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  • East Coasting (Pure Pleasure) East Coasting (Pure Pleasure) Quick View

    $34.99
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    East Coasting (Pure Pleasure)

    Charles Mingus is usually known for his wild, soulful and avant-garde compositions. East Coasting is mellow by comparison, but it still cooks on a musical level. The Mingus touches are there; the trombone, drummer Danny Richmond and of course the dark emotional undercurrent looms large, too. The personnel are all Mingus regulars, except for pianist Bill Evans, who would not be described as 'soulful' in the traditional sense, but his introverted and sensitive style works well with Mingus's music. His playing on West Coast Ghost (the album's stand-out track) and Celia are two examples of Evans' ability to understand an artist's musical vision and play accordingly in his own beautifully original style.East Coasting sounds like the prototypical 1950s jazz recording. It's something one would hear in an attic converted to a bedroom where an artist or lonely soul might live. It's what a lot of people might believe Jazz would or should sound like. Highly recommended to Jazz lovers and perhaps more importantly to young people who have just been blown away by Kerouac's novel On The Road and have become interested in exploring Jazz. East Coasting will allow them to get a taste of lost creative America.



    Musicians:



    • Charles Mingus (bass)

    • Clarence Shaw (trumpet)

    • Jimmy Knepper (trombone)

    • Shafi Hadi (tenor saxophone, alto saxophone)

    • Bill Evans (piano)

    • Dannie Richmond (drums)




    Recording: August 1957 in New York City




    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. Memories Of You
    2. East Coasting
    3. West Coast Ghost
    4. Celia
    5. Conversation
    6. Fifty-First Street Blues
    Charles Mingus
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mingus Ah Um (12 Minutes Of Additional Material) Mingus Ah Um (12 Minutes Of Additional Material) Quick View

    $39.99
    Buy Now
    x

    Mingus Ah Um (12 Minutes Of Additional Material)

    Import

    Remastered


    When driving a band with the upright, or double bass, Charles Mingus looked--and was--gigantic, in
    more ways than one. He had huge creative appetites (as well as being hot tempered), creating his own
    combination of hard bop, blues, and avant-garde jazz. There was no one more multi-faceted than Mingus
    between the 1950s and 1970s and of his many albums, Mingus Ah Um (1959) is considered to be a jazz
    classic.
    When Columbia first issued this album, 6 of the 9 tracks were shortened drastically to fit them on the LP.
    Later reissues (on CD) have included the tracks in their original full length, but this edition of the album
    had not been released on vinyl yet. We are excited to release the album 50 years after its original conception, as it was intended by the Angry Man of Jazz himself.


    Containing the full-length versions of all 9 songs ( over 12 minutes of additional material)

    Side A


    Better Git It In Your Soul 7:22
    Goodbye Pork Pie Hat 5:42
    Boogie Stop Shuffle 4:59
    Self-Portrait In Three Colors 3:06
    Open Letter To Duke 5:49


    Side B


    Bird Calls 6:18
    Fables Of Faubus 8:13
    Pussy Cat Dues 9:13
    Jelly Roll 6:15

    Charles Mingus
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Let My Children Hear Music Let My Children Hear Music Quick View

    $49.99
    Buy Now
    x

    Let My Children Hear Music

    Mingus Deemed His 1972 Effort The Best Album I Have Ever Made


    Iconic Bassist/Composer Pairs With a Riveting Orchestra


    Mastered from the Original Analog Master Tapes by Bernie Grundman: Exceptional Sound Allows You to Savor the Wowing Solos and Moody Textures


    Charles Mingus called this late-period 1972 set "the best album I have ever made." Even in the context of the giant's other masterpieces, it's hard to argue with that statement. Let My Children Hear Music is that kind of great.


    A large-ensemble effort featuring enterprising arrangements, the record surrounds the bassist/composer with a tremendous orchestra and swirling, glorious structures bejeweled with volleying horns, elaborate solos, and introspective moodiness. The most valuable buried treasure in Mingus' distinguished catalog? Hear the songs for yourself, and decide. ORG Music, however, has made it much easier to arrive at an answer.


    Why? The sound on this 180 gram 45RPM 2LP pressing, mastered from the original analog master tapes by Bernie Grundman, practically invites you into the studio. Given proper room, dimensions, and imaging, the instruments and the music they combine to produce, further exposes Mingus' genius and reminds us all once again why sonic transparency equates to emotional realism and soulful revelation. What a record.

    1. Shoes of the Fisherman's Wife Are Some Jive Ass Slippers
    2. Adagio ma Non Troppo
    3. Don't Be Afraid, the Clown's Afraid Too
    4. Hobo Ho
    5. Chill of Death
    6. The I of Hurricane Sue
    Charles Mingus
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Let My Children Hear The Music (Pure Pleasure) Let My Children Hear The Music (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Let My Children Hear The Music (Pure Pleasure)

    On the original LP issued by Columbia, Mingus thanked producer Teo Macero for his »untiring efforts in producing the best album I have ever made.« From his deathbed in Mexico in 1979 he sent a message to Sy Johnson (who was responsible for many of the arrangements on the album), saying that Let My Children Hear Music was the record he liked most from his career. Although Mingus' small-group recordings are the ones most often cited as his premier works, this album does, in fact, rank at the top of his oeuvre and compares favorably with the finest large-ensemble jazz recordings by anyone, including Ellington. The pieces had been brewing over the years, one from as far back as 1939, and had been given more or less threadbare performances on occasion, but this was his first chance to record them with a sizable, well-rehearsed orchestra.





    Musicians:



    • Snooky Young (trumpet)

    • Jimmy Knepper (trombone)

    • Julius Watkins (fruegel horn)

    • Charles McPherson (alto saxophone)

    • Jaki Byard (piano)

    • Charles McCracken (cello)

    • Ron Carter (bass)

    • Charles Mingus (bass, composer, arranger)

    • Dannie Richmond (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. Shoes of the Fisherman's Wife Are Some Jive Ass Slippers
    2. Adagio ma Non Troppo
    3. Don't Be Afraid, the Clown's Afraid Too
    4. Hobo Ho
    5. Chill of Death
    6. The I of Hurricane Sue
    Charles Mingus
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Clown (Speakers Corner) The Clown (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    The Clown (Speakers Corner)

    Who hasn't got an ancient, worn-out copy of The Clown on his shelf, with a tatty cover and torn inner sleeve? Or maybe one of the rare re-releases made of cheap, thin vinyl with dreadful graphic art? And if you haven't heard this gem for a long time, despite the flood of Mingus LPs, CDs and downloads on the market, then you really should seize this opportunity to do so. The Clown was, and still is, an absolute must-have for every jazz collector. The small ensemble, only five musicians, came into the New York Atlantic Records studio in March 1957 to record music exclusively composed by the double bassist. Over the next 15 years, three of them were to be heard in numerous concerts with other ensembles. But the original recordings on this LP were the most deeply concentrated, the most versatile, and quite simply the best of all. The more so because the label attached great importance to optimal studio conditions and allowed the instrumentalists plenty of time to make the recordings.


    In the present new release, The Clown can be enjoyed to the full from the very first note of Haitian Fight Song up until the words William Morris Sends Regrets in the title work.

    Musicians:



    • Charles Mingus (bass)
    • Curtis Porter (alto saxophone, tenor saxophone)
    • Jimmy Knepper (trombone)
    • Wade Legge (piano)
    • Dannie Richmond (Drums)
    • Jean Shepherd (Vocals)



    Recording: February and March 1957 in New York City by Tom Dowd and Larry Hiller in mono

    Production: Nesuhi ErtegÜn




    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. Haitian Flight Song
    2. Blue Cee
    3. Reincarnation of a Lovebird
    4. The Clown
    Charles Mingus
    $34.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Charles Mingus Presents Charles Mingus (Pure Pleasure) Charles Mingus Presents Charles Mingus (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Charles Mingus Presents Charles Mingus (Pure Pleasure)

    Charles Mingus has a fascinating way of offering music that is grounded in tradition while remaining startlingly original. The freshness of a piece like Charles Mingus Presents Charles Mingus, has the effect of rendering much of what passes for jazz as tedious. The band is small for Mingus, and includes Eric Dolphy on alto saxophone and bass clarinet, Ted Curson on trumpet, and Dannie Richmond on drums. It would be one of Dolphy and Curson's last recording dates with the artist, and they seem determined to go all out for it. The leader's bass line kicks off Folk Forms No. 1, followed by Dolphy outlining the melody, and then joined by Curson. A simple riff develops into a lively New Orleans funeral march that's developed for 12 minutes. Original Faubus Fables is serious in intent - a political attack on segregation governor Faubus - but Mingus and Richmond's singing is difficult to listen to with a straight face. Still, this doesn't distract from the wonderful music. Again and again, the elasticity of the sound is fascinating, at once spacious with the bass and drums balanced against the brass and then noisy, with the horns wailing and crying. The last two pieces, What Love? and the outrageously titled All the Things You Could Be by Now if Sigmund Freud's Wife Was Your Mother, are much looser, bordering on free jazz. The album accomplishes what the best of Mingus accomplishes: the perfect tension between jazz played as an ensemble and jazz played as totally free.




    Musicians:



    • Eric Dolphy (alto saxophone, bass clarinet)

    • Ted Curson (trumpet)

    • Charles Mingus (bass)

    • Dannie Richmond (drums)




    Recording: October 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.


    and that the lacquer discs are newly cut.



    1. Folk Forms, No. 1

    2. Original Faubus Fables

    3. What Love

    4. All The Things You Could Be By Now If Sigmund Freud's Wife Was Your Mother

    Charles Mingus
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Tijuana Moods (Speakers Corner) Tijuana Moods (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Tijuana Moods (Speakers Corner)

    Tijuana Moods is an album by Charles Mingus originally recorded in 1957 but not released until 1962. It is notable that the name Charlie Mingus appears on the cover of the original album. Mingus hated all nicknames derived from Charles (Don't call me Charlie; that's not a man's name, that's a name for a horse). All songs were composed by Mingus except Flamingo.



    Musicians:



    • Charlie Mingus (bass)

    • Curtis Porter (alto saxophone)

    • Jimmy Knepper (trombone)

    • Clarence Shaw (trumpet)

    • Bill Triglia (piano)

    • Dannie Richmond, Frankie Dunlop (percussion)

    • Danny Richmond (drums)

    • Lonnie Elder (voices)




    Recording: July and August 1957 in RCA Victor's Studio A, New York City, by Bob Simpson

    Production: Bob Rolontz





    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. Dizzy Moods
    2. Ysabel's Table Dance
    3. Tijuana Gift Shop
    4. Los Mariachis (The Street Musicians)
    5. Flamingo
    Charles Mingus
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Blues & Roots Blues & Roots Quick View

    $21.99
    Buy Now
    x

    Blues & Roots

    Blues & Roots is an album by Charles Mingus, recorded in 1959 and released in 1960. Mingus explained the birth of this record in the album's liner notes: This record is unusual-it presents only one part of my musical world, the blues. A year ago, Nesuhi ErtegÜn suggested that I record an entire blues album in the style of Haitian Fight Song (in Atlantic LP 1260), because some people, particularly critics, were saying I didn't swing enough. He wanted to give them a barrage of soul music: churchy, blues, swinging, earthy. I thought it over. I was born swinging and clapped my hands in church as a little boy, but I've grown up and I like to do things other than just swing. But blues can do more than just swing. So I agreed. (via Wikipedia)
    1. Wednesday Night Prayer Meeting
    2. Cryin' Blues
    3. Moanin'
    4. Tensions
    5. My Jelly Roll Soul
    6. E's Flat Ah's Flat Too
    Charles Mingus
    $21.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Pithecanthropus Erectus (Speakers Corner) Pithecanthropus Erectus (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Pithecanthropus Erectus (Speakers Corner)

    It was a fairly ordinary quintet that entered the Audio-Video Studios in New York City on 30 January 1956: one tenor saxophone, one alto saxophone, a pianist, a drummer and ... you guessed: an extraordinary man on the double bass! Not just an instrumentalist, but also an imaginative composer, wayfarer between all kinds of jazz, arranger and enfant terrible.


    The Suite Pithecanthropus Erectus is - among other things - programme music. Having learned to walk upright, having achieved alleged superiority over animals, and having caused devastation, the destruction of mankind's natural resources follows. The composer Mingus gives his fellow mankind/musicians the widest possible freedom, which all exploit to the full both in interplay and in the solos. Bedded down in noise and sound collages, the piece is the result of an experimental workshop. The Gershwin classic A Foggy Day takes on the role of intermediary between the jazz styles of the 1930s and free jazz. And in Profile Of Jackie and Love Chant the arranger calls for his soloists to go to the very limits of their artistic improvisation.


    Charles Mingus was certainly not an easy person to deal with for his family, friends and fellow musicians. But that fades into the background when it comes to such outstanding music. Luckily, we outsiders can once again enjoy the music of this genius 60 years after the studio recording, in its original format.


    Musicians:


    • Jackie McLean (alto saxophone)
    • J.R. Monterose (tenor saxophone)
    • Mal Waldron (piano)
    • Charlie Mingus (bass)
    • Willie Jones (drums)


    Recording: January 1956 at Audio-Video Studios, New York City by Tom Dowd & Hal Lustig in mono

    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. Pithecanthropus Erectus
    2. A Foggy Day
    3. Profile Of Jackie
    4. Love Chant
    Charles Mingus
    $34.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Ah Um Ah Um Quick View

    $19.99
    Buy Now
    x

    Ah Um

    Charles Mingus presents Ah Um. Features exclusive cover by photographer Jean-Pierre Leloir.
    1. Better Get It in Your Soul
    2. Goodbye Pork Pie Hat
    3. Boogie Stop Shuffle
    4. Self-Portrait in Three Colors
    5. Open Letter to Duke
    6. Bird Calls
    7. Fables of Faubus
    8. Pussy Cat Dues
    9. Jelly Roll
    Charles Mingus
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mingus Dynasty Mingus Dynasty Quick View

    $29.99
    Buy Now
    x

    Mingus Dynasty

    Mastered From Original Analog Tapes By Grammy Award Winner Bernie Grundman


    Pressed On 180 Gram Audiophile-Grade Vinyl At Pallas Group In Germany


    Limited Edition Of 2,000 Copies


    Features Liner Notes From Charles Mingus Himself


    Mingus Dynasty was recorded in 1959, alongside its
    companion album, Mingus Ah Um. With two different
    ensembles at his disposal, Mingus musically challenged
    the musicians as they'd never been challenged before.
    The results speak for themselves. This vinyl reissue
    was mastered from original analog tapes by Bernie
    Grundman, pressed on 180gram vinyl at Pallas in
    Germany, and is limited to 2,000 units worldwide. The
    jacket includes liner notes from Mingus himself.

    1. Slop
    2. Diane
    3. Song With Orange
    4. Gunslinging Bird
    5. Things Ain't What They Used To Be
    6. Far Wells, Mill Valley
    7. New Now, Know How
    8. Mood Indigo
    9. Put Me In That Dungeon
    Charles Mingus
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Oscar Pettiford: Volume 2 (Pure Pleasure) Oscar Pettiford: Volume 2 (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Oscar Pettiford: Volume 2 (Pure Pleasure)

    Oscar Pettiford became a major influence on a number of jazz artists along with fellow bassists Jimmy Blanton and Charles Mingus. This album titles as Volume 2 or Another One, Pettiford's third album as a leader for the Bethlehem label, was recorded in 1955. This exceptional date features the horns of Donald Byrd, Ernie Royal, Bob Brookmeyer, Gigi Gryce, and Jerome Richardson. Highlights include the Pettiford-penned Bohemia After Dark, named after the club in Greenwich Village and acknowledged as a jazz standard, Stardust, featuring Pettiford's poetic bass faintly accompanied by pianist Don Abney, and Minor Seventh Heaven, with Pettiford switching to cello. This is not just a bebop date; Pettiford had the range to incorporate influences like Duke Ellington and calypso, creating a full, lyrical band sound that matched his bass playing. Pettiford's legacy was cut short after he passed away suddenly in 1958 in Copenhagen at the age of 37.

    Musicians:



    • Donald Byrd, Ernie Royal (trumpet)

    • Bob Brookmeyer (trombone)

    • Gigi Gryce (alto saxophone, clarinet)

    • Jerome Richardson (tenor saxophone, clarinet, flute)

    • Don Abney (piano)

    • Oscar Pettiford (bass. cello)

    • Osie Johnson (drums)



    Recording: August 1955 in New York City



    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. Kamman's A-Comin
    2. Minor 7th Heaven
    3. Stardust
    4. Bohemia After Dark
    5. Oscalypso
    6. Scorpio
    7. Titoro
    8. Don't Squawk
    9. Another One
    Oscar Pettiford
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Blues & Roots Blues & Roots Quick View

    $27.99
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    x

    Blues & Roots

    Import


    The 1998 reissue of BLUES & ROOTS contains all the original tracks and liner notes, plus additional tracks and rare photos. Personnel: Charles Mingus (bass); Jackie McLean, John Handy (alto saxophone); Booker Ervin (tenor saxophone); Pepper Adams (baritone saxophone); Jimmy Knepper, Willie Dennis (trombone); Horace Parlan, Mal Waldron (piano); Dannie Richmond (drums). Recorded at Atlantic Studios, New York, New York on February 4, 1959. Originally released on Atlantic (1305). Includes liner notes by Charles Mingus. All tracks have been digitally remastered.Mingus goes to church. A thrilling album of blues and spirituals Mingus style. This 1959 Atlantic recording certainly ranks among his very best. Memorable performances of some of the bassist's most soulful tunes such as Wednesday Night Prayer Meeting and E's Flat Ah's Flat Too. Mingus is joined by an exuberant ensemble including a stellar saxophone section of Jackie McLean, John Handy, Booker Ervin, and Pepper Adams.

    1. Wednesday Night Prayer Meeting
    2. Cryin' Blues
    3. Moanin'
    4. Tensions
    5. My Jelly Roll Soul
    6. E's Flat Ah's Flat Too
    7. We Got Blue*


    * Bonus Track

    Charles Mingus
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • East Coasting East Coasting Quick View

    $27.99
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    East Coasting

    Import


    Limited Edition

    East Coasting is an album by Charles Mingus, recorded and released in 1957.

    1. Memories Of You
    2. East Coasting
    3. West Coast Ghost
    4. Memories Of You(Alternate Take)
    5. Celia
    6. Conversation
    7. Fifty-First Blues
    8. East Coasting(Alternate Take)
    Charles Mingus
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Pithecanthropus Erectus Pithecanthropus Erectus Quick View

    $27.99
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    Pithecanthropus Erectus

    Import


    Limited 180gm vinyl LP pressing of this classic 1956 Jazz album. Pithecanthropus Erectus was Mingus' breakthrough as a leader, the album where he established himself as a composer of boundless imagination and a fresh new voice that, despite his ambitiously modern concepts, was firmly grounded in jazz tradition. With this album he began seeking new ways to increase the evocative power of the art form and challenge his musicians (this release includes Jackie McLean on alto sax and Mal Waldron on piano) to break preexisting conventions. Wax Time.

    1. Pithecanthropus Erectus
    2. A Foggy Day
    3. Profile Of Jackie
    4. Love Chant
    5. A Foggy Day (Live version) *


    *Bonus Track

    Charles Mingus
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Newport Rebels (Pure Pleasure) Newport Rebels (Pure Pleasure) Quick View

    $34.99
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    Newport Rebels (Pure Pleasure)

    The jazz experience just doesn't get any better than this! Newport Rebels was nominated for Sterophile's Records To Die For because of Roy Eldridge's ballsy, all-out trumpet playing on Mysterious Blues and Me and You. Eldridge approached the horn as if neither he nor it had limits - his electrifying, perfectly paced solos prove him right. Neither do the other musicians disappoint. The result is jazz tastefully stretched beyond traditional roots. And the late-1960s, direct-to-two-track recording guarantees a natural sound with few production artifacts.




    Musicians:



    • Abbey Lincoln (vocal)

    • Booker Little, Benny Bailey, Roy Eldridge (trumpet)

    • Jimmy Knepper, Julian Priester (trombone)

    • Eric Dolphy (alto saxophone)

    • Walter Benton (tenor saxophone)

    • Kenny Dorham, Tommy Flanagan (piano)

    • Charles Mingus, Peck Morrison (bass)

    • Max Roach, Jo Jones (drums)




    Recording: November 1960 at the Newport Jazz Festival, Rhode Island, and Nola Penthouse Studios, New York City

    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. Mysterious Blues
    2. Cliff Walk
    3. Wrap Your Troubles In Dreams (And Dream Your Troubles Away)
    4. Taint Nobodys Bizness If I Do
    5. Me and You
    Jazz Artists Guild
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Kind Of Blue (Mono) Kind Of Blue (Mono) Quick View

    $39.99
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    x

    Kind Of Blue (Mono)

    Import

    180 Gram Audiophile Vinyl


    Mono


    Listed as one of the four most influential Jazz albums that happened to be released in 1959 (Dave Brubeck - Time Out & Charles Mingus - Ah Um among them), so much has been said and written about Miles Davis' Kind Of Blue, it's virtually impossible to summarize all the necessary info to the length of this page. We could simply list some facts (best sold Jazz album ever worldwide). We could try to explain why it's the best Jazz album ever made, but the music itself will do that to you.


    As Bill Evans said in the original liner notes for the record, the band did not play through any of these pieces prior to recording. Miles Davis laid out the themes before the tape rolled and the band improvised. The end results were fragile and wondrous. Recorded during 2 sessions in 1959, Kind of Blue worked on many different levels and will do so for many years to come.

    1. So What
    2. Freddie Freeloader
    3. Blue In Green
    4. All Blues
    5. Flamenco Sketches
    Miles Davis
    $39.99
    180 Gram Audiophile Vinyl LP Mono - Sealed Buy Now
  • Jackie's Pal (Mono) Jackie's Pal (Mono) Quick View

    $34.99
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    Jackie's Pal (Mono)

    In the case of this 1956 Prestige release, Jackie's Pal is none other than trumpeter Bill Hardman who McLean champions justifiably here after the pair left the Charles Mingus workshop and before they both joined Art Blakey's Jazz Messengers. The excellent date finds the jazz greats in a quintet rounded out by Mal Walldron (piano), Paul Chambers (bass) and Philly Joe Jones (drums).


    This title is not eligible for discount.

    1. Sweet Doll
    2. Just For Marty
    3. Dee's Dilemma
    4. Sublues
    5. Steeplechase
    6. It Could Happen To You
    Jackie McLean
    $34.99
    200 Gram Audiophile Virgin Vinyl Mono LP - Sealed Buy Now
  • The Quintet (Jazz At Massey Hall) (Awaiting Repress) The Quintet (Jazz At Massey Hall) (Awaiting Repress) Quick View

    $21.99
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    The Quintet (Jazz At Massey Hall) (Awaiting Repress)

    1. Perdido (Live)
    2. Salt Peanuts
    3. All The Things You Are 52 And Street
    4. Wee (Live)
    5. Hot House (Live)
    6. A Night In Tunisia (Live)
    Charles Mingus
    $21.99
    Vinyl LP Reissue - Sealed AWAITING REPRESS Buy Now
  • Down Home (Pure Pleasure) Down Home (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Down Home (Pure Pleasure)

    Bethlehem Records was a major jazz label in the 1950's formed by Gus Wildi with an impressive roster of artists including singers Nina Simone, Carmen MacRae, Chris Conner & Mel Torme, to name a few; arrangers: Marty Paich, Russ Garcia, Frank Hunter; and musicians including: Dexter Gordon, Roland Kirk, Charles Mingus, Frank Rosolino, Herbie Mann, Stan Levey, Art Blakey, Milt Hinton, Errol Garner, Zoot Sims, Duke Ellington, J.J. Johnson and many, many others. The label distinguished itself by giving artists creative control of their projects and presented albums of rather cutting edge graphic design. Its legacy is a lengthy discography that freshly and ambitiously captured and preserved an era of truly amazing music including West Coast Cool Jazz, East Coast Bop, and Vocalists. For many of the artists, their first or greatest recorded work happened at Bethlehem. By trusting its staff and artists to make their own creative decisions, to experiment, and thus to flourish, Bethlehem actively helped create and not just document a whole and diverse era of Jazz music.
    1960, when this album was recorded, was one of Zoot Sims' most productive years. The performances here are recognised as being the masterpieces of Sims' middle period.



    Musicians:



    • Zoot Sims (tenor saxophone)

    • Dave McKenna (piano)

    • George Tucker (bass)

    • Dannie Richmond (drums)



    Recording: June 1960 in New York City by Peter Ind

    Production: Teddy Charles



    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. Jive At Five
    2. Doggin' Around
    3. Avalon
    4. I Cried For You
    5. Bill Bailey
    6. Goodnight Sweetheart
    7. There'll Be Some Changes Made
    8. I've Heard That Blues Before
    Zoot Sims
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Rock of Ages Rock of Ages Quick View

    $49.99
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    Rock of Ages

    The Band's Ultimate Live Album Recorded at Its Career Peak!


    Legendary Live Set Features Horn Arrangements by Allen Toussaint


    Incredible Sound and Virtuosic Performances


    The Last Waltz gets bigger billing, but The Band's 1972 live album Rock of Ages is actually the better representation of a live Band album. Recorded at the tail end of the group's Cahoots tour and over the course of four nights at New York's Academy of Music at the end of December 1971, the incendiary concert set bookmarks the close of the first phase of the collective's career.


    Rather than follow the lead of most other live records made at the time (and many since), The Band resists any temptation to improvise or extend its material. Instead, the group plays with an intensity, chemistry, and spirit that's nearly unrivaled by any other live album. The quintet also draws on a secret weapon: One Allen Toussaint, who tailors expert horn arrangements for multiple songs, a move that spices renditions of classics such as "Don't Do It" and "Chest Fever." To top it all off, the horn charts are performed by the Rock of Ages Horn Section-a five-piece ensemble that includes legendary trumpeter Snooky Young (Count Basie, Lionel Hampton) and saxophonist Joe Farrell (Charles Mingus, Elvin Jones).


    "I felt very much at home with The Band. You could tell in their music they know where they're coming from and they know where they're going. Each one had an extremely special interest in what they were doing." -Toussaint, as told to Rob Bowman


    Do they ever. Unencumbered by the myriad guests and grandiose sense that define The Last Waltz, and energized by Toussaint's invaluable work, Rock of Ages is the sound of a great band pulling out all the stops. Robbie Robertson's guitar solos take "Unfaithful Servant" to a higher ground; "The W.S. Walcott Medicine Show" kicks with raunchy R&B abandon; Garth Hudson delivers a show-stealing performance on "The Genetic Method," a thrilling organ piece that incorporates elements of Anglican church music, folk, classical, and pop-as well as "Auld Lang Syne," due to its being recorded on New Year's Eve.


    After various inferior editions and reissues, Rock of Ages is finally presented on an immaculate-sounding 180g 2LP set from Mobile Fidelity that lets Toussaint's contributions, horn section's energy, and the Band's feverish interplay shine like never before. Mastered from the original tapes, the open, airy, natural, and balanced sound will have you returning to Rock of Ages again and again.


    This title is not eligible for discount.

    1. Introduction / Don't Do It
    2. King Harvest (Has Surely Come)
    3. Caledonia Mission
    4. Get Up Jake
    5. The W.S. Walcott Medicine Show
    6. Stage Fright
    7. The Night They Drove Old Dixie Down
    8. Across The Great Divide
    9. This Wheel's On Fire
    10. Rag Mama Rag
    11. The Weight
    12. The Shape I'm In
    13. Unfaithful Servant
    14. Life Is A Carnival
    15. The Genetic Method
    16. Chest Fever
    17. (I Don't Want To) Hang Up My Rock And Roll Shoes
    The Band
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Bird At St. Nick's Bird At St. Nick's Quick View

    $21.99
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    x

    Bird At St. Nick's

    Charlie Parker attracted young musicians like a magnet. Among them was trombonist Jimmy Knepper, who, at a time when tape recording was a brand-new thing, captured Bird in flight one winter night in Manhattan. He soared, and when Charles Mingus heard the music years later, he issued it as the first release on his new Jazz Workshop label. Since then, many private recordings of Parker have been made public. This was one of the first, and remains one of the best, a precious musical document.
    1. I Didn't Know What Time It Was
    2. Ornithology
    3. Embraceble You
    4. Visa
    5. I Cover The Waterfront
    6. Scrapple From The Apple
    7. Star Eyes/52nd Street Theme
    8. Confirmation
    9. Out Of Nowhere
    10. Hot House
    11. What's New?
    12. Now's The Time
    13. Smoke Gets In Your Eyes/52nd Street Theme
    Charlie Parker
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • Jazz Composers Workshop Jazz Composers Workshop Quick View

    $32.99
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    Jazz Composers Workshop

    Import


    The Jazz Composers' Workshop album, originally released on Savoy in 1956, is made up of two sessions-recorded on 31 October 1954 (side A and tracks 5 & 6 on side B), and 30 January 1955 (tracks 1-4 on side B)-that were part of Mingus' influential "Jazz Composers' Workshop", a forum intended to give young jazz composers the opportunity to play and record their own compositions. The 1954 session-a sextet line-up featuring Charles Mingus (bass), John La Porta (clarinet & alto sax), Teo Macero (tenor & baritone sax), George Barrow (tenor & baritone sax), Mal Waldron (piano) and Rudy Nichols (drums)-was made up entirely of Mingus originals, with the exception of the 1925 standard "Tea For Two". Mingus' "Body & Soul", found here, did not appear on the original LP. The 1955 date-a quartet session led by pianist Wally Cirillo, and featuring Mingus on bass, tenor-saxophonist Teo Macero, and drummer Kenny Clarke-was actually intended as a showcase for four compositions by Cirillo, and featured one of the first, if not THE first, jazz composition to be based on a 12-tone row, "Transeason".

    1. Purple Heart
    2. Gregarian Chant
    3. Eulogy For Rudy Williams
    4. Tea For Two
    5. Smog L.A.
    6. Level Seven
    7. Transeason
    8. Rose Geranium
    9. Getting Together
    10. Body & Soul
    Charles Mingus
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Deep Dead Blue - Live At Meltdown Deep Dead Blue - Live At Meltdown Quick View

    $34.99
    Buy Now
    x

    Deep Dead Blue - Live At Meltdown

    Import

    180 Gram Vinyl


    Available on Vinyl For The First Time


    A lovely, understated exercise in minimalism, Deep Dead Blue documents a set of otherwise unaccompanied guitar/vocal duets between Bill Frisell and Elvis Costello, recorded live at the Meltdown Festival in London's Queen Elizabeth Hall on June 25, 1995.


    Frisell co-wrote the title track, one of the five songs bearing a Costello credit; the others are underexposed items from Costello's mid- to late-'80s catalog, plus selections by Charles Mingus (Weird Nightmare) and Lerner & Loewe (Gigi).


    Costello is once again the refined, mature vocal stylist of Painted From Memory, but Frisell expertly controls the dynamics of each piece, often stripping his part down to single-note lines, which lends surprising emotional impact when he allows full chords to wash over Costello's voice.

    1. Weird Nightmare
    2. Love Field
    3. Shamed Into Love
    4. Gigi
    5. Poor Napoleon
    6. Baby Plays Around
    7. Deep Dead Blue
    Elvis Costello & Bill Frisell
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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