnny Hodges (alto saxophone)

    • Roy Eldridge, Buck Clayton (trumpet)

    • Benny Goodman, Art Shaw (clarinet)

    • John Truehart (guitar)

    • Teddy Wilson (piano)

    • John Kirby (bass)

    • Cozy Cole, Joe Jones (drums)




    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. Miss Brown To You
    2. I Wished On the Moon
    3. What A Little Moonlight Can Do
    4. If You Were Mine
    5. Summertime
    6. Billie's Blues
    7. I Must Have That Man
    8. Foolin' Myself
    9. Easy Living
    10. Me, Myself and I
    11. A Sailboat In the Moonlight
    12. I Cried For You
    Billie Holiday
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Wild Women Don't Have The Blues (Pure Pleasure) Wild Women Don't Have The Blues (Pure Pleasure) Quick View

    $34.99
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    Wild Women Don't Have The Blues (Pure Pleasure)

    Although singer Nancy Harrow made a strong impression with this debut recording, she did not lead another record date until 1978 other than a lesser-known effort for Atlantic in 1966. Obviously the years of obscurity were not deserved, for this set is a near-classic. Harrow is heard in her early prime singing such veteran songs as All Too Soon, On the Sunny Side of the Street, the seven-minute Blues for Yesterday, and the title cut (originally done by Ida Cox in the 1920s). A more modern stylist (although influenced by Billie Holiday a little) than the material she performed at the time, Harrow is joined by such top mainstream players as trumpeter Buck Clayton (who provided the arrangements), tenorman Buddy Tate, trombonist Dickie Wells, and pianist Dick Wellstood. Highly recommended, Harrow's debut date has plenty of spirit and enthusiasm.




    Musicians:



    • Nancy Harrow (vocal)

    • Buck Clayton (trumpet, conductor, arranger)

    • Buddy Tate (tenor saxophone)

    • Dickie Wells (trombone)

    • Tom Gwaltney (clarinet, alto saxophone)

    • Danny Bank (baritone saxophone)

    • Dick Wellstood (piano)

    • Kenny Burrell (guitar)

    • Milt Hinton (bass)

    • Oliver Jackson (drums)




    Recording: November 1960 at Nola Penthouse Studios, New York City, by Bob d'Orleans

    Production: Nat Hentoff




    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. Take Me Back Baby
    2. All Too Soon
    3. Cant We Be Friends
    4. On The Sunny Side Of The Street
    5. Wild Women Dont Have The Blues
    6. Ive Got The World On A String
    7. I Dont Know What Kind Of Blues Ive Got
    8. Blues For Yesterday
    Nancy Harrow
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • LaVern Baker Sings Bessie Smith (Speakers Corner) LaVern Baker Sings Bessie Smith (Speakers Corner) Quick View

    $34.99
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    LaVern Baker Sings Bessie Smith (Speakers Corner)

    It was 1958 when a passably successful R&B singer entered the recording studio with an all-star band to tape a dozen songs from the global repertoire of a legendary blues vocalist. The old-fashioned style in LaVern Baker's tribute to Bessie Smith might seem somewhat strange in the midst of popular R&B numbers and the growing productivity of the Motown hit machines, but it certainly found favour with the public. And for a very good reason too! Right from the very first number, Gimme A Pigfoot, the snappy bass line conjures up the ballroom atmosphere of the Twenties. A bluesy dialogue with the trumpet (Baby Doll, I Ain't Gonna Play No Second Fiddle), alternating with robustly orchestrated swing rhythms (On Revival Day), and time and again cool, faltering blues (Black Water Blues) guarantee great listening and entertainment. The great names in the band read like a Who Is Who of outstanding musicians - Nat Pierce, Buck Clayton, Paul Quinichette, Urbie Green and Jimmy Cleveland, all who crown the fantastic sound of their performance with relaxed and easy-going solos and finely balanced background playing that would hardly be more authentic on a live stage. And by the way, fans of traditional big-band swing will love this album too.


    This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.


    Musicians:


    • LaVern Baker (vocals)

    • Paul Quinichette (tenor saxophone)

    • Jerome Richardson (bassoon)

    • Jimmy Cleveland, Urbie Green (trombone)

    • Buck Clayton (trumpet)

    • Nat Pierce (piano)

    • Danny Barker (guitar)

    • Wendell Marshall (bass)

    • Joe Marshall (drums)



    Recording: 1958 by Tom Dowd

    Production: Nesuhi Ertegun


    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. Gimme A Pigfoot
    2. Baby Doll
    3. On Revival Day
    4. Money Blues
    5. I Ain't Gonna Play No Second Fiddle
    6. Backwater Blues
    7. Empty Bed Blues
    8. There'll Be A Hot Time In The Old Town Tonight
    9. Nobody Knows You When You're Down And Out
    10. After You've Gone
    11. Young Woman's Blues
    12. Preaching The Blues
    LaVern Baker
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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