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Chet Baker Chet Is Back

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  • Chet Is Back Chet Is Back Quick View

    $34.99
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    Chet Is Back

    Import

    Recorded in Rome, Italy at RCA's studios, Chet Is back! is the 1962 studio album by the undisputed master of the trumpet, Chet Baker. Backed by a group of up-and-coming European jazz musicians, which included Belgian saxophonist Bobby Jaspar, Belgian guitarist Rene Thomas, Italian pianist Amedeo Tommasi, French bassist Benoit Quersin, and Swiss drummer Daniel Humair, according to critics Chet Baker may have never sounded better.


    The album features compositions by other jazz musicians like Thelonious Monk's Well, You Needn't, Charlie Parker's Barbados and Sonny Rollins' Pent Up House. The album also includes an original composition by Amedeo Tommasi entitled Ballata in forma di blues. Ballads are featured as well, including the classic Academy Award-winning Over the Rainbow.

    1. Well You Needn't
    2. These Foolish Things
    3. Barbados
    4. Star Eyes
    5. Over The Rainbow
    6. Pent Up House
    7. Ballata In Forma Di Blues
    8. Blues In The Closet
    Chet Baker
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Chet is Back! Chet is Back! Quick View

    $29.99
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    Chet is Back!

    Mastered from the Original Tapes and Stunning Audiophile-Grade Sonics: You Will Not Hear a Better Pressing!


    Chet is back! And how. In a career filled with ups and downs, Chet Baker sounds divine on this 1962 set of bop-driven tunes and elegant standards cut in Italy after the trumpeter's two-year hiatus from recording. Reason for its superiority owes to a sextet anchored by burgeoning, young European musicians such as saxophonist Bobby Jaspar, pianist Amedeo Tommasi, guitarist Rene Thomas, and bassist Benoit Quersin.


    Compositionally, ballads (including These Foolish Things and the only new composition, Ballata In Forma Di Blues) are tucked in between a surfeit of engaging, uptempo pieces. Yet the most staggering revelation here, aside from the fact that, no exaggeration, Chet Is Back! might contain the cool musician's most gorgeous playing, is the version of Over the Rainbow, given a reading that encapsulates the classic songs longing, hope, and beauty. Noteworthy, too, are Jaspar's statement-making performances.


    Now, an even 50 years after its original release, Chet Is Back! benefits from the audiophile-quality sound it's always deserved courtesy of ORG Music and being mastered from the original master tapes. Few, if any, audiophile pressings of Baker's music match the tones and timbres present on this astoundingly transparent reissue. It's what jazz is all about.


    Musicians:

    Chet Baker, trumpet, vocals

    Bobby Jaspar, flute, tenor sax

    Rene Thomas, guitar

    Daniel Humair, drums

    Benoit Quersin, bass

    Amadeo Tommasi, piano

    1. Well, You Needn't
    2. These Foolish Things
    3. Barbados
    4. Star Eyes
    5. Over The Rainbow
    6. Pent Up House
    7. Ballata In Forma Di Blues
    8. Blues In The Closet
    Chet Baker
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Chet Is Back Chet Is Back Quick View

    $19.99
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    Chet Is Back

    Chet Baker presents Chet Is Back. Features exclusive cover by photographer Jean-Pierre Leloir.
    1. Well, You Needn't
    2. These Foolish Things
    3. Barbados
    4. Star Eyes
    5. Over The Rainbow
    6. Pent-Up House
    7. Ballata In Forma Di Blues
    8. Blues In The Closet
    Chet Baker
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Chet Baker Quartet Chet Baker Quartet Quick View

    $39.99
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    Chet Baker Quartet

    This session was recorded at Studio Pathe-Magellan in Paris, on Monday October 24, 1955 from 2 p.m. to 9 p.m.


    On October 24th only Jimmy Bond was still with Chet: Peter littman had returned to America, and his seat was now accupied by Nils-Bertil 'Bert' Dahlander, a Swedish drummer who'd accompanied Lars Gullin. At the keyboard was an almost-unknown pianist named GÉrard Gustin who'd just been signed to a contract by Eddie Barclay. Given the context, they were obliged to fall back on standards. Chet knew how to play these better than anyone. He chose eight: These Foolish Things, which stayed in his quartet's rÉpertoire for a while, and five others, which the trumpeter performs here for the first time: There's a Small Hotel, Autumn In New York, Summertime, You Go To My Head, Tenderly - and two - I'll Remember April and Lover Man - that he'd done less than ten days earlier together with Lars Gullin and Dick Twardzik, whose disappearance was still something Chet refused to accept. Given this state of affairs, the whole session exudes a kind of sadness that's impossible to put down, whatever the choice of tune or tempo.


    Never before had Chet been as totally moving as he is throughout You Go To My Head.

    1. Summertime
    2. You Go To My Head
    3. Tenderly
    4. Lover Man
    5. Small Hotel
    6. I'll Remember April
    7. These Foolish Tings
    8. Autumn In New York
    Chet Baker
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Chet Baker In New York Chet Baker In New York Quick View

    $21.99
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    Chet Baker In New York

    A uniformly brilliant effort from cool-toned trumpeter Chet Baker in his first ever appearance as a leader for the New York-based label Riverside Records,
    In New York is the epitome of West Coast cool meets East Coast sensibility. Teaming up with pianist Al Haig, tenor saxophonist Johnny Griffin, bassist
    Paul Chambers, and drummer Philly Joe Jones, Baker's laid-back mastery is on full display throughout this historic session.


    Marked by an uncanny group unity, which gives rise to many outstanding supporting solos, the tracks captured on In New York alternatingly effervesce
    with a California-cool introspection ("Polka Dots And Moonbeams") and percolate with driving intensity ("Hotel 49"). An excellent survey of Baker's style
    and prowess as a leader, Chet Baker In New York is highly recommended as THE album to own for anyone curious about diving in to his illustrious
    catalog.

    1. Fair Weather
    2. Polka Dots And Moonbeams
    3. Hotel 49
    4. Solar
    5. Blue Thoughts
    6. When Lights Are Low
    Chet Baker
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • Chet is Back (Speakers Corner) Chet is Back (Speakers Corner) Quick View

    $34.99
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    Chet is Back (Speakers Corner)

    Forty-two years ago, Chet Baker - one of the most tragic figures of jazz who lived on the fast lane and ruined himself with drugs and alcohol - was constantly on the road from one European jazz club to another. Local rhythm groups were not always top notch so it was only logical to pick the very best from several countries for a film-music production in Italy. And it was equally logical that RCA's Italian subsidiary brought the musicians into the studio in January 1962.



    With one exception, the eight titles on this disc are all so-called standards. The two winds demand total concentration from the rhythm section while maintaining relaxed and laid-back harmonic patterns. And this is something the Italian Tommasi, the Belgian Thomas, the Frenchman Quersin and the Swiss Humair carry off with an air of nonchalance. The two ballads These Foolish Things and the only new composition Ballata In Forma Di Blues are tucked in between the other numbers and give the listener space to breathe. They are surrounded by numbers with a fast tempo, all of which demonstrate Chet Baker's and Bobby Jaspar's high standard of musicianship. And then there is Over The Rainbow, whose theme is coupled with another tragic figure of music history, Judy Garland: Chet on his trumpet conjures up pure magic in the middle section.



    Happily, these recordings - made in Rome in 1962 - are not purely restricted to collectors living in the Sixties. This re-release on LP now offers the opportunity to listen to some excellent music and to enjoy the cover - just as it was on the original recording: a priceless gem!




    Musicians:



    • Chet Baker (trumpet)

    • Bobby Jaspar (tenor saxophone, flute)

    • Amadeo Tommasi (piano)

    • RenÉ Thomas (guitar)

    • Benoit Quersin (bass)

    • Daniel Humair (drums)




    Recording: January 1962 in Rome, Italy




    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.


    and that the lacquer discs are newly cut.



    1. Well, You Neednt
    2. These Foolish Things
    3. Barbados
    4. Star Eyes
    5. Over The Rainbow
    6. Pent Up House
    7. Ballata In Forma Di Blues
    8. Blues In The Closet
    Chet Baker
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Chet is Back! (45RPM) Chet is Back! (45RPM) Quick View

    $49.99
    Buy Now
    x

    Chet is Back! (45RPM)

    Mastered from the Original Tapes and Stunning Audiophile-Grade Sonics: You Will Not Hear a Better Pressing!


    Chet is back! And how. In a career filled with ups and downs, Chet Baker sounds divine on this 1962 set of bop-driven tunes and elegant standards cut in Italy after the trumpeter's two-year hiatus from recording. Reason for its superiority owes to a sextet anchored by burgeoning, young European musicians such as saxophonist Bobby Jaspar, pianist Amedeo Tommasi, guitarist Rene Thomas, and bassist Benoit Quersin.


    Compositionally, ballads (including These Foolish Things and the only new composition, Ballata In Forma Di Blues) are tucked in between a surfeit of engaging, uptempo pieces. Yet the most staggering revelation here, aside from the fact that, no exaggeration, Chet Is Back! might contain the cool musician's most gorgeous playing, is the version of Over the Rainbow, given a reading that encapsulates the classic songs longing, hope, and beauty. Noteworthy, too, are Jaspar's statement-making performances.


    Now, an even 50 years after its original release, Chet Is Back! benefits from the audiophile-quality sound it's always deserved courtesy of ORG Music and being mastered from the original master tapes. Few, if any, audiophile pressings of Baker's music match the tones and timbres present on this astoundingly transparent reissue. It's what jazz is all about.


    Musicians:

    Chet Baker, trumpet, vocals

    Bobby Jaspar, flute, tenor sax

    Rene Thomas, guitar

    Daniel Humair, drums

    Benoit Quersin, bass

    Amadeo Tommasi, piano

    1. Well, You Needn't
    2. These Foolish Things
    3. Barbados
    4. Star Eyes
    5. Over The Rainbow
    6. Pent Up House
    7. Ballata In Forma Di Blues
    8. Blues In The Closet
    Chet Baker
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
  • Chet Baker And Crew (Pure Pleasure) (Awaiting Repress) Chet Baker And Crew (Pure Pleasure) (Awaiting Repress) Quick View

    $49.99
    Buy Now
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    Chet Baker And Crew (Pure Pleasure) (Awaiting Repress)

    The numbers heard on Chet Baker & Crew were among a prolific flurry of recordings Baker was involved in during the last week of July 1956 - fresh from an extended European stay. The crew on these sides includes Phil Urso (tenor sax), Bobby Timmons (piano), Jimmy Bond (bass), Peter Littman (drums), and of course Baker (trumpet/vocals). Joining the combo on both the original as well as the alternate take of "To Mickey's Memory" and "Pawnee Junction" is Bill Loughbrough (chromatic tympani). His unmistakable percussive accents and tuned drum solos give these West Coast bop tracks uniquely Polynesian intonations. The band members take full advantage of their individual roles and abilities as soloists to really stretch out on "Slightly Above Moderate" and the Urso-credited composition "Halema" - named after Baker's wife. The chemistry of cool that flows between Urso and Baker is perhaps at its finest during the seamless exchange heard on "Worryin' The Life Out Of Me". Timmons also boasts notable contributions throughout. His playful and scampering style dresses up the bluesy "Lucius Lu" and "Line for Lyons", among others. The latter is also notable as it contains the sole Baker vocal on this set.



    This LP reissue of Chet Baker & Crew increases the original eight-song Pacific Jazz collection to include all 14 tracks completed during three sessions in late July 1956 at the Forum Theater in Los Angeles.



    Musicians:



    • Chet Baker (trumpet, vocal)

    • Phil Urso (tenor saxophone)

    • Bobby Timmons (piano)

    • Jimmy Bond (bass)

    • Peter Littman (drums)

    • Bill Loughbrough (timpani)



    Recording: July 1956 at the Forum Theater, Los Angeles

    Production: Richard Bock



    Format: 2 LPs 33rpm



    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. To Mickey's Memory
    2. Slightly Above Moderate
    3. Halema
    4. Revelation
    5. Something For Liza
    6. Lucius Lu
    7. Worrying The Life Out Of Me
    8. Medium Rock
    9. To Mickey's Memory (Alternate Take)
    10. Jumpin' Off A Clef
    11. Chippyin'
    12. Pawnee Junction
    13. Music To Dance By
    14. Line For Lyons
    Chet Baker
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Picture of Heath (Pure Pleasure) (Awaiting Repress) Picture of Heath (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Picture of Heath (Pure Pleasure) (Awaiting Repress)

    First released under the title "Playboys" in 1956 it was then re-released under the title "Picture Of Heath" in 1961 perhaps owing to the fact it carried the same name as a popular men's magazine.



    This was the third session together of the dynamic duo of Chet Baker and Art Pepper the previous two having been unequivocal successes. Baker and Pepper have an instinctual rapport that yields outstanding interplay.



    These thoroughly enjoyable and often high-energy sides are perfect for bop connoisseurs as well as mainstream jazz listeners.



    Musicians:



    • Chet Baker (trumpet)

    • Art Pepper (alto saxophone)

    • Phil Urso (tenor saxophone)

    • Carl Perkins (piano)

    • Curtis Counce (bass)

    • Lawrence Marable (drums)



    Recording: October 1956




    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. Picture Of Heath
    2. For Miles And Miles

    3. C.T.A.
    4. For Minors Only
    5. Minor Yours
    6. Resonant Emotions

    7. Tynan Time
    Chet Baker & Art Pepper
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Italian Movie Soundtracks Italian Movie Soundtracks Quick View

    $27.99
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    Italian Movie Soundtracks

    Import


    Chet Baker had a long and complicated relationship with Italy. It was a country where he was both imprisoned and adored. His first visit there took place in 1955, during his first successful European tour. It was during this tour that the quartet's pianist, the talented Dick Twardzik, tragically died in Paris from a heroin overdose. Baker was devastated, and following Twardzik's death - for which he felt some level of responsibility - the trumpeter submerged himself in the drug world and in a self-destructive spiral which would last for the rest of his life. Baker would stay in Europe for a number of months after Twardzik's death, playing with different local musicians.


    Baker made his way back to New York in mid-1956 and wouldn't return to Italy until the 1959 trip that yielded the recordings included here. In fact, as Ezio Leoni (the musician in charge of the sessions) explained that Chet's trip to Milan took place in order to make two albums (one with strings and orchestra, the other with a small combo of Italian players). Baker was already an addict when the contract was signed, and before he could travel he was imprisoned in the States. Therefore, the sessions had to be postponed and shortly after this music was recorded Baker would be imprisoned again, this time in Italy. Prior to his Italian imprisonment he made the two albums expected of him and recorded some interesting tracks for movie soundtracks with different bands conducted by Piero Umiliani, which are presented on this LP. All of that music is also contained here, including a vocal version of "Arrivederci" which has been taken from the original movie itself and, for that reason, has some odd overdubbed dialogues in Italian.

    1. Tensione
    2. Alone In A Crowd (Solti Ignoti)
    3. Relaxin' With Chet
    4. I Soliti Ignoti (Lyda / Movimenti Con Swing)
    5. Tema D'Amore (Sentirsi Solo)
    6. Arrivederci
    7. Smog (Introduzione e Finale)
    8. Twilight In Los Angeles (Smog Versione Strumentale)
    9. Thinking Blues (Hollywood Tonight)
    10. Improvvisando In Blues
    11. Motorizzazione
    12. Furtivamente
    Chet Baker
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Konitz Meets Mulligan (Pure Pleasure) Konitz Meets Mulligan (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Konitz Meets Mulligan (Pure Pleasure)

    O.K., so it's mono. And, for much of the recording, Mulligan's quartet seems simply to be backing Konitz. But hang on, this is a marvelous little gem. Mulligan on the bariton, Konitz on alto, and - yes - Chet Baker on trumpet. How can you pass this up?



    But this is more than an artifact. This is jazz at its spontaneous and inventive best. Konitz, freed from Stan Kenton, has all sorts of new ideas about these old standards. And, for many of the cuts, as Lee explores the possibilities, you can hear Mulligan purring far in the background (mono, remember), and, every once in a while, moving to the foreground to make a few statements of his own. These two jazz minds talk to each other, tease each other,support and - in a gentle way - challenge each other.



    And, of course, in a few cuts, Baker's sweet trumpet announces itself and joins the two sax players in their explorations. The now-unheralded but extremely deft Carson Smith takes on most of the bass responsibilities, and provides - along with Larry Bunker on drums - a solid stage for Baker, Mulligan, and Konitz to swing on.



    Mulligan, Konitz, and Baker, of course, went their separate ways, Konitz and Mulligan to long and brilliant careers, Baker to a briefer, tragic, but still shining career. This, then, was a moment in time, and is now your chance to catch these giants sharing a stage, playing for and with one another, showing admiration and affection for each other's talents and ideas.
    Mono - so what? This is a treasure from the vaults of Pacific Jazz.



    Musicians:



    • Lee Konitz (alto saxophone)

    • Gerry Mulligan (bassoon)

    • Chet Baker (trumpet)

    • Carson Smith (bass)

    • Joe Mandragon (bass)

    • Larry Bunker (drums)



    Recording: January 1953 at The Haig, Los Angeles, by Richard Bock

    Production: Richard Bock



    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.



    Side One


    1. I Can't Believe That You're In Love With Me
    2. Broadway
    3. Almost Like Being In Love
    4. Sextet
    5. Oh, Lady Be Good
    6. Bernie's Tune
    7. Oh, Lady Be Good (alternative version)


    Side Two


    1. Too Marvelous For Words
    2. Lover Man
    3. I'll Remember April
    4. These Foolish Things
    5. All The Things You Are

    Lee Konitz & Gerry Mulligan
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Punch The Clock Punch The Clock Quick View

    $34.99
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    Punch The Clock

    Punch the Clock on Numbered Limited Edition 180 Gram LP from Mobile Fidelity


    Costello & the Attractions Return to Mainstream Pop on Slick-Sounding 1983 Album


    Half-Speed Mastered from the Original Tapes: Mobile Fidelity LP Digs Into Smooth Tones, Brassy Effects, Limber Bass Lines, Multiple Layers of Production


    Includes Sparkling Top 40 Hit "Everyday I Write the Book" As Well as Timeless Political Songs "Shipbuilding" and "Pills and Soap"


    Razor-Sharp Wit, Concise Melodies on Display Throughout; Jazz Legend Chet Baker Guests


    Punch the Clock is Elvis Costello & the Attractions' most British record, a return to mainstream pop craft loaded with clever barbs and insightful social commentary that nearly landed the headliner in serious trouble with government representatives. Produced by the English hit-making team of Clive Langer and Alan Winstanley, the jumpy and horn-accompanied 1983 effort includes Costello's first-ever American Top 40 hit ("Everyday I Write the Book") and a smooth sheen that reinforces the material's commercial intent and catchy appeal.


    Half-speed mastered from the original master tapes, Mobile Fidelity's numbered limited edition 1980g LP presents the hyper-literate fidelity and refined melodies in astonishing sonics, navigating the multiple layers of information, brassy effects, and background vocals to present a unified whole replete with stellar front-to-back depth. Akin to the reissue label's previous acclaimed Costello reissues, Punch the Clock is vastly improved, the opened-up perspective, pronounced instrumental separation, and textural clarity enhancing all the details within the grooves.


    Fresh from making a country tribute album and a large-scale set flush with complex arrangements, Costello and Co. return to straight-ahead pop given a decidedly British accent and soulful backing vocals. Conscious of the Merseybeat sound and success of Dexy's Midnight Runners, Costello tints songs with new-wave characteristics, splashy horns, and spontaneous vocal-response support courtesy of female duo Afrodiziak, one member of which later attained fame with Soul II Soul. Steve Nieve's bounding piano lines dance throughout the arrangements, adding witty pizzazz and delicate allure to already-tuneful fare like "The Element Within Her" and "Mouth Almighty."


    The more direct, hook-ready approach also manifests on numbers such as "Let Them All Talk" and "Charm School," tunes that also illustrate the contrasts in romantic theme. While remaining deeply cynical, as was his longtime hallmark, Costello unfurls two compositions on which love and marriage are viewed in a positive light. Yet he spares no one, nothing, and minces no words with "Shipbuilding" and "Pills and Soap," fare that remains revered in his native country as well as abroad.


    For "Shipbuilding," a brilliantly disguised 88s-clinking protest against war influenced by the Falkan Conflict, Costello enlists jazz legend Chet Baker to deliver a masterfully poignant, bluesy trumpet solo that echoes throughout the coda. On the hip-hop-inspired "Pills and Soap," a thinly veiled metaphor addressing Britain's abusive sociopolitical state and royal officials, the bespectacled bandleader invents a thoroughly unique quasi-rap draped over a drum-machine beat and Nieve's bold piano chords. Bracing.


    This title is not eligible for discount.

    1. Let Them All Talk
    2. Everyday I Write the Book
    3. The Greatest Thing
    4. The Element Within Her
    5. Love Went Mad
    6. Shipbuilding
    7. The World and His Wife
    8. TKO (Boxing Day)
    9. Charm School
    10. The Invisible Man
    11. Mouth Almighty
    12. King of Thieves
    13. Pills and Soap
    Elvis Costello
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sings A Song With Mulligan (Pure Pleasure) Sings A Song With Mulligan (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    Sings A Song With Mulligan (Pure Pleasure)

    Singer Annie Ross' first solo album after joining Lambert, Hendricks & Ross finds her at the peak of her powers. Ross is joined by two versions of the Gerry Mulligan Quartet with either Chet Baker or Art Farmer on trumpet, Bill Crow or Henry Grimes on bass, and drummer Dave Bailey. Annie Ross is at her best (and most appealing) on I've Grown Accustomed to Your Face, Give Me the Simple Life, How About You, and The Lady's in Love With You, but all 14 selections are quite rewarding and her interplay with baritonist Mulligan is consistently memorable.



    Musicians:



    • Annie Ross (vocal)

    • Gerry Mulligan (bassoon)

    • Chet Baker, Art Farmer (trumpet)

    • Henry Grimes (bass)

    • Dave Bailey (drums)




    Recorded December 1957 in New York and February and September 1958 in 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.



    and that the lacquer discs are newly cut.


    1. I Feel Pretty
    2. I've Grown Accustomed to Your Face
    3. All of You
    4. Give Me the Simple Life

    5. This Is Always
    6. My Old Flame
    7. This Time the Dream's on Me

    8. Let There Be Love
    9. Between the Devil and the Deep Blue Sea - Gerry Mulligan, Annie Ross,
    10. How About You?
    11. I Guess I'll Have to Change My Plan
    12. This Is Always [Alternate Version]
    13. It Don't Mean a Thing (If It Ain't Got That Swing)

    14. Lady's in Love with You
    15. You Turned the Tables on Me
    16. I've Grown Accustomed to Your Face [Alternate Version]
    Annie Ross
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Concierto (Pure Pleasure) (Awaiting Repress) Concierto (Pure Pleasure) (Awaiting Repress) Quick View

    $49.99
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    Concierto (Pure Pleasure) (Awaiting Repress)

    Jim Hall's Concierto was arguably a masterpiece and possibly the greatest LP in the history of CTI. With two legendary players in the frontline, trumpeter Chet Baker and Paul Desmond, Hall interprets standards and engaging originals. A master of melody who never wastes notes, the centerpiece for this release is Hall's interpretation of one movement from Rodrigo's Guitar Concerto, arranged by Don Sebesky. New tracks include alternate takes of You'd Be So Nice to Come Home To and Rock Skippin', plus Unfinished Business, an incomplete track that fades following Desmond's solo just as Hall starts to play (This song is actually La Paloma Azul, a Mexican folk tune played by Paul Desmond while with the Dave Brubeck Quartet about a decade earlier, also known as The Blue Dove).



    Musicians:



    • Jim Hall (guitar)

    • Chet Baker (trumpet)

    • Paul Desmond (alto saxophone)

    • Roland Hanna (piano)

    • Ron Carter (bass)

    • Steve Gadd (drums)



    Recording: April 1975 at Van Gelder's Recording Studio, Englewood Cliffs, N.J., USA by Rudy Van Gelder

    Production: Creed Taylor



    Format: 2LPs 33rpm / gatefold sleeve



    About Pure Pleasure



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



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



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



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



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



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



    1. You'd Be So Nice To Come Home To
    2. Two's Blues
    3. The Answer Is Yes

    4. Concierto de Aranjuez
    5. Rock Skippin'
    6. Unfinished Business

    Bonus Tracks
    7. You'd Be So Nice To Come Home To (alternate take)

    8. The Answer Is Yes (alternate take)
    9. Rock Skippin' (alternate take)
    Jim Hall
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Goodbye To Love Goodbye To Love Quick View

    $24.99
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    Goodbye To Love

    Pressed On Translucent Gold Vinyl


    A sultry and sophisticated songbird. The ultra-rare debut and sole output of a wondrous and mysterious vocalist, perfectly accompanied by guitar icon Barney Kessel. An Early Stereo marvel from the original 1959 tapes!


    Kessel was a jazz pioneer -- as one of the leading lights of the hard-bop movement, his jazz guitar was legendary, and he was ranked the No. 1 guitarist in Down Beat and Playboy for numerous years. He played with Sonny Rollins and Oscar Peterson and Ella Fitzgerald as well as leading his own super-tight group. On albums such as The Poll Winners, Kessel defined the bop style with a jazz power trio, creating a body of work that made him a legend.


    Not much is known of Thompson -- even though the record's a long-time crate digger classic, she remains a mystery. But her stunning voice will knock you out -- sounding like the precedent of singers like Karen Carpenter, her no-nonsense, emotion-soaked singing carries marvelously a collection of standards including Stormy Weather and Body And Soul. Kessel's remarkable playing provides a sparkling backing for her vocals. The album has been pressed onto gold vinyl and wrapped in a restored sleeve that captures the beauty of the era.


    Claudia Thompson has a perfectly tuned, and wildly dramatic voice. Picture a female Chet Baker; you'll have to hear it to believe it.

    1. Some Of These Days
    2. Body And Soul
    3. If I Should Lose You
    4. Stormy Weather
    5. I'm Through With Love
    6. The Morning After
    7. Goodbye
    8. Blue Prelude
    9. You Call It Madness
    10. Fan Me
    11. I Was Yours
    12. Gloomy Sunday
    Claudia Thompson
    $24.99
    Colored Vinyl LP - Sealed Buy Now
  • Imperial Bedroom Imperial Bedroom Quick View

    $34.99
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    Imperial Bedroom

    Ranked 166/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Universally Hailed 1982 Pop Masterpiece Pairs Costello and Co. With Beatles Engineer Geoff Emerick


    Record Topped Village Voices Pazz & Jop Critics Poll In Year of Its Original Release


    Lavish Instrumentation, Involved Arrangements, and Piano-Based Melodies Frame Ambitious Songs That Address Domestic Malaise While Coming Off as Upbeat


    Half-Speed Mastered from the Original Master Tapes: Imperial Bedroom Joins Mobile Fidelitys Pristine LP Reissues of Costellos My Aim Is True, This Years Model, Armed Forces, Get Happy!!, and Almost Blue


    Recorded with famed Beatles engineer Geoff Emerick, Imperial Bedroom stands as Elvis Costello and the Attractions most highly decorated traditional pop album. Boasting sumptuous arrangements, large-scale instrumentation, ambitious layers, Tin Pan Alley melodies, and orchestrated devices, the 1982 record is a testament to studio creativity and ornate production. Amidst the lavish settings beats the heart of Costellos biting, brutal lyrics that confront domestic malaise and sober emotional reflection. Its little wonder the intelligent effort took top honors in the Village Voices Pazz & Jop Critics Poll.


    Not that audiences back in the day ever had the privilege of hearing Imperial Bedroom at its maximum potential. Now they can. Half-speed mastered from the original master tapes, Mobile Fidelitys numbered limited edition 180g LP opens up the soundstages, expands the depth, and brings the genius of the grand arrangements into clear focus. In particular, the sound of the piano will have you believe that the 88s are situated right in your room, and never before has Emericks crafty sonic precision been so readily apparent. This is a huge-sounding record that demands full frequency extension and astute separation. Mobile Fidelitys reissue delivers on all fronts. You need to hear this!


    Ranked in 2005 by Rolling Stone at #166 on the magazines prestigious list of the 500 Greatest Albums of All Time, Imperial Bedroom overflows with contagious pop, savvy torch, cabaret, chamber, and jazz-influenced fare. If its details you seek, then look no further. With Emerick's assistance, each tune is distinguished with painstaking sonic accents, blended rhythms, counterpoint bass lines, dazzling passages, and inventive motifs. Accordions, tremolo guitars, organs, harpsichords, marimbas, horns, and an assortment of other instruments help color the subtly dark canvases. A 40-piece orchestra graces the gorgeous And In Every Home.


    Originally intended to be a stripped-down affair, Imperial Bedroom reflects Costello's migration to composing on piano as well as his listening tastes at the time: Billie Holliday, Cole Porter, Frank Sinatra, Debussy. Intricate, expansive, and complex without ever sounding inaccessible, the record includes the now-classic Man Out of Time, Beyond Belief, and Almost Blue, the latter a ballad that Chet Baker included in his live sets until he passed away. In another stroke of brilliance, Costello used the record as an opportunity to address the melancholic changes in both his own personal situation as well as that of England, the songs functioning as smart, sometimes satirical dialogues on issues such as disenchantment, identity, and relationships.


    Still considered by many the finest record released in 1982, don't pass up this extraordinary-sounding reissue.


    This title is not eligible for discount.

    1. Beyond Belief
    2. Tears Before Bedtime
    3. Shabby Doll
    4. The Long Honeymoon
    5. Man Out of Time
    6. Almost Blue
    7. ...And in Every Home
    8. The Loved Ones
    9. Human Hands
    10. Kid About It
    11. Little Savage
    12. Boy with a Problem
    13. Pidgin English
    14. You Little Fool
    15. Town Cryer
    Elvis Costello
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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