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  • Color Changes (Pure Pleasure) Color Changes (Pure Pleasure) Quick View

    $34.99
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    Color Changes (Pure Pleasure)

    Possessor of the happiest sound in jazz, flÜgelhornist Clark Terry always plays music that is exuberant, swinging, and fun. A brilliant (and very distinctive) soloist, he gained early experience playing trumpet in the viable St. Louis jazz scene of the early '40s (where he was an inspiration for Miles Davis) and, after performing in a Navy band during World War II, he gained a strong reputation playing with the big band of Charlie Barnet (1947-1948), the orchestra and small groups of Count Basie (1948-1951), and particularly with Duke Ellington (1951-1959). Terry, a versatile swing/bop soloist who started specializing on flÜgelhorn in the mid-'50s, had many features with Ellington (including Perdido) and started leading his own record dates during that era. He recorded regularly in the 1960s including a classic set with the Oscar Peterson Trio and several dates with the quintet he co-led with valve trombonist Bob Brookmeyer.



    This is one of flÜgelhornist Clark Terry's finest albums. Terry had complete control over the music and, rather than have the usual jam session, he utilized an octet and arrangements by Yusef Lateef, Budd Johnson, and Al Cohn. The lineup of musicians lives up to its potential, and the charts make good use of the sounds of these very individual stylists. The material, which consists of originals by Terry, Duke Jordan, Lateef, and Bob Wilber, is both rare and fresh, and the interpretations always swing.




    Musicians:



    • Clark Terry (trumpet, fluegel horn)

    • Jimmy Knepper (trombone)

    • Julius Watkins (french horn)

    • Yusef Lateef (tenor saxophone, flute; english horn, oboe)

    • Seldon Powell (tenor saxophone, flute)

    • Tommy Flanagan, Budd Johnson (piano)

    • Joe Benjamin (bass)

    • Ed Shaughnessy (drums)




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

    Production: Nat Hentoff




    About Pure Pleasure



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



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



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



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



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



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



    and that the lacquer discs are newly cut.


    1. Blue Waltz (la Valse Bleue)
    2. Brother Terry
    3. Flutin and Fluglin

    4. No Problem
    5. La Rive Gauche
    6. Nahstye Blues
    7. Chat Qui Peche (A Cat That Fishes)
    Clark Terry
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • In Orbit In Orbit Quick View

    $21.99
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    In Orbit

    A great Bop album full of firsts and rarities: Thelonious Monk's only Riverside appearance as a sideman; the first of trumpeter Terry's many recordings on flugelhorn; the first of a great many Riverside dates for the great bassist Sam Jones; and the only occasion on which Monk and drummer Philly Joe Jones recorded together. Key tracks are "One Foot in The Gutter", "Argentina" and the only track by Monk, "Let's Cool One".
    1. In Orbit
    2. One Foot in the Gutter
    3. Trust in Me
    4. Let's Cool One
    5. Pea-Eye
    6. Argentina
    7. Moonlight Fiesta
    8. Buck's Business
    9. Very Near Blue
    10. Flugelin' the Blues
    Clark Terry
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • Back To The Blues (Pure Pleasure) Back To The Blues (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Back To The Blues (Pure Pleasure)

    Although she was one of the most powerful and moving of the jazz singers, Dinah Washington suffered more than most from unimaginative and erratic backings. Many of her EmArcy recordings, notably those with Clifford Brown or Clark Terry on trumpet, had outstanding performances, but her collections were compromised by unsuitable accompaniment. This set of 12 blues gives a lop-sided picture in that it doesn't include any of her ballad performances. However, the basic big band settings allow the power and verve of her singing to come through, and confirm her as the best of the women singers with blues material. During the 1950s she had been regarded as an R&B performer but arranger and band-leader Fred Norman wrote these fine 1962 jazz settings for her shortly before her death.


    The material is strong and Washington soars and swings, her voice reaching many of the potent climaxes for which she was so highly regarded. The material runs through much of the traditional repertoire--Big Bill Broonzy, Leroy Carr and Lil Green being represented--and there is a nine-minute Nobody Knows The Way I Feel This Morning that is unique in her discography.

    Musicians:



    • Dinah Washington (vocals)
    • Illinois Jacquet, Eddie Chamblee (tenor saxophone)
    • Jack Wilson, Patti Bown (piano)
    • Jimmy Sigler (organ)
    • Everett Barksdale, Billy Butler (guitar)
    • George Duvivier (bass)
    • Jimmy Thomas, Osie Johnson (drums)



    Recording: March - November 1962 at Bell Sound Studios, New York

    Production: Henry Glover


    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. The Blues Ain't Nothin' But A Woman Cryin' For Her Man
    2. Romance In The Dark
    3. You've Been A Good Old Wagon
    4. Let Me Be The First To Know
    5. How Long, How Long Blues
    6. Don't Come Running Back To Me
    7. It's A Mean Old Man's World
    8. Key To The Highway
    9. If I Never Get To Heaven
    10. Duck Before You Drown
    11. No Hard Feelings
    12. Nobody Knows The Way I Feel This Morning
    Dinah Washington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Brilliant Corners Brilliant Corners Quick View

    $27.99
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    Brilliant Corners

    Import


    Two superb piano trio albums of covers had set the stage for Monk the composer to re-emerge with horns, and the pianist responded with BRILLIANT CORNERS, one of his greatest recordings, featuring three classic new tunes and two formidable studio bands. The Sonny Rollins featured on BRILLIANT CORNERS is a far more imposing presence than the young acolyte of previous Monk sessions--just witness the title tune. With its multiple themes, quirky intervallic leaps, idiomatic rhythmic changes and tricky transitions in tempo, it is one of Monk's masterpieces--a miniature symphony. So daunting were its technical challenges, that the final ending was edited on from another take. Rollins begins his solo with swaggering composure, boldly paraphrasing Monk's vinegary intervals and trademark trills, before navigating the swift rapids of the double-time chorus with deft syncopations. Monk plies dissonance upon dissonance in his first chorus, playing rhythmic tag with Max Roach on the out chorus. Ernie Henry's slip-sliding bluesiness is followed by a brilliant rhythmic edifice from Roach, who maintains melodic coherence at a drowsy tempo, then explodes into the final chorus.Elsewhere, Ba-Lue Bolivar Ba-Lues-Are is a soulful, easygoing blues, and Monk's solo is a compendium of pithy rhythmic devices, bent notes and calculated melodic abstractions, played with enormous relaxation and swing. He concludes with heckling big-band figures that form the basis for Rollins' expressive rhythmic testimonies. Monk employs the bell-like timbre of a celeste to stunning effect on Pannonica, one of his loveliest melodies and improvisations. And in closing, Bemsha Swing is a hard-swinging, conversational performance, with fine contributions from trumpeter Clark Terry, bassist Paul Chambers and Roach on drums and timpani.

    1. Brilliant Corners
    2. Ba-Lue Bolivar Ba-Lues-Are
    3. Pannonica
    4. I Surrender Dear
    5. Bemsha Swing
    6. Pannonica (Thelonious Monk)(Alt. Take)*


    *Bonus Track

    Thelonious Monk
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Trio The Trio Quick View

    $37.99
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    The Trio

    Pressed On 180-Gram Vinyl


    Oscar Peterson was a Canadian jazz pianist and composer. He was called the Maharaja of the keyboard by Duke Ellington, but simply O.P. by his friends. He released over 200 recordings, won eight Grammy Awards, and received numerous other awards and honors. He is considered one of the greatest jazz pianists and played thousands of concerts worldwide in a career lasting more than 60 years.


    Peterson made numerous duo performances and recordings with bassists Ray Brown, Sam Jones, and Irving Ashby, Herb Ellis, and Barney Kessel, pianists Count Basie, Herbie Hancock, Benny Green, and Oliver Jones, trumpeters Clark Terry and Louis Armstrong, and many other important jazz players.


    Peterson redefined the jazz trio by bringing the musicianship of all three members to the highest level. Together with Joe Pass (guitar) and Niels-Henning Ørsted Pedersen (bass), Oscar Peterson (piano) called the trio in his own words, 'the most stimulating' and productive setting for public performances as well as in studio recordings.


    The Trio is a 1973 live recording at the London House in Chicago. Winner of the 1975 Grammy Award for Best Jazz Performance By A Group, this energetic live set is the highlight of all three storied careers.


    In his Allmusic review, critic Scott Yanow complimented the playing of Pass and Pedersen but wrote the reason to acquire this set is for the remarkable Oscar Peterson. The pianist brilliantly investigates several jazz styles... Peterson really flourished during his years with Norman Granz's Pablo label, and this was one of his finest recordings of the period.

    1. Blues Etude
    2. Chicago Blues
    3. Easy Listening Blues
    4. Come Sunday
    5. Secret Love
    Oscar Peterson Trio
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Byrd At The Gate Byrd At The Gate Quick View

    $49.99
    Buy Now
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    Byrd At The Gate

    To a great many people, the name of Charlie Byrd and the updated samba beat known as bossa nova will always be intertwined. The guitarist did play a most important role in the introduction into this country of the compelling Brazilian rhythm-first on that major hit with Stan Getz and then on his own Bossa Nova Pelos Passaros. But before, during, and after the craze, Byrd was capable of much more-a remarkable impoviser and a richly versatile in-person performer. This 1963 live session at a celebrated New York club, the Village Gate, offers a little South American flavor and a lot of other jazz elements, including the guest appearance of trumpet great Clark Terry.


    This title is not eligible for discount.

    1. Shiny Stockings

    2. More (theme from Mondo Cane)

    3. Blues For Night People

    4. Butter and Egg Man

    5. Ela Me Deixou

    6. Broadway

    7. I Left My Heart In San Francisco

    8. Some Other Spring

    9. Where Are The Hebrew Children?

    10. Let's Do It

    11. Jive at Five

    The Charlie Byrd Trio
    $49.99
    45 RPM 180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Brilliant Corners Brilliant Corners Quick View

    $21.99
    Buy Now
    x

    Brilliant Corners

    Few composers or improvisers can match the originality of pianist Thelonious Monk. Quirky yet rigorously logical, Monk's playful but always purposeful choice of skewed melodies and interrupted rhythm patterns gave the bebop movement, and jazz in total, a new sound that was totally modern. Although he created a surprisingly limited body of compositions, his impact on the vocabulary and canon of jazz is second to none, including such prolific giants as Duke Ellington. Brilliant Corners is a triumph of both performance and conception: the two small-group sessions, anchored by Monk, drummer Max Roach, and the bass work of either Oscar Pettiford or Paul Chambers, feature superb front-line performances by saxophonists Sonny Rollins and the tragically under-recorded Ernie Henry, as well as trumpeter Clark Terry. The title track, which centers the collection, is one of Monk's most unconventional pieces, skirting whole-tone, chromatic and Lydian scales; a version of Pannonica finds Monk doubling on celeste, while the band stretches out on Bemsha Swing and the blues Ba-lue Bolivar Ba-lues-are. - Fred Goodman
    1. Brilliant Corners
    2. Ba-Lue Bolivar Ba-Lues-Are
    3. Pannonica
    4. I Surrender, Dear
    5. Bemsha Swing
    Thelonious Monk
    $21.99
    Vinyl LP - Sealed Buy Now
  • Keep On Keepin' On Keep On Keepin' On Quick View

    $34.99
    Buy Now
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    Keep On Keepin' On

    Keep On Keepin' On is the soundtrack to the acclaimed film of the same name from seven time Academy Award nominated producer Quincy Jones. The soundtrack is a virtual Best of Clark Terry collection, which features many of his most iconic recordings, including his performances with some of the all-time jazz greats: Duke Ellington, Oscar Peterson, Count Basie, and Quincy Jones. Also features select film dialogue and new compositions from Terry's protege, Justin Kauflin.
    1. Dialog by Clark Terry/Letter to Justin/Exodus (Justin Kauflin)
    2. Brotherhood Of Man (Oscar Peterson Trio + One: Clark Terry)
    3. Candy (Clark Terry)
    4. Mumbles (Oscar Peterson Trio + One: Clark Terry)
    5. Dialog by Clark Terry and Justin Kauflin/Mood Indigo (Duke Ellington)
    6. Harlem Air Shaft (Duke Ellington and His Famous Orchestra)
    7. Dialog by Justin Kauflin and Clark Terry/Breeze (Blow My Baby Back To Me) (Clark Terry and Justin Kauflin)
    8. Grammys Lifetime (Dave Grusin)
    9. Girl Talk (Clark Terry)
    10. If I Had You (Live) (Benny Carter)
    11. Dreams Change (Justin Kauflin)
    12. Jazz Conversations (Clark Terry)
    13. Michelle (Clark Terry)
    14. Dialog by Justin Kauflin/My Biggest Enemy (Dave Grusin)
    15. Jim (Oscar Peterson Trio + One: Clark Terry)
    16. Dialog by Clark Terry and Justin Kauflin/What The Hell Time Is It? (Dave Grusin)
    17. Darkest Hour (Justin Kauflin)
    18. Stardust (live in London) (Clark Terry Quintet)
    19. Blee Blop Blues (Normania) (The Count Basie Orchestra)
    20. Misty (Clark Terry)
    21. Dialog by/Farewell (Quincy Jones and Clark Terry)
    22. I Remember Clifford (Quincy Jones)
    23. Dialog by Quincy Jones and Clark Terry/Letter To Justin (Justin Kauflin)
    24. For Clark/Serenade to a Bus Seat (Live) (Justin Kauflin)
    Various Artists
    $34.99
    Vinyl LP - Sealed Buy Now
  • Montreux '77 Montreux '77 Quick View

    $21.99
    Buy Now
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    Montreux '77

    All star jam from Montreux featuring Milt Jackson - vibes, Clark Terry - trumpet & flugelhorn, Ronnie Scott - sax, Oscar Peterson - piano, Joe Pass - guitar, Niels Pedersen - bass and Bobby Durham on drums. Tracks include: Cote D'Azur, Pennies From Heaven, and two others.
    1. Cote D'Azur
    2. Pennies From Heaven
    3. Samba De Orfeu
    4. God Bless The Child
    The Pablo All-Stars Jam
    $21.99
    Vinyl LP - Sealed Buy Now
  • Ellington Indigos (Bonus Track) Ellington Indigos (Bonus Track) Quick View

    $27.99
    Buy Now
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    Ellington Indigos (Bonus Track)

    Import


    Heavyweight 180gm direct metal mastered vinyl LP pressing with deluxe inner sleeve. Includes one bonus track. Wax Time.


    Recorded in 1957 with a line-up that included Johnny Hodges and Paul Gonsalves among the saxophones and a trumpet section of Clark Terry, Willie Cook, Cat Anderson and Harold Baker. An exceptional record with arrangements full of new twists, innovative voices and improvisations.

    1. Solitude
    2. Where Or When
    3. Mood Indigo
    4. Autumn Leaves
    5. Night And Day *
    6. The Sky Fell Down
    7. Prelude To A Kiss
    8. Willow Weep For Me
    9. Tenderly
    10. Dancing In The Dark


    *Bonus Track. Not On The Original Lp Configuration

    Duke Ellington
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Big Band Bossa Nova Big Band Bossa Nova Quick View

    $27.99
    Buy Now
    x

    Big Band Bossa Nova

    Import


    A byproduct of the bossa nova fad that followed the success of Desafinado (and preceded the famous recording Getz/Gilberto), this set finds Quincy Jones utilizing and exploiting bossa nova rhythms in his arrangements for a big band. The personnel includes flÜgelhornist Clark Terry, altoist Phil Woods, pianist Lalo Schifrin, guitarist Jim Hall, and (on Soul Bossa Nova) the remarkable Rahsaan Roland Kirk. However, since the selections are all quite brief, and some of the charts are a bit cheesy and inappropriate for the gentle rhythms, this disc (although pleasant enough) is of lesser interest.

    -All Music Guide

    1. Soul Bossa Nova
    2. Boogie Bossa Nova
    3. Desafinado
    4. Manha De Carnival
    5. Se E Tarde Me Perdoa
    6. On The Street
    7. Una Nota Samba
    8. Lalo Bossa Nova
    9. Serenata
    10. Chega De Saudade (No More Blues)
    11. A Taste of Honey*


    *Bonus Track

    Quincy Jones
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Coming At You Coming At You Quick View

    $24.99
    Buy Now
    x

    Coming At You

    50th Anniversary Reissue Cut From The Original Analog Master By Ron Mcmaster At Capitol Mastering,


    Pressed On Audiophile-Quality, 180-Gram Vinyl


    Housed In An Old-School Style, Tip-On Jacket


    One of the great electric blues albums of the '60s, this gem from the "Godfather of the Blues," features harmonica player and singer Junior Wells at his finest. With fellow Chicago musician Buddy Guy on lead guitar, Coming At You showcases the two fiery musician's talents in the studio, as they play a selection of blues standards, backed by a tight band, including Lefty Dizz on guitar, Douglas Fagan on sax and Clark Terry on trumpet. Back on vinyl for the first time in over 40 years, this 50th anniversary reissue was cut from the original analog master by Ron McMaster at Capitol Mastering, pressed on audiophile-quality, 180-gram vinyl, and comes housed in an old-school style, tip-on jacket.

    1. Stop Breakin' Down
    2. Somebody's Tippin In
    3. Five Long Years
    4. Mystery Train
    5. So Sad This Morning
    6. When My Baby Left Me
    7. Little By Little
    8. Tobacco Road
    9. Worried Life Blues
    10. I'm Your Hoochie Coochie Man
    11. You Don't Love Me
    Junior Wells
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Cosmic Scene (Pure Pleasure) The Cosmic Scene (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    The Cosmic Scene (Pure Pleasure)

    Still riding the success of his triumphant concert at the 1956 Newport Jazz Festival, Duke Ellington in 1958 decided to reduce his touring orchestra to a nonet dubbed the Spacemen, and recorded this lone project with them for the Columbia label. Perhaps inspired by the first orbiting satellites, Ellington is not taking cues from George Russell or Sun Ra, whose extraterrestrial inspirations led them to even more progressive paths. This large ensemble is playing mostly standards, but the arrangements and solos carve an integrated yet elasticized concept that allows for a more expanded role for the ensemble's trombonists Quentin 'Butter' Jackson, John Sanders, and Britt Woodman, and select soloists. One in the solo spotlight is Clark Terry on flugelhorn exclusively, putting his fabled trumpet aside. The classic material presented includes clarinetist Jimmy Hamilton's features Avalon and Early Autumn, the slinky stripper pole blues version of St. Louis Blues with Ellington's piano taking the lead, and a version of Body & Soul, with tenor saxophonist Paul Gonsalves completely extrapolating and re-harmonizing the tune. There's a modified Perdido, an animated and perky Midnight Sun that deviates from any other slow and lugubrious version of the ballad, and Jones a real good swinger. There are two originals; the blues bass of Jimmy Woode and the 'bones with plentiful piano from Duke infusing Bass-Ment, and one of the more delightful of all of Ellington's book, the poppin' and boppin' Spacemen, a bright happy horn chart led by Terry that is one of the more distinctive Ellington numbers of this time period. It comes highly recommended.



    Musicians:



    • Paul Gonsalves (tenor saxophone)

    • Clark Terry (fluegel horn)

    • Britt Woodman, John Sanders, Quentin Jackson (trombone)

    • Jimmy Hamilton (clarinet)

    • Duke Ellington (piano)

    • Jimmy Wood (bass)

    • Sam Woodyard (drums)



    Recording: April 1958 at Columbia 30th Street Studio, New York




    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. Avalon
    2. Body And Soul
    3. Bass-ment
    4. Early Autumn
    5. Jones
    6. Perdido
    7. St. Louis Blues
    8. Spacemen
    9. Midnight Sun
    10. Take The A Train
    Duke Ellington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Such Sweet Thunder (Pure Pleasure) Such Sweet Thunder (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Such Sweet Thunder (Pure Pleasure)

    This music counts among Ellington's most well-realized 'concept projects', all inspired by Shakespeare's work and filled with memorable melodies and ample opportunities for solos by Cat Anderson, Johnny Hodges, Paul Gonsalves, and Quentin Jackson. The Ellington-Strayhorn compositions treat their soloists like actors doing scenes and, in effect, playing parts, even quoting lines after a fashion - Clark Terry 'plays' Puck in Up and Down, Up and Down (I Will Lead Them Up and Down), and Johnny Hodges turns in one of the most sensuous performances of his career for Half the Fun, from Antony and Cleopatra.



    Musicians:



    • Duke Ellington (piano)

    • Johnny Hodges

    • Russell Procope (saxophone)

    • John Sanders (trombone)

    • Britt Woodman (trombone)

    • Ray Nance (trumpet)

    • Clark Terry (trumpet)

    • Jimmy Wood (bass)

    • Sam Woodyard (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.


    Side 1:
    1. Such Sweet Thunder
    2. Sonnet For Caesar
    3. Sonnet To Hank Cinq
    4. Lady Mac
    5. Sonnet In Search of A Moor
    6. The Telecasters

    Side 2:
    1. Up And Down, Up And Down (I Will Lead Them Up And Down)
    2. Sonnet For Sister Kate
    3. The Star-Crossed Lovers
    4. Madness In Great Ones
    5. Half The Fun
    6. Circle of Fourths

    Duke Ellington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Jazz Party Jazz Party Quick View

    $34.99
    Buy Now
    x

    Jazz Party


    200-Gram LP


    Mastered By Bernie Grundman From The Original Analog Tape


    Housed In A Tip-On Gatefold Jacket (From Stoughton Printing) For The First Time!


    Plated And Pressed At Quality Record Pressings!


    Ellington Soars To Unmatched Artistic Heights Alongside Impressive Jazz Stars Including Dizzy Gillespie, Johnny Hodges And Jimmy Rushing!


    The tremendously detailed audio effect achieved by Columbia's engineers is brought back to life on this 200-gram LP from Analogue Productions. You want Duke and his men at their best, this is it!


    Duke Ellington called his music American Music rather than jazz, and liked to describe those who impressed him as beyond category. He remains one of the most influential figures in jazz, if not in all American music and is widely considered as one of the 20th century's best known African American personalites. He received 13 Grammy Awards and was honored with the French Legion of Honor in 1973. Posthumous recognition of his work include a special award citation from the Pulitzer Prize Board.


    Dizzy's spectacular trumpet blooms here amidst the Ellingtonian aggregate. The sometimes tender, sometimes shouting blues style of Jimmy Rushing provides nice contrast in one of the most varied and satisfying Ellington recordings ever. Originally released on Columbia Records in 1959, Jazz Party In Stereo contains a formidable gallery of jazz stars including Dizzy Gillespie, Jimmy Rushing, Johnny Hodges, Clark Terry, Paul Gonsalves, and more!


    So what have we done to perfect this brilliant reissue? Mastering by Bernie Grundman from the original analog tape, for starters. Naturally we turned to our own Quality Record Pressings for the finest 200-gram, dead-silent background pressing. Top it off with a Stoughton Printing gatefold tip-on jacket with beautiful full-size inner pictures and you've got an audiophile's dream. A can't miss for your collection!


    This most unusual Duke Ellington record includes two selections featuring nine symphonic percussionists on timpani, vibes, marimbas, and xylophones. Dizzy Gillespie makes a historic appearance with Ellington's orchestra on 'U.M.M.G.' (a meeting that should have been repeated often but sadly never was), Jimmy Rushing (Count Basie's former vocalist) sings 'Hello Little Girl,' and both Johnny Hodges ('All of Me') and Paul Gonsalves ('Ready Go!') have chances to blow. - AllMusic


    This title is not eligible for discount.

    1. Malletoba Spank (Duke Ellington, Billy Strayhorn)
    2. Red Garter (Toot Suite, Pt. I)
    3. Red Shoes (Toot Suite, Pt. II)
    4. Red Carpet (Toot Suite, Pt. III)
    5. Ready, Go! (Toot Suite, Pt. IV)
    6. U.M.M.G. (Upper Manhattan Medical Group)
    7. All of Me
    8. Tymperturbably Blue
    9. Hello Little Girl
    Duke Ellington
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • And His Mother Called Him Bill (Speakers Corner) And His Mother Called Him Bill (Speakers Corner) Quick View

    $34.99
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    x

    And His Mother Called Him Bill (Speakers Corner)

    When Billy Strayhorn died of cancer in 1967, Duke Ellington was devastated. His closest friend and arranger had left his life full of music and memories. As a tribute, Ellington and his orchestra almost immediately began recording a tribute to Strayhorn, using the late arranger's own compositions.



    The album features well-known and previously unrecorded Strayhorn tunes that showcase his range, versatility, and, above all, the quality that Ellington admired him most for: his sensitivity to all of the timbral, tonal, and color possibilities an orchestra could bring to a piece of music.



    Full of informality and soulful verve, these recordings feel like they are an afterthought, an unwillingness to completely let go, a eulogy whose final words are questions, elegantly stated and met with only the echo of their last vibrations ringing in an empty room, full of wondering, longing, and helplessness, but above all the point of the questions themselves: "Is this enough?" or "Can there ever be enough to pay an adequate tribute to this man?"
    They are interesting questions, because only five years later we would all be saying the same thing about Ellington. For a man who issued well over 300 albums, this set is among his most profoundly felt and very finest recorded moments.






    Musicians:



    • Duke Ellington (piano)

    • Cat Anderson, Mercer Ellington (trumpet)

    • Clark Terry (fluegel horn)

    • Lawrence Brown, Chuck Connors (trombone)

    • Johnny Hodges (alto saxophone)

    • Russell Procope (alto saxophone, clarinet)

    • Jimmy Hamilton (tenor saxophone, clarinet)

    • Paul Gonsalves (tenor saxophone)

    • Aaron Bell (bass)

    • Steve Little (drums)




    Recording: August and September 1967 in RCA Victor's Studio A, New York City, by Ed Begley

    Production: Brad McCuen





    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. Boo-Dah
    2. U.M.M.G. (Upper Manhattan Medical Group)
    3. Blood Count 9

    4. Smada
    5. Rock Skippin' at the Blue Note

    6. Rain Check
    7. Midriff
    8. My Little Brown Book
    9. Lotus Blossom
    10. Snibor
    11. After All
    12. All Day Long
    13. Lotus Blossom
    14. Day Dream
    15. The Intimacy of the Blues
    16. Charpoy
    Duke Ellington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Ellington At Newport (Awaiting Repress) Ellington At Newport (Awaiting Repress) Quick View

    $24.99
    Buy Now
    x

    Ellington At Newport (Awaiting Repress)

    Numbered, Limited Edition Mono LP


    Pandemonium: Historic 1956 Live Set Triggered Spontaneous Audience Outburst That Fed Directly into Feel, Outcome of Performance


    Ellington's Legendary Comeback Punctuated by Paul Gonsalves' 27-Chorus Saxophone Solo


    Unrivaled Analog Transparency: LP Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI


    One of the Most Riveting and Important Jazz Recordings Ever Made


    It spurred Duke Ellington's comeback into the mainstream. It captures a performance so energetic, wild, unexpected, and unprecedented that the music literally caused thousands of people to jump up and stand on their chairs, worrying officials that a riot might ensue. It is jazz of the highest order, played at an almost rock n' roll pace, and with an enthusiastic pep that confirms Ellington and his ensemble fed off the crowd's reaction as the collective lit into each new stanza. It is Ellington's best-selling album. It is Ellington at Newport.


    Like few records before or since, the 1956 set owes as much to context and circumstance as it does instrumental execution. Years prior to his appearance in Rhode Island, Ellington had suffered lackadaisical record sales and a falling out of the public eye, as bop and hard bop supplanted tradition big bands. Yet in preparation for the event, Ellington worked on experimental ideas and a reshaping of some of his standards.


    The iconic arranger/composer's foresight comes into fruition throughout the white-hot set, never more so than on "Diminuendo and Crescendo In Blue," on which tenor saxophonist Paul Gonsalves erases all rules and outlays a 27-chorus solo that left everyone in awe-and prompted them to stand on chairs, dance feverishly, and hoot and holler to an extent that caused Ellington to ultimately cool things off. The improvisational flight epitomizes boldness, freedom, risk, and, to the bandleader, an assuredly loud response to the critics that had believed his well was tapped.


    The songs in advance of the climactic moment are no less exciting; Ellington and his 15-piece collective manhandle notes with ease, swinging and sliding through "Festival Junction" with a requisite balance of poise and panache, and kicking heels on Newport Up via Ellington's spry piano riffs, Jimmy Hamilton's spicy clarinet feeds, and Clark Terry's trumpet runs. In every way, Ellington at Newport is as quintessential as Kind of Blue, Giant Steps, and Way Out West.


    And now, the 1956 classic can be experienced in an analog fidelity never before as authentic or transparent on any pressing. Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI (America's best record plant), this numbered limited edition Silver Series LP of Ellington's triumph boasts tremendous separation, deeper low frequencies, clearer highs, and front-to-back dynamics. Horns blare with multi-hued color, the Duke's 88s ring out with treble finesse, and the rhythm section claims an added presence buried on previous editions. Musically and sonically, you need this LP. It's that simple.


    This title is not eligible for discount.

    1. Festival Junction
    2. Blues to Be There
    3. Newport Up
    4. Jeep's Blues
    5. Diminuendo and Crescendo In Blue
    Duke Ellington
    $24.99
    Vinyl LP Mono - Sealed AWAITING REPRESS Buy Now
  • Blue Rose (Pure Pleasure) Blue Rose (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Blue Rose (Pure Pleasure)

    One of Rosemary Clooney's best records, and one of Duke's more accessible offerings, combined on one LP. The recorded output of the 1950's didn't get much more satisfying than this. Duke's music was always very sophisticated and this time it's even more obvious with a presence of such a talented singer as Rosemary Clooney. The songs are marvelous and she sounds young, fresh and sexy (ladylike sexy). In Blue Rose, not only are Clooney's vocals outstanding, but the arrangements are some of the prettiest of jazz.



    The band swings simply and sweetly, though still thoroughly in the Duke style. As if to make the point that the band is the 'other' star of this recording, there's one instrumental here - Passion Flower (Johnny Hodges on sax never sounded more sure of himself). Its inclusion in the program, without a vocal from Clooney, is at first bizarre - but seems to make sense within the context of the album.



    The fascinating album notes explain why and how separate tracks for Rosemary Clooney and Duke Ellington's orchestra had to be laid down. One would never realize that singer and orchestra were not together. They are totally in sync. This is not big, belting jazz; this is sophisticated, late night, intimate singing and playing. This is one of the most memorable pairings of a 'popular' singer with a jazz giant; ranking with the first Sinatra-Basie album and the Coltrane-Hartman session.




    Musicians:



    • Rosemary Clooney (vocal)

    • Duke Ellington (piano, arranger)

    • Billy Strayhorn (arranger)

    • Johnny Hodges, Russell Procope (alto saxophone)

    • Clark Terry, Cat Anderson (trumpet)

    • Gordon Jackson (trombone)

    • Jimmy Woode (bass)

    • Sam Woodyard (drums)




    Recording: January and February 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.


    1. Hey Baby
    2. Sophisticated Lady

    3. Me and You
    4. Passion Flower
    5. I Let A Song Go Out Of My Heart
    6. Grievin
    7. Blue Rose
    8. Im Checkin OutGoombye

    9. I Got It Bad
    10. Mood Indigo
    Rosemary Clooney & Duke Ellington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Roadhouse Sun Roadhouse Sun Quick View

    $24.99
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    x

    Roadhouse Sun

    With a writing style that echoes the working-man sympathy anthems of Woody Guthrie combined with the folky nature of Bob Dylan and a voice that mirrors Bruce Springsteen's, Ryan Bingham is quickly making a name for himself as one of the up and coming Texas bred songwriters. Born in Hobbs, New Mexico, and raised in rural Texas towns like Spring and Stephenville, Bingham made his living as a bullrider on the Texas rodeo circuit. He entertained his rodeo buddies with songs while selling his self-produced records at small clubs and rodeos along the way. His songwriting and voice soon got him noticed by idol and mentor Joe Ely along with Terry Allen, Guy Clark and other Texas legends. His major label debut, 2007's Mescalito, bears the hardscrabble marking of someone accustomed to the tough life. It veers from campfire balladry to ragged roots rock that bristles with roadhouse energy, wrote No Depression. Bingham's major label follow-up Roadhouse Sun is set for release in May of 2009 from Lost Highway Records.
    1. Day Is Done
    2. Dylan's Hard Rain
    3. Tell My Mother I Miss Her So
    4. Country Roads
    5. Bluebird
    6. Snake Eyes
    7. Endless Ways
    8. Change Is
    9. Rollin' Highway Blues
    10. Hey Hey Hurray
    11. Roadhouse Blues
    12. Wishing Well
    Ryan Bingham And The Dead Horses
    $24.99
    Vinyl LP - Sealed Buy Now
  • Black, Brown And Beige (Speakers Corner) Black, Brown And Beige (Speakers Corner) Quick View

    $49.99
    Buy Now
    x

    Black, Brown And Beige (Speakers Corner)

    Black, Brown, & Beige is Duke Ellington's musical representation of the African-American experience in the United States. It is arguably The Maestro's greatest work. The triumph of telling so important a story so well through music alone makes Duke Ellington's Black, Brown, & Beige a masterpiece. It also displays Duke's, and Jazz's, highest achievement in long form. Whether you perceive it as a three-movement symphony or accept Ellington's own personalized terminology »Tone Parallel«, Black, Brown, & Beige matches conceptually and in artistic content the musical continuity of Western Classical's greatest names in their lengthiest works.


    The history of Black, Brown, & Beige is in its own right momentous. Ellington premiered the work at Carnegie Hall on January 23, 1943, at Duke's first performance on that illustrious stage. The Maestro has created the Come Sunday Suite. Duke Ellington basically reduced his three movement work to its first, Black, elevating that movement's spiritual theme, Come Sunday, making it the melody of the edited work. Truncating the symphony Black, Brown, & Beige into the song Come Sunday works because Duke Ellington has expanded Come Sunday through numerous theme and variations unknown to the original. The piece de resistance: a sacred text, by Duke himself, a text sung by the best known African-American religious singer in history, Mahalia Jackson. There is no doubt that it is the presence and performance of Mahalia Jackson which secures a home in the pantheon for this recasting of Black, Brown, & Beige, a work that already resided there.


    And Duke Ellington pulled off this coup with one hand tied behind his back, or without the services of his right-hand man. Overlooked over the years since the album Black, Brown, & Beige was recorded in February 1958 is the absence of Johnny Hodges (Hodges did a gig with Strayhorn in Florida during this period), the Ellington band's premier soloist


    The sides C & D are released on vinyl for the first time with this issue.


    Recording in mono.


    Musicians:



    • Duke Ellington (piano)

    • Mahalia Jackson (vocal)

    • Clark Terry (trumpet)

    • Ray Nance (trumpet, vocal)

    • Quentin Jackson (trombone)

    • Harry Carney (bassoon)

    • Paul Gonsalves (tenor saxophone)

    • Jimmy Hamilton (clarinet)

    • Russell Procope (clarinet, alto saxophone)

    • Jimmy Woode (bass)

    • Sam Woody (drums)



    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.



    LP 1
    1. Part I
    2. Part II
    3. Part III (AKA Light)
    4. Part IV (AKA Come Sunday)
    5. Part V (AKA Come Sunday)
    6. Part VI (23rd Psalm)


    LP 2
    1. Track 360 (AKA Trains)(Alt. Take)
    2. Blues In Orbit (AKA Tender)(Alt. Take)
    3. Part I (Alt. Take)
    4. Part II (Alt. Take)
    5. Part III (AKA Light) (Alt. Take)
    6. Part IV (AKA Come Sunday)(Alt. Take)
    7. Part V (AKA Come Sunday)(Alt. Take)
    8. Part VI (23rd Psalm)(Alt. Take)
    9. Studio Conversation (Mahalia Swears)
    10. Come Sunday (A Capella)

    Duke Ellington & Mahalia Jackson
    $49.99
    180 Gram Audiophile Virgin Vinyl LP Mono - 2 LPs Sealed Buy Now
  • Masterpieces (Pure Pleasure) Masterpieces (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Masterpieces (Pure Pleasure)

    When Ellington went into the studio in 1950 to record the longer tracks on this LP, his orchestra was a bridge between its late-1940's configuration (the 5-man trumpet section) and its mid-1950's personnel. The sax section had settled into the form it would have for most of the ensuing two decades (old-timers Hodges and Carney and newcomers Procope, Hamilton and Gonsalves); the trombone section had long-timer Lawrence Brown as well as Tyree Glenn and newcomer Quentin Jackson; and the drummer was still Sonny Greer, who had anchored the rhythm section since the beginning.


    The arrangements and orchestrations all bear the hallmarks of Ellington's collaboration with Billy Strayhorn in the late 1940's: they are lush, symphonic, impressionistic, and densely (and adventurously) harmonic. Mood Indigo, in particular, is a 15-minute tone-poem with shifting colors and key relationships as Ellington and Strayhorn bring the melody through a wide variety of guises, from Glenn's wah-wah trombone solo to Shorty Baker's lyrical waltz to orchestral and piano passages which do homage to the influence which Ravel and Stravinsky had on both of them.


    The Tattooed Bride is the only new piece from the original Masterpieces by Ellington LP, and it is a beauty. The others of the original tracks -- Sophistocated Lady and Solitude -- are not laid out as inventively in their harmonics or structure. Of the group, Solitude is perhaps the weakest, but this is a relative term. Ellington would go on to pen many more extended, symphonic works, but none would have quite the multicolored, impressionistic tone-pallate that these do. And Strayhorn's presence would not be as pronounced in those future works as it is here: the orchestration and harmonies in particular bear his mark. These are masterpieces indeed: great works of art by two of our greatest composers/orchestrators, and played by one of the greatest orchestras in Afro-American music. - Andrew R. Weiss

    Musicians:



    • Duke Ellington, Billy Strayhorn (piano)
    • Cat Anderson, Clark Terry, Ray Nance (trumpet)
    • Quentin Jackson (trombone)
    • Johnny Hodges (reeds)
    • Mercer Ellington (french horn)
    • Russell Procope (clarinet, reeds)
    • Wendell Marshall (bass)
    • Louie Bellson (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. Mood Indigo
    2. Sophisticated Lady
    3. The Tattooed Bride
    4. Solitude
    Duke Ellington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mr. Tambourine Man Mr. Tambourine Man Quick View

    $31.99
    Buy Now
    x

    Mr. Tambourine Man


    The Byrds/Friday Music 180 Gram Audiophile Series Continues!


    Their Landmark 1965 Debut Masterpiece In Stereo! Produced By Terry Melcher!


    First Time 180 Gram Audiophile Clear Vinyl & Gatefold Cover Presentation


    Mastered By Joe Reagoso And Pressed At R.T.I.


    The Byrds were truly a gift to rock music fans all over the world. There will never be another
    collective of superstar talent like The Byrds. Their amazing sound and membership is of legendary
    proportion, and it all started 50 years ago with their brilliant debut album Mr. Tambourine Man.
    Jam packed with 12 classic rock champions like I'll Feel a Whole Lot Better, Chimes of Freedom,
    All I Really Want to Do and of course the smash title track, Mr. Tambourine Man became one of the
    more important albums ever in classic rock.


    With the lead vocals and unmistakable 12 string guitar work of Roger McGuinn, the musicianship
    and lead vocal work of the legendary David Crosby, the solid bass playing and lead vocal work
    of Chris Hillman, along with the stellar lead vocals of Gene Clark and the hipster Michael Clarke on
    drums, all of these ingredients made The Byrds a force to reckon with like no other. They turned Bob
    Dylan folk classics into psychedelic electric treasures and their own brilliant tunes into rock manna
    which will forever stand the test of time.


    Friday Music is no stranger to the legendary sound of The Byrds. That is why we are so very
    honored to announce the first time 180 Gram Audiophile Clear Vinyl 50th Anniversary Edition of their
    debut classic Mr. Tambourine Man.


    Mastered impeccably by Joe Reagoso (The Byrds/Jefferson Airplane) for the first time on audiophile
    vinyl, The Byrds' Mr. Tambourine Man will truly become one of the most important and historical
    180 Gram Audiophile Vinyl titles in quite some time.


    To celebrate The Byrds 50th Anniversary, we further enhance this limited anniversary edition
    with a stunning gatefold cover featuring the original artwork and newly found photos from the lens
    of Don Hunstein,as well as being pressed by R.T.I on clear vinyl.


    Hey Mr. Tambourine Man!

    1. Mr. Tambourine Man
    2. I'll Feel a Whole Lot Better
    3. Spanish Harlem Incident
    4. You Won't Have to Cry
    5. Here Without You
    6. The Bells of Rhymney
    7. All I Really Want to Do
    8. I Knew I'd Want You
    9. It's No Use
    10. Don't Doubt Yourself, Babe
    11. Chimes of Freedom
    12. We'll Meet Again
    The Byrds
    $31.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
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