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  • Womanchild Womanchild Quick View

    $35.99
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    Womanchild

    When CÉcile McLorin Salvant arrived at the Kennedy Center in Washington, DC to compete in the finals of the 2010 Thelonious Monk International Jazz Competition, she was not only the youngest finalist, but also a mystery woman with the most unusual background of any of the participants. When she walked away with first place in the jazz world's most prestigious contest, the buzz began almost immediately. If anything, it has intensified in the months leading up to the launch of her Mack Avenue Records debut, WomanChild.


    "She has poise, elegance, soul, humor, sensuality, power, virtuosity, range, insight, intelligence, depth and grace," Wynton Marsalis asserts. "I've never heard a singer of her generation who has such a command of styles," remarks pianist Aaron Diehl. "She radiates authority," critic Ben Ratliff wrote in The New York Times in response to one of her post-competition performances, and a few weeks later his colleague Stephen Holden announced that "Ms. McLorin Salvant has it all.... If anyone can extend the lineage of the Big Three-Billie Holiday, Sarah Vaughan and Ella Fitzgerald-it is this 23-year-old virtuoso."


    Yet at almost every step of the way, McLorin Salvant has followed a different path from her peers. Born in Miami to a French mother and Haitian father, McLorin Salvant's first language was French. She immersed herself in the classical music tradition, long before she turned to jazz-starting on piano at age five and joining the Miami Choral Society at age eight. When it came time for college, McLorin Salvant bypassed all the US conservatories and jazz schools, heading instead to Aix-en-Provence in France, where she continued to develop as a singer, but with an emphasis on classical and baroque vocal music as well as jazz.
    There, thousands of miles away from jazz's land of origin, McLorin Salvant entered into a fruitful partnership with reed player and teacher Jean-François Bonnel, first as a student and soon as a performer. Before returning to the US, she gave concerts in Paris, recorded with Bonnel's quintet, and immersed herself in the early jazz and blues vocal tradition. By the time she returned to her home country to take the stage in the Monk Competition, she had drawn on this unusual set of formative experiences in shaping a personal style of jazz singing, surprising and dramatic by turns, and very much in contrast to that of the other participants and McLorin Salvant's contemporaries.


    In the aftermath of McLorin Salvant's triumph at the Monk Competition, the jazz world eagerly awaited the winner's first US recording. Answering that call with WomanChild, McLorin Salvant draws on songs spanning three centuries of American music. "I like to choose songs that are a little unknown or have been recorded very few times," McLorin Salvant notes. "While these songs aren't recognized as standards, many should be because they are so beautifully crafted."


    On the album, her repertoire ranges from the 19th century ballad "John Henry," refreshed in a spirited up-to- date arrangement, to McLorin Salvant's own 21st century waltz "Le Front CachÉ Sur Tes Genoux" which draws on a poem by Haitian writer Ida Salomon Faubert for its lyric. She is joined by a world class band who share her concern for creating jazz of today by drawing on vibrant traditions of the past: pianist Aaron Diehl and bassist Rodney Whitaker (both of whom are Mack Avenue label mates), guitarist James Chirillo and master drummer Herlin Riley.


    The old and new rub shoulders throughout this album, but this singer's attitude is neither beholden to the past nor trying to anticipate the trends of the future. Her captivating singing is immersed in the immediacy of the present moment. So much so, that those who have seen McLorin Salvant in concert marvel at how she radiates the confidence and poise of a mature artist even though she is just at the dawn of her own career.


    McLorin Salvant may have the deepest roots of any singer of her generation. She knows the sounds and styles of modern jazz but also possesses complete command of the classic blues and early American vocal tradition. She has studied the entire recorded legacy of the great Bessie Smith (1894-1937), often called the Empress of the Blues, and also has deep familiarity with Valaida Snow, Bert Williams and other early masters of American music. For her, these musicians are exponents of living traditions that she has drawn into the orbit of her own work.


    However, McLorin Salvant can't be pinned down as a jazz traditionalist. Alongside fellow Monk Competition winner Jacky Terrasson, she has recorded works by John Lennon/Yoko Ono and Erik Satie, and can sing in French, Spanish or English as the mood and situation warrant. Knowledgeable jazz fans will identify the influence and inspiration from some of the most distinctive modern jazz stylists, such as Betty Carter, Carmen McRae and Abbey Lincoln. She is also currently continuing her studies of the classical and baroque tradition. In short, McLorin Salvant is a seeker and a creative spirit who is determined to push ahead, even while she shows an extraordinary command of the tradition that has preceded her.


    In his article in The New York Times, critic Stephen Holden listed some of the virtues of McLorin Salvant's singing: "perfect pitch and enunciation, a playful sense of humor, a rich and varied tonal palette, a supple sense of swing, exquisite taste in songs and phrasing, and a deep connection to lyrics." Her musical skills are considerable, but they are matched by an interpretive ability that is almost more akin to an actor's than a singer's. She draws out the story hidden inside the song, and can draw on the elements of her own personality and a full gamut of emotional stances-from the darkly troubling to the richly comic-in bringing lyrics to life.


    "I want to get as close to the center of the song as I can," McLorin Salvant explains. "When I find something beautiful and touching I try to get close to it, and share that with the audience."


    On WomanChild, McLorin Salvant gives music lovers the chance to hear why the illustrious judges at the Monk Competition gave her top honors. McLorin Salvant is still a bit of a mystery, but she will hardly be a secret any longer.

    1. St. Louis Gal
    2. I Didn't Know What Time It Was
    3. Nobody
    4. WomanChild
    5. Prelude/There's A Lull In My Life
    6. You Bring Out The Savage In Me
    7. Baby Have Pity On Me
    8. John Henry
    9. Jitterbug Waltz
    10. What A Little Moonlight Can Do
    11. Deep Dark Blue
    Cecile McLorin Salvant
    $35.99
    Vinyl LP - Sealed Buy Now
  • For One To Love For One To Love Quick View

    $35.99
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    For One To Love

    CÉcile McLorin Salvant, the wildly talented 25-year-old singer, songwriter, visual artist and illustrator, became a breakout star with 2013's 'WomanChild.' Her follow-up, 'For One To Love,' is a courageous statement of contrast: love and longing, delight and desire.


    CÉcile composed five original songs for 'For One To Love.' Each of these tunes explore the album's underlying themes and display CÉcile's strong personality, sharp intellect, coy humor, unfettered romanticism, and penetrating honesty. The thematic elements continue to grow with a smoldering take on Burt Bacharach's bygone Wives and Lovers and Growlin' Dan by Blanche Calloway, the first woman to lead an all-male orchestra. What's The Matter Now, originally popularized by Bessie Smith, is a juxtaposition of feel versus subject matter: a plea for fair treatment enclosed in a playful blues. Le Mal De Vivre, written by French singer Barbara in 1966, is a stark ballad performed by CÉ cile in French.


    'For One To Love' is a riotous showcase for this riveting voice: quivering highs and soul-shaking lows, all delivered with grace and style. Salvant has reunited with decorated young pianist Aaron Diehl, joined by his trio of Paul Sikivie on bass and Lawrence Leathers on drums. Together this ensemble swings and swirls, nimbly hanging on CÉcile's every cry, snarl and coo. A gifted illustrator, CÉcile accents the albums poignant music with original artwork.


    CÉcile was born in Miami, Fl and studied French law, baroque and jazz vocal performance in Aix-En-Provence before winning the 2010 Thelonious Monk competition. 'WomanChild' was praised by the NY Times, NPR, won Downbeat's Album of the Year and earned CÉcile her first Grammy nomination. She now lives in Harlem. An extensive international tour is planned through 2015 including performances at the Newport Jazz Festival, Hollywood Bowl, La Villette (Paris) the Johannesburg Joy of Jazz Festival and London Jazz Festival.

    1. Fog
    2. Growlin' Dan
    3. Stepsister's Lament
    4. Look At Me
    5. Wives And Lovers
    6. Leftover
    7. The Trolley Song
    8. Monday
    9. What's The Matter Now
    10. Le Mal De Vivre
    11. Somethin's Coming
    12. Underling
    Cecile McLorin Salvant
    $35.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Dear Echo Dear Echo Quick View

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    Dear Echo

    Limited Edition White Vinyl In A Gatefold Sleeve


    BAM! Cecil Otter is back with his first solo material since 2008's breakthrough Rebel Yellow album. The Dear Echo EP includes three brand new songs and their corresponding instrumentals, with all production, songwriting, vocals, and artwork handled masterfully by Cecil himself.

    1. Cross Countries
    2. Grime
    3. Beauty
    4. Cross Countries (instrumental)
    5. Grime (instrumental)
    6. Beauty (instrumental)
    Cecil Otter
    $15.99
    Colored Vinyl LP - Sealed Buy Now
  • Conquistador! Conquistador! Quick View

    $19.99
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    Conquistador!


    Part Of The Blue Note 75 Anniversary Vinyl Reissue Campaign


    For the second of Cecil Taylor's two Blue Note albums (following Unit Structures), the innovative pianist utilized a sextet comprised of trumpeter Bill Dixon, altoist Jimmy Lyons, both Henry Grimes and Alan Silva on basses and drummer Andrew Cyrille. During the two lengthy pieces, Lyons' passionate solos contrast with Dixon's quieter ruminations while the music in general is unremittingly intense. Both of the Taylor Blue Notes are quite historic and near-classics but, despite this important documentation, Cecil Taylor (other than a pair of Paris concerts) would not appear on records again until 1973.

    - Scott Yanow (All Music)

    1. Conquistador
    2. With (Exit)
    Cecil Taylor
    $19.99
    Vinyl LP Reissue - Sealed Buy Now
  • Captain Of None Captain Of None Quick View

    $18.99
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    Captain Of None

    Colleen is French multi-instrumentalist Cecile Schott, who uses her voice and the treble viola da gamba (a baroque instrument with gut strings), to weave intricate stories about the human mind and heart. Captain of None is the most melodic album in her repertoire, with fast-paced tracks rooted down by prominent bass lines and assorted percussive effects. It is also an album that breaks new ground for Colleen in terms of production. While previous works centered around sample-based or looped, minimal compositions, on Captain of None Schott significantly changed her approach, setting her viola and her voice as focal points. Captain of None is inhabited by delicately crafted, other-worldly pop songs incorporating dub-inspired techniques.
    1. Holding Horses
    2. I'm Kin
    3. This Hammer Breaks
    4. Salina Stars
    5. Lighthouse
    6. Soul Alphabet
    7. Eclipse
    8. Captain Of None
    Colleen
    $18.99
    Vinyl LP - Sealed Buy Now
  • At Newport At Newport Quick View

    $32.99
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    At Newport

    Limited Edition of 500 on Audiophile Clear Vinyl


    The afternoon concerts at the Newport Jazz Festivals usually are given over to the presentation of new jazz talent, new groups, foreign born artists, and "new directions!' Taking care of the latter category at the 1957 show were, prominent among several others, the Cecil Taylor Quartet and the Gryce-Byrd Jazz Lab group. It's doubtful that either had ever played before an audience more attentive, more earnest in its desire to understand (...)I believe the overwhelming majority of jazz fans got some message, and came away convinced that these groups merited many more hearings. (from original liner notes)


    About Audiophile Clear Vinyl

    Audiophile Clear Vinyl is made using the highest quality co-polymer available and processed without any carbon additive in order to dramatically reduce the "electrical distortion" often found on records.
    By itself the co-polymer of vinyl is transparent. In order to make the record black in color the plant must use a carbon additive with trace metals that can become magnetized. This is what causes electrical distortion during playback.
    That is the reason why we choose to offer our records in the following manner:


    - Audiophile Clear Vinyl (ACV)


    - 140 gram


    - 25 minutes maximum per side

    Side A:
    Cecil Taylor Quartet:
    1. Johnny Come Lately
    2. Nona's Blues
    3. Tune 2


    Side B:
    Gigi Gryce-Donald Byrd:
    1. Splittin'
    2. Batland
    3. Love For Sale

    Gigi Gryce, Donald Byrd Jazz Laboratory & Cecil Taylor Quartet
    $32.99
    Clear Vinyl LP - Sealed Buy Now
  • Visiting This Planet Visiting This Planet Quick View

    $16.99
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    Visiting This Planet

    Visiting This Planet is Tisziji's maiden voyage as producer, bandleader, composer, and arranger; featuring rare band configurations and exciting performances by Pharaoh Sanders, Dave Liebman, Paul Shaffer, John Hicks, Cecil McBee, Art Davis, Bob Moses, and Idris Mohammed amoung others.
    1. Song for All Children
    2. The Ways of Love
    3. Astral Circus
    4. A Spiritual Reunion
    5. Farewell
    6. Equinox
    7. To Be
    8. Crisis of Attachment
    9. Visiting This Planet
    Tisziji Munoz
    $16.99
    Vinyl LP - Sealed Buy Now
  • Copper Gone Copper Gone Quick View

    $23.99
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    Copper Gone

    After a 4-year hiatus, the indie rap icon has returned with the June 2014 release of Copper Gone on Strange Famous Records. It features beat production from long-time music affiliates Buck 65, Alias, Cecil Otter, Reanimator, and more.
    1. Pressure Cooker
    2. Grace
    3. ID Thieves
    4. Cheat Code
    5. Dead Man's Float
    6. Over Under
    7. Make Em Purr
    8. Vonnegut Busy
    9. Thank You
    10. The Set Up
    11. The Place She Feared Most
    12. Once Upon A Blood Moon
    13. Say Uncle
    14. MAINT REQD
    Sage Francis
    $23.99
    Colored Vinyl LP - 2 LPs Sealed Buy Now
  • All Hands All Hands Quick View

    $24.99
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    All Hands

    The newest release from Doomtree, the Minneapolis independent hip-hop collective, is called All Hands, due January 27th 2015. The title nods to the nautical rally cry, All hands on deck, and the album stands as the most collaborative and cohesive project the crew has yet produced. The production from Cecil Otter, Lazerbeak, Paper Tiger, and P.O.S twists through 13 booming tracks, building the raw and epic soundscapes that the group has become well known for, while adding more of-the-moment musical elements and techniques for a genre-spanning effect. Sims, P.O.S, Mike Mictlan, Dessa, and Cecil Otter drive home razor-sharp cadences, hard-hitting punchlines, and monstrous choruses.
    1. Final Boss
    2. My Own Nation
    3. .38 Airweight
    4. Grayduck
    5. Heavy Rescue
    6. 80 on 80
    7. Mini Brute
    8. Cabin Killer
    9. Beastface
    10. The Bends
    11. Generator
    12. Off in the Deep
    13. Marathon
    Doomtree
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • African Marketplace African Marketplace Quick View

    $34.99
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    African Marketplace

    180 Gram Vinyl


    This is one of Abdullah Ibrahim, AKA Dollar Brand's most colourful band recordings. With a 12-piece group that includes altoist Carlos Ward, trombonist Craig Harris and bassist Cecil McBee along with some lesser-known names, Ibrahim performs eight folklike originals that pay tribute to his life growing up in South Africa.


    You can't imagine the beauty of this music, the rich culture and the beautiful scenery of rural southern africa. Together they evoke the honesty and sincerity of Ibraham's music.


    The Homecoming Song, Anthem for the New Nation and especially The Wedding (a beautiful hymn) are particularly memorable.

    1. Whoza Mtwana

    2. The Homecoming Song

    3. The Wedding

    4. Moniebah

    5. African Marketplace

    6. Mama

    7. Anthem For The New Nation

    8. Ubu Suku
    Dollar Brand
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Kill The Wolf Kill The Wolf Quick View

    $21.99
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    Kill The Wolf

    Dark, raw, and confrontational, B. Dolan's sophomore Strange Famous Records effort Kill The Wolf reinforces his status as a complex lyricist and high powered rhyme spitter, dedicated to his vision and heedless to trends. Staunchly political and fearlessly personal, Kill The Wolf brings the best techniques from B's catalog into a new era in terms of scale and production value.The new album features a cast of carefully chosen collaborators, including such wide ranging talent as AESOP ROCK, BUCK 65, and KATHLEEN STUBELEK of CIRCLE TAKES THE SQUARE, as well as old friends BUDDY PEACE, ALIAS, and CECIL OTTER (of Doomtree). It would be easy for an album to go astray amidst such varying styles, but Dolan stays in firm command as Kill The Wolf's expert conductor, driving the album's new and unforgettable sound.
    1. Lazarus
    2. Graffiti Busters
    3. Stay Inspired
    4. Safety Theater
    5. Jailbreak feat. Aesop Rock & Buck 65
    6. Run The Machine
    7. Rats Get Fat
    8. Who Killed Russell Jones?
    9. Alright 04:52
    10. Memory of Bombs
    11. These Rooms
    B. Dolan
    $21.99
    Vinyl LP - Sealed Buy Now
  • Pumarosa Pumarosa Quick View

    $15.99
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    Pumarosa

    In September 2015 Pumarosa released debut single 'Priestess', produced by Mercury-nominated Dan Carey (Kate Tempest, Bat For Lashes, Toy). Zane Lowe on Beats 1 had the world's first play and within three days Priestess was the second most blogged about song worldwide. This was followed by the second release 'Cecile' premiered on Huw Stephens sitting in for Annie Mac on Radio 1 spending four days at Number 1 as Hype Machines most blogged artist.
    1. Priestess
    2. Honey
    3. Cecile

    4. Sinking Heart - Demo
    Pumarosa
    $15.99
    Vinyl LP - Sealed Buy Now
  • We Don't Even Live Here We Don't Even Live Here Quick View

    $21.99
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    We Don't Even Live Here

    We Don't Even Live Here is the fourth solo album from Doomtree co-founder, punk philosopher and lyrical bomb-thrower Stefon Alexander, aka P.O.S. It's a tight, bombastic record that builds on the Minneapolis-bred rapper and producer's penchant for grinding beats and radical lyrics. But at the same time, WDELH marks a change -- in sound and in attitude.


    Known for welding hip-hop with guitar squalls and screamed vocals, on WDELH P.O.S. steps away from his noisy past in favor of futuristic beats fit for a Berlin nightclub. Though his hip-hop foundation is firm on tracks like the fiery "Fuck Your Stuff" and the funky "Wanted/Wasted," the album brings banging new sounds from dance-oriented collaborators like German DJs Boyz Noise & Housemeister, Gayngs' Ryan Olson, and Innerpartysystem's Patric Russel


    Also along for the ride are Bon Iver's Justin Vernon (who lends his shapeshifting vocals to the heartfelt bear-hug of an anthem "Where We Land") and P.O.S.' trusted Doomtree co-conspirators Lazerbeak, Cecil Otter, Mike Mictlan, and Sims. Bringing it all into focus is all-star producer and mix engineer Andrew Dawson (P.O.S.'s former high school classmate), who has worked on platinum releases from the likes of Kanye West, Jay-Z, Beyonce, Rick Ross, Lil Wayne and Fun.

    01. Bumper
    02. Fuck Your Stuff
    03. Where We Land
    04. Wanted Wasted
    05. They Can't Come
    06. Lockpicks, Knives, Bricks and Bats
    07. Arrow to the Action - Fire in the Hole
    08. Get Down
    09. All of It
    10. We Don't Even Live Here (Weird Friends)
    11. Piano Hits
    P.O.S
    $21.99
    Vinyl LP - 1 LP Sealed Buy Now
  • Out There Out There Quick View

    $39.99
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    Out There

    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 331/3.


    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 pressings, tip-on jackets on thick cardboard stock


    In 1960, the free jazz pioneered by Ornette Coleman, Cecil Taylor, Horace Tapscott and a very few others was rejected by many musicians and most listeners. For the visionary saxophonist, clarinetist and flutist Eric Dolphy, it was simply new music fed by the mainstream, a logical extension of the jazz tradition. In Far Cry without leaving form behind, he incorporated the spirit of adventure and abandon with which free jazz at its best infused freshness into jazz. Recording with a pianoless quartet that used Ron Carter's cello as the other melody instrument, Dolphy worked from chord patterns developed within structures that depart from ordinary 32-bar jazz and popular song forms. He used 30-bar, 35-bar and 18-bar structures, but he also observed standard practice with 12-bar blues, "Serene." Dolphy's speech-like improvisations and Carter's bowed or plucked cello solos soar over the impeccable and responsive accompaniments of bassist George Duvivier and drummer Roy Haynes.


    This title is not eligible for discount.

    1. Out There
    2. Serene
    3. The Baron
    4. Eclipse
    5. 17 West
    6. Sketch Of Melba
    7. Feathers
    Eric Dolphy
    $39.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Dream Weaver (Pure Pleasure) Dream Weaver (Pure Pleasure) Quick View

    $34.99
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    Dream Weaver (Pure Pleasure)

    The first studio date of the Charles Lloyd Quartet, with Keith Jarrett, Cecil McBee, and Jack DeJohnette, was recorded and released just a few days before the band took both the European and American festival circuits by storm. First came Europe, which was just getting the disc as the band was tearing up its stages. While the live dates are now the stuff of legend, it's easy to overlook the recordings, but to do so would be a mistake. Dream Weaver is a fully realized project by a band -- a real band -- in which each member has a unique part of the whole to contribute.


    Jarrett's unusual piano style fits musically with Lloyd's lyricism in a way that it shouldn't. Jarrett was even then an iconoclast, playing harmonic figures from the inside out and relying on counterpoint to create new spaces, not fill them in. (Just listen to Autumn Sequence, where his solos and his backing harmonics are equally strident and inventive as Lloyd's Eastern explorations of mood and mode.) And then there's the rhythm section of McBee and DeJohnette, whose modal inventions on the intervals make the Dream Weaver suite an exercise in open time, allowing all players to wander around inside it and take what they want out. The set closes with a group party jam on Sombrero Sam, with Lloyd and Jarrett trading eights on a Cuban variation on a fantasia. There were no records like this one by new groups in 1966.

    Musicians:



    • Charles Lloyd (tenor saxophone, flute)
    • Keith Jarrett (piano)
    • Cecil McBee (bass)
    • Jack DeJohnette (drums)


    Recording: March 1966 by Phil Iehle

    Production: George Avakian & Arif Mardin

    About Pure Pleasure



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



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



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



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



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



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


    This title is not eligible for discount.

    Autumn Sequence
    1. Autumn Prelude
    2. Autumn Leaves
    3. Autumn Echo
    Dream Weaver
    4.Meditation
    5.Dervish Dance
    -
    6. Bird Flight
    7. Love Ship
    8. Sombrero Sam
    Charles Lloyd
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Dakar Dakar Quick View

    $21.99
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    Dakar

    Dakar (1957) presents half-a-dozen numbers recorded April 20, 1957 by an ensemble credited as the Prestige All-Stars. On the bandstand for this date are John Coltrane (tenor sax), Cecil Payne (baritone sax), Pepper Adams (baritone sax), Mal Waldron (piano), Doug Watkins (bass), and Art Taylor (drums). Although at the time these were considered leaderless units, upon hearing the interaction of the participants, modern ears might desire to qualify that statement.


    The Latin-flavored title track Dakar finds Coltrane adapting his solo to faultlessly conform to Payne and Adams' comparatively fuller-bodied involvement. The brooding chord progressions take on dark overtones with Coltrane joining Waldron as they burst forth fuelled by the soulful brass section. Mary's Blues is a treat for sax lovers as Adams -- who penned the number -- almost immediately raises the musical stakes for Coltrane. The differences in their respective presentations offer a contrast that complements the cool refinement of Adams and Pepper when juxtaposed with Coltrane's frenetic flurries. Particularly engaging are the sequence of four-bar blasts from the horn players, just prior to Coltrane pushing the combo through their paces. On Route Four the strongest elements of each player surface, creating one of the platter's brightest moments. Right out of the box, Waldron unleashes line upon line of masterful lyricism. The driving tempo keeps the instrumentalists on their toes as Coltrane is sandwiched between the undeniably and equally inspired Payne and Adams. Here, the urgency of Coltrane's tenor sax clearly tests the boundaries of the Taylor/Watkins rhythm section. The moody and sublime ballad Velvet Scene is a Waldron composition containing some of the author's strongest individual involvement as he interjects his expressive keyboarding directly into the melody.


    - Lindsay Planer (All Music Guide)

    1. Dakar (Teddy Charles)
    2. Mary's Blues (Pepper Adams)
    3. Route 4 (Charles)
    4. Velvet Scene (Waldron)
    5. Witches Pit (Adams)
    6. Catwalk (Charles)
    John Coltrane
    $21.99
    Vinyl LP - Sealed Buy Now
  • Arms & Hands Arms & Hands Quick View

    $16.99
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    Arms & Hands

    Cornetist and composer Kirk Knuffke is one of modern jazz's most skilled navigators of the divide between inside and outside, freedom and swing. On his latest album, Arms & Hands, he assembles the ideal trio to bridge that divide. Joined by bassist Mark Helias and drummer Bill Goodwin, along with special guests Brian Drye (trombone), Daniel Carter (alto saxophone), and Jeff Lederer (soprano/tenor saxophone), Knuffke creates a set of music that is both engaging and inventive.


    Helias is best known for his work with jazz experimentalists like Anthony Braxton, Cecil Taylor, Marilyn Crispell, and Gerry Hemingway, his band BassDrumBone with Hemingway and Ray Anderson, and his trio Open Loose with Tony Malaby and Tom Rainey. Goodwin, on the other hand, is recognized as a premiere straight-ahead drummer, through his decades-long relationship with saxophonist Phil Woods and credits that include such giants as Bill Evans, Tony Bennett, Dexter Gordon, Jim Hall, Gary Burton, and Art Pepper.
    The chemistry between the trio is irrefutable on Arms & Hands, which is a showcase for the immense creativity of all three musicians. Knuffke intentionally wrote compositions that took advantage of Goodwin's gift for groove and swing while remaining open enough to allow the improvisations to wander however far afield the moment might call for.


    Kirk Knuffke is a prolific composer and improviser who has worked with a host of incredible musicians including Roswell Rudd, William Parker, Uri Caine, Myra Melford, Allison Miller, Steve Swell, John Zorn, Dave Douglas, Billy Hart, Steven Bernstein, and Mary Halvorson. Internationally, he has played with ensembles at jazz festivals in Saalfeldan Austria, Willisau Switzerland, The North Sea Jazz festival in Holland, The Moers festival as well as festival dates in Canada, Mexico, Italy and France. He is currently a member of the Matt Wilson Quartet. Knuffke is also a member of the Mark Helias Quartet, the Andrew D'angelo Big Band, Josh Roseman's Extended Constellations, Kenny Wollesen's Wollesonic and Allison Miller's Boom tic Boom. Knuffke's leader debut, Big Wig, was released by Clean Feed in 2008, followed by the trio recordings Chew Your Food and Amnesia Brown and the quartet album Chorale. He has also recorded several duo CDs with pianist Jesse Stacken and one with percussionist Mike Pride, and co-led the collaborative trio Sifter with Mary Halvorson and Matt Wilson and a quartet with saxophonist Ted Brown.

    1. Safety Shoes
    2. Bright Light
    3. Pepper
    4. Chirp
    5. Umbrella
    6. Next
    7. Arms & Hands
    8. Bonderizer
    9. Atessa
    10. Thanks A Lot
    Kirk Knuffke
    $16.99
    Vinyl LP - Sealed Buy Now
  • Bright Phoebus Bright Phoebus Quick View

    $25.99
    Buy Now
    x

    Bright Phoebus

    The First Time This 1972 Masterpiece Has Been Widely Available On LP

    Remastered From The Original Tapes

    Originally released in 1972, Bright Phoebus combined the incredible songwriting of siblings Lal & Mike from folk revival group The Watersons. Moving on from, but not forgetting their folk roots, the album is a post psychedelic collection of songs recorded in a 'loose & anarchic'fashion in Cecil Sharpe House with a folk-rock super group numbering Richard Thompson,Norma Waterson, Maddy Prior, Martin Carthy & Ashley Hutchings. Its release was greeted with derision and its initial pressing of 2000 LPs has long since fallen out of print. Since then the album has become legend, its scarcity not hindering generations of music fans falling for its beguiling atmosphere.

    Over the course of four decades, the only means of hearing Lal and Mike Waterson's 1972 folk noir masterpiece had been unofficial CDs, cassettes distributed between fans and, in more recent times, YouTube uploads. And yet, despite the relative obscurity of the record being celebrated, 2000 people had packed London's The Barbican to witness live performance sof these songs by an extended family of Watersons, Carthys and kindred musical spirits. Toofolk to be embraced by the rock world, yet not traditional enough for the folk clubs where performing original material was tantamount to heresy, Bright Phoebus has had to wait an awfully long time for its moment of reappraisal. Almost by stealth, however, that moment seems to have arrived. In a Mojo chart of the 50 greatest British eccentric albums of all time, the album sat proudly among household names such as Kate Bush and Pink Floyd. In 2007, Bright Phoebus was the subject of a BBC Radio 4 documentary and Lal was the subject of a tribute concert which was televised by BBC2. With every passing year, its influence on generations of musicians who had yet to be born when it was released grows ever greater.

    This release will be the first time that the album will be widely available. Under the supervision of David Suff (Topic/Fledling) & Mary Waterson (daughter of Lal), the album has been remastered from the original master tapes. It's tempting to say that it was a record ahead of its time, but actually, Bright Phoebus is a record that exists outside of its time. A journey into a world where beauty and hardship are intertwined: a world of pagan sacrifice and stillborn children; a world where fairytale endings are frustrated by the demands of mere survival; where even the visiting magical man passing through the town seems to carry with him a faint air of menace.

    1. Rubber Band
    2. The Scarecrow
    3. Fine Horseman
    4. Winifer Odd
    5. Danny Rose
    6. Child Among The Weeds
    7. Magical Man
    8. Never The Same
    9. To Make You Stay
    10. Shady Lady
    11. Red Wine Promises
    12. Bright Phoebus
    Lal & Mike Waterson
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Forest Flower (Speakers Corner) Forest Flower (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Forest Flower (Speakers Corner)

    It was a clever move by George Avakian, producer at Atlantic Records, to record live the Charles Lloyd Quartet during their appearance in Monterey, and to release the LP under the title Forest Flower. Although the hippy flower-power movement tended towards a rather different musical genre at the end of the Sixties, they were blown away by this music. The four artists attracted masses of people and ensured that every seat was taken and all standing room filled at jazz festivals such as Newport, Molde (Norway), Antibes (France) and the Fillmore East and West. The super group also appeared in Monterey, 120 Km south of San Francisco, the centre of the hippy movement, on 18 September 1966.


    On the LP we have the almost 18-minute-long title piece and the standard work East Of The Sun, which were recorded at the festival. The disc is complemented by a Keith Jarrett composition and one by Cecil McBee, both of which were recorded in the studio ten days before the festival.
    Of particular note is the rich interplay, the energy that is palpable throughout, the perfect harmony in each and every change of mood, and the intensity. Even 50 years later, it is quite clear that Charles Lloyd managed to break down the barriers between pop and jazz.


    Charles Lloyd is committed to this objective to this very day! All four musicians are still active, although they no longer appear together as a group. Such a special treat for the ears is offered by this newly mastered disc only

    Musicians:



    • Charles Lloyd (tenor saxophone, flute)
    • Keith Jarrett (piano)
    • Cecil McBee (bass)
    • Jack DeJohnette (drums)



    Recording: September 1966 live at Monterey Jazz Festival by Wally Heider

    Production: George Avakian




    About Speakers Corner



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



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



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



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



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



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



    This title is not eligible for discount.

    1. Forest Flower - Sunrise
    2. Forest Flower - Sunset
    3. Sorcery
    4. Song Of Her
    5. East Of The Sun
    Charles Lloyd
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sweet Sister Funk (Pure Pleasure) Sweet Sister Funk (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Sweet Sister Funk (Pure Pleasure)

    From the mid to late 60's the producer Sonny Lester was at the helm of some of the period's most significant jazz music (Thad Jones-Mel Lewis Orchestra, Chick Corea, Duke Ellington's 70th birthday concert) and also some of the genre's biggest hits (mostly from organist Jimmy Mcgriff). With the folding of the Solid State label in 1971 Sonny Lester formed the aptly named Groove Merchant label (named after the tune Jerome Richardson wrote for the Jones-Lewis Orchestra). He then produced some of the periods most notable soul/jazz, jazz/fusion from the likes of McGriff, Richard Groove Holmes, Reuben Wilson, Lonnie Smith to name but a few.



    This gem of an album from Ramon Morris, and one of the hardest to find on Groove Merchant, was recorded during what many people would consider to be the classic period for this particular brand of jazz/funk/soul/fusion. It was recorded not long after he'd spent time with Art Blakey as a Jazz Messenger appearing on his 1972 Prestige album Child's Dance along with Stanley Clarke and Woody Shaw. He then also recorded on the Woody Shaw album, also from 1972, Song Of Songs.



    He now teaches at Carnegie-Mellon University in Pittsburgh, Pa.



    Musicians:



    • Ramon Morris (tenor saxophone)

    • Albert Dailey (electric piano)

    • Mickey Bass (bass)

    • Mickey Roker (drums)

    • Cecil Bridgewater (trumpet)

    • Lloyd Davis (guitar)

    • Tony Waters (conga)




    Recording: 1972

    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.




    This title is not eligible for discount.

    1. First Come, First Serve
    2. Wijinia
    3. Sweet Sister Funk

    4. Sweat
    5. Don't Ask Me
    6. Lord Sideways
    7. People Make the World Go Round
    Ramon Morris
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • E.S.P. E.S.P. Quick View

    $49.99
    Buy Now
    x

    E.S.P.

    Numbered, Limited Edition


    Pressed At RTI


    A landmark recording and masterful symphony of performance, composition, and execution, Miles Davis' E.S.P. established the template jazz would follow for the following decade. The 1965 record splits the gap between accessible hard-bop and the cutting-edge approach Davis increasingly pursued into the 1970s. Adventurous, sophisticated, and yet altogether cohesive, E.S.P. stands out not only due to its elastic compositions but via its chemistry, interplay, and feeling attained by the instrumentalists. The first album Davis' classic second quintet made together, it's also very arguably the group's best. Never before has the effort been experienced in such transformational sound.


    Pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP set of E.S.P. treats each phrase and every note as sacred communication. This meticulously restored audiophile version renders the music's dynamics, pitch, colors, and textures with lifelike realism and proper scale. Reference-caliber separation, wall-to-wall soundstages, and distinct images magnify the intensity and beauty of Davis and Co.'s creations. Whether it's the distinctive snap of Tony Williams' drum sticks against the snare head, air moving through Davis' trumpet, acoustic thrum of Ron Carter's bass, or upper register of Herbie Hancock's piano, the sound is better than you'd even hear in the most intimate jazz clubs. Prepare to be swayed on every level.


    For many, E.S.P. looms among the decade's best albums if only because of the significance of Davis' lineup. While Hancock, Williams, and Carter are holdovers that began playing with one another on 1963's Seven Steps to Heaven, Wayne Shorter functions as the secret weapon and key addition responsible for this ensemble hitting a new peak. Indeed, the saxophonist helped pen two of the seven compositions here - notably, E.S.P. is entirely comprised originals and clocked in as one of the longest-running jazz LPs issued at the time - and, more importantly, grants Davis the confidence and leeway necessary for the eruption of enigma, steadiness, and tension.


    As he did with John Coltrane year earlier, Davis hangs back and picks his moments to solo, with Shorter stepping up to supply the churn. Their bandmates respond in kind, itching to take off into new stratospheres all the while keeping their improvisations grounded and connected to the piece at hand. Guided by Davis' visions and inspired by current boundary-pushing works by the likes of Ornette Coleman, Cecil Taylor, and Coltrane, the magnificent results spark with variation, harmony, emotion, energy, and brilliant movement.


    Interlocking lines drive Little One, alternating rhythms pulse through the funky Eighty-One, melodies soar on the balladic Iris, the aptly titled Mood broods over minor-key structures, and Agitation - goosed by a two-minute percussive introduction by Williams - delivers on its promise. No record - and no group of musicians - have ever balanced coherent themes and exploratory playing in better fashion than Davis' quintet on E.S.P. It's the avant-garde record even jazz traditionalists love, and essential on every level.


    This title is not eligible for discount.

    1. E.S.P.
    2. Eighty-One
    3. Little One
    4. R.J.
    5. Agitation
    6. Iris
    7. Mood
    Miles Davis
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
  • Journeyman (Out Of Stock) Journeyman (Out Of Stock) Quick View

    $29.99
    x

    Journeyman (Out Of Stock)

    Remastered From Original Analog Masters! The 1989 solo album from Eric Clapton features a slew of artists including Phil Collins, Robert Cray, George Harrison, Cecil Womack, Gary Burton and more! The single "Bad Love" earned Clapton the 1990 Best Male Rock Vocal Performance Grammy Award.


     


    Features:

       • Vinyl LP

       • Remastered from original analog masters

     

     

    LP 1


     


    1. Pretending

    2. Anything For Your Love

    3. Bad Love

    4. Running On Faith

    5. Hard Times

    6. Hound Dog

    LP 2


    1. No Alibis

    2. Run So Far

    3. Old Love

    4. Breaking Point

    5. Lead Me On

    6. Before You Accuse Me
    Eric Clapton
    $29.99
    Vinyl LP - 2LPs Sealed Temporarily out of stock
  • The Warm Moods (Pure Pleasure) (Out Of Stock) The Warm Moods (Pure Pleasure) (Out Of Stock) Quick View

    $34.99
    x

    The Warm Moods (Pure Pleasure) (Out Of Stock)

    Actually I am not big fan of jazz mixing with strings - it seems to have a muzaky feeling to it. But ... this album is so well done, Webster's playing is so amazing, that there is no way anyone could call this muzak. The sound is excellent. It was recorded at Radio Recorders - a great sound studio that was very popular in Hollywood in the 50s. The strings are extremely lush and Webster sounds as if he is in the room with you. One additional note - Webster's signiture breathy sound is much less breathy than in later albums. Not better, not worse - just a different sound than I am used to hearing. I highly suggest this LP to any Webster fan and anyone looking for a big fat mellow sound.« By T. Butler on August 7, 2004


    I grew up on late 70s and early 80s R&B and soul music and then aggressively got into hip-hop. Hip hop music was the music that began to expose me to the jazz classics that seldomly became sampled in the art form. I'm grateful for that and I have been an avid collector of jazz music for 15 years now. I buy music randomly and at the spur of the moment and from many artists I have never heard of ... so yes, do own a whole lot of musical garbage! but sometimes I get lucky .. like this album here. This was my first Ben Webster album (of which I now own five) and this one still remains my favorite. This is music for a grown spirit ... it is indeed warm and quiet and lush. Buy this as soon as possible, you'll enjoy it



    Musicians:



    • Ben Webster (tenor saxophone)

    • Armond Kaproff (cello)

    • Cecil Figelski (viola

    • Lisa Minghetti (violin)

    • Don Bagley (bass)

    • Donn Trenner (piano)

    • Frank Capp (drums)



    Recording: 1961 at Radio Recorders Studio, Los Angeles




    About Pure Pleasure



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



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



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



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



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



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


    This title is not eligible for discount.

    1. The Sweetheart Of Sigma Chi
    2. Stella By Starlight
    3. With Every Breath I Take
    4. Accent On Youth
    5. But Beautiful
    6. Time After Time
    7. Nancy
    8. I'm Beginning To See The Light
    9. It Was So Beautiful
    10. The Whiffenpoof Song
    11. It's Easy To Remember
    12. There's No You
    Ben Webster
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
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