Vinyl. Our way of life since 2004 (877) 929-8729

VPI Dealer Authorized & Certified
Site Search
Menu Free shipping on domestic orders over $49.99! - We ship worldwide!
15% Off Vinyl - LP15
Home > Products for: '

Count Basie

'
  • 1
  • 2
Results per page:
  • Live At The Sands: Before Frank Live At The Sands: Before Frank Quick View

    $49.99
    Buy Now
    x

    Live At The Sands: Before Frank

    Swinging Hard and Heavy With Orchestral Support, Live Big-Band Album Recorded During the Count's Warm-Up Sets for Sinatra in Early 1966 in Vegas


    Incredible Sound: Mastered from the Original Master Tapes, Reissue Improves Upon Renowned Dynamics, Presence, Crispness, and Balances


    Long Out-of-Print, Seminal Classic is Perfect Complement to Sinatra's Live at the Sands


    Count Basie and Frank Sinatra had the perfect arrangement at the Sands. Before the Chairman hit the stage in Vegas, Count Basie and his big band warmed up the already enthusiastic crowd with a brief set of their own. A dynamite entertainer, the legendary leader causes hearts to race, hips to shake, and fingers to snap with high-energy readings of his trademark swing music, taken to feverish heights by both his first-rate orchestra and the incredibly swank setting. Fortunately, the finest of Basie and Co.'s introductory performances from the historic 1966 dates have been preserved here and serve as a seminal complement to Sinatra's iconic Live at the Sands.


    Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's analog version of Live at the Sands (Before Frank) gives you a dead-center, eighth-row seat at the famed Sin City club. You'll just need to supply your own table and cocktail. Renowned for its sonic clarity, transparency, crispness, and punch, the record is now tremendously enhanced, with improved tonality, a deeper soundstage, correct balances, and lifelike presence. Each horn occupies its own space, and Basie's transfixing piano-a focal point throughout-resonates with gorgeous detail and impeccable pacing. The collective's energy almost demands to be measured with an SPL meter.


    Captured in late January and early February 1966, Live at the Sands (Before Frank) contains most of Basie's signature pieces delivered with an enthusiasm, style, and brassiness that exceed that gracing nearly any of the Count's studio efforts. His band is stacked to the nines, with tenor saxophonist Eddie "Lockjaw" Davis, saxophonist/flautist Eric Dixon, and drummer "Sonny" Payne among the prized cast. The Sands dates marked the first time in years that these players, as well as trombonist Al Grey, gathered onstage together.


    Encouraged by Basie, the instrumentalists engage in a series of call-and-response passages and standout solos, not the least of which is Davis' turn on a white-hot "Jumpin' at the Woodside" and he and Dixon's exchanges on "This Could Be the Start of Something Big." No slouch, Basie approaches "Makin' Whoopee" with graceful playfulness, and oversees the assortment of uptempo swing numbers and mellow ballads with astute melodicism. A sublime version of the Don Gibson country standard "I Can't Stop Loving You," arranged by Quincy Jones, can almost be considered a bonus.


    No, it don't mean a thing if it ain't got that swing. And Basie and his mates have plenty of it on this superb outing. Big-band jazz seldom enjoyed such levels of rhythmic precision, expert charts, or unfettered joy. Unbelievably, this gem has been out of print for years, with original copies both on vinyl and CD commanding steep prices. Mobile Fidelity's reissue restores not only the sonics but the record's place in jazz history.


    This title is not eligible for discount.

    1. Introduction
    2. Splanky
    3. I Can't Stop Loving You
    4. I Needs to Be Bee'd With
    5. Flight of the Foo Birds
    6. Satin Doll
    7. Makin' Whoopee!
    8. Corner Pocket
    9. One O'Clock Jump
    10. Hello Little Girl
    11. Whirly Bird
    12. Blues for Ilene
    13. This Could Be the Start of Something Big
    14. Jumpin' at the Woodside
    Count Basie
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Atomic Mr. Basie The Atomic Mr. Basie Quick View

    $27.99
    Buy Now
    x

    The Atomic Mr. Basie

    Side A



    1. The Kid From Red Band
    2. Duet
    3. Splanky
    4. Flight Of The Foo Birds
    5. Double-O
    6. Li'l Darlin'



    Side B



    1. Whirly-Bird
    2. Midnite Blue
    3. After Supper
    4. Fantail
    5. Teddy The Toad
    6. The Late Late Show

    Count Basie
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • April In Paris April In Paris Quick View

    $19.99
    Buy Now
    x

    April In Paris

    Count Basie's band endured because of its leader's uncanny ability to put together fresh arrangements and strong soloists while maintaining the band's unique devotion to swing; this CD is among the most enduring of the big band recordings of the 1950s. The title tune is present in a justifiably famous rendition, a performance of swaggering swing and passion that was arranged by organist Wild Bill Davis. Frank Foster's Shiny Stockings, now a jazz standard, made its debut here, while Joe Newman's Midgets recasts the band as a bop combo. Throughout the recording are terrific solos by trumpeters Thad Jones and Newman and tenor saxophonists Foster and Frank Wess, all basking in the band's glorious swing. --Stuart Broomer


    Basie scored a smash in '56 with April in Paris , and this mid-'50s LP (featuring the original Basie band) became an instant big-band classic. A slew of alternate takes join that hit!

    1. April In Paris
    2. Corner Pocket
    3. Didn't You?
    4. Sweetie Cakes
    5. Magic


    6. Shiny Stockings
    7. What Am I Here For?
    8. Midgets
    9. Dinner With Friends
    10. Big Red

    Count Basie
    $19.99
    Vinyl LP - Sealed Buy Now
  • Sinatra - Basie: An Historic Musical First Sinatra - Basie: An Historic Musical First Quick View

    $24.99
    Buy Now
    x

    Sinatra - Basie: An Historic Musical First

    Sinatra-Basie: An Historic Musical First (or simply Sinatra-Basie) is a 1962 studio album by Frank Sinatra, arranged by Neal Hefti.


    As the title indicates, this was the first recording that Sinatra made with the Count Basie Orchestra.

    1. Pennies From Heaven

    2. Please Be Kind

    3. (Love Is) The Tender Trap

    4. Looking At The World Thru Rose Coloured Glasses

    5. My Kind Of Girl

    6. I Only Have Eyes For You

    7. Nice Work If You Can Get It

    8. Learnin' The Blues

    9. I'm Gonna Sit Right Down And Write Myself A Letter

    10. I Won't Dance
    Frank Sinatra
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • At The Sands At The Sands Quick View

    $34.99
    Buy Now
    x

    At The Sands

    Sinatra at the Sands is a 1966 live album by Frank Sinatra, accompanied by Count Basie and his orchestra, conducted and arranged by Quincy Jones, recorded live at the Copa Room of the Sands Hotel and Casino in Las Vegas.


    It was Sinatra's first live album to be commercially released, and contains many definitive readings of the songs that are most readily associated with Sinatra.

    LP 1
    1. Come Fly With Me
    2. I've Got A Crush On You
    3. I've Got You Under My Skin
    4. The Shadow of Your Smile
    5. Street of Dreams
    6. One For My Baby (And One More For the Road)
    7. Fly Me To the Moon
    8. One O'Clock Jump
    9. The Tea Break (monologue)
    10. You Make Me Feel So Young


    LP 2
    1. All of Me
    2. The September Of My Years
    3. Get Me To the Church On Time
    4. It Was A Very Good Year
    5. Don't Worry 'Bout Me
    6. Makin' Whoopee! (instrumental)
    7. Where or When
    8. Angel Eyes
    9. My Kind of Town
    10. A Few Last Words (monologue)
    11. My Kind of Town (reprise)

    Frank Sinatra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Sound Of Jazz (Pure Pleasure) The Sound Of Jazz (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    The Sound Of Jazz (Pure Pleasure)

    The Sound Of Jazz is a 1957 edition of the CBS television series Seven Lively Arts, and was one of the first major programmes featuring jazz to air on American network television.
    The one-hour program aired on Sunday, December 8, 1957, at 5 p.m. Eastern Time, live from CBS Studio 58, the Town Theater at 851 Ninth Avenue in New York City. The show was hosted by New York Herald-Tribune media critic John Crosby, directed by Jack Smight, and produced by Robert Herridge. Jazz writers Nat Hentoff and Whitney Balliett were the primary music consultants.
    The Sound Of Jazz brought together 32 leading musicians from the swing era including Count Basie, Lester Young, Ben Webster, Billie Holiday, Jo Jones and Coleman Hawkins; the Chicago style players of the same era, like Henry 'Red' Allen, Vic Dickenson, and Pee Wee Russell; and younger 'modernist' musicians such as Gerry Mulligan, Thelonious Monk, and Jimmy Giuffre. These players played separately with their compatriots, but also joined to combine various styles in one group, such as Red Allen's group and the group backing Billie Holiday on Fine and Mellow.
    The show's performance of Fine and Mellow reunited Billie Holiday with her estranged long-time friend Lester Young for the final time. Jazz critic Nat Hentoff, who was involved in the show, recalled that during rehearsals, they kept to opposite sides of the room. Young was very weak, and Hentoff told him to skip the big band section of the show and that he could sit while performing in the group with Holiday.




    Musicians:



    • Red Allen Stars

    • Billie Holiday & Band

    • Count Basie All Stars

    • The Jimmy Giuffre Trio

    • Mal Waldron

    • Pee Wee Russell




    About Pure Pleasure



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



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



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



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



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



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




    This title is not eligible for discount.

    1. Wild Man Blues - The Henry "Red" Allen All-Stars

    2. Rosetta -  Henry Allen And His Orchestra

    3. Fine And Mellow - Billie Holiday with Mal Waldron & The All Stars

    4. Blues - Jimmy Giuffre;Pee Wee Russell

    5. I Left My Baby - Count Basie with All-Stars featuring Jimmy Rushing

    6. The Train And The River -  The Jimmy Giuffre Trio

    7. Nervous - Mal Waldron

    8. Dickie's Dream - Count Basie with All-Stars

    9. Wild Man Blues (Alternate Take) - The Henry "Red" Allen All-Stars
    Various Artists
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Kansas City Suite: The Music Of Benny Carter (Pure Pleasure) Kansas City Suite: The Music Of Benny Carter (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Kansas City Suite: The Music Of Benny Carter (Pure Pleasure)

    A session from 1960 with Basie and his Orchestra on absolute top form. It's hardly surprising when you see the line up of star players and also the fact that every single selection was written by Benny Carter.



    The Kansas City that Count Basie found himself in had become the hard core of vital new jazz. It was a place where the musicians who expressed this new jazz could, from night through morning, and on again the next night, sit in on numerous jam sessions.It was a place where musicians like Walter Page, Benny Moten, Lester Young, Ben Webster, Andy Kirk, Coleman Hawkins and many more, could be found working, experimenting and living their music. This was Count Basie's Kansas City, and this is the Kansas City that Benny Carter has dedicated this music to. He has written an original modern jazz suite that is flavored with the elements of Kansas City stomp jazz, and tailored for the big brash sound of the Basie band of today. To Benny Carter, the different streets and places in Kansas City, where so many of these jazz greats lived and worked, and where so much of jazz history was written, evokes a mood, a rememberance of things past. He has, for this reason, titled the selections of this suite after these very same streets and places. The Kansas City of the '20s and 30s is now a legend, and the music that saw it's beginnings there has since developed and moved into the mainstream of today's jazz. It has reached its full maturity and greatness in the music of Benny Carter, and through the dynamic force of the great Basie band!




    Musicians:



    • Sonny Cohn (trumpet)

    • Thad Jones (trumpet)

    • Henry Coker (trombone)

    • Benny Powell (trombone)

    • Marshall Royal (alto saxophone,clarinet)

    • Billy Mitcheel (tenor saxophone, clarinet)

    • Charles Fowlkes (bassoon, bass clarinet, flute)

    • Count Basie (piano)

    • Freddie Green (guitar)

    • Eddie Jones (bass)

    • Sonny Payne (drums)




    Recording: September 1960 at United Recorders, Los Angeles, by Wally Heider

    Production: Teddy Reig



    About Pure Pleasure



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



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



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



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



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



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




    This title is not eligible for discount.

    1. Vine Street Rumble
    2. Katy-Do
    3. Miss Missouri
    4. Jackson County Jubilee
    5. Sunset Glow
    6. The Wiggle Walk
    7. Meetin' Time
    8. Paseo Promenade
    9. Blue Five Jive
    10. Rompin' At The Reno
    Count Basie And His Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • On My Way and Shoutin' Again On My Way and Shoutin' Again Quick View

    $27.99
    Buy Now
    x

    On My Way and Shoutin' Again

    Import


    When Count Basie returned to Verve Records in 1962, Neal Hefti was contracted to write the tunes and arrangements, a revival of their partnership from the 1958 Roulette LP Basie Plays Hefti. While none of these selections is as famous as his songs like Cute, Little Pony, Splanky, Li'l Darlin', and Repetition, the substantial originality of this music is hard to deny, not to mention that the expert musicians playing his music bring these tracks fully to life in a livelier fashion than most laid-back Basie studio sessions. In fact, it has the feeling of a concert date that trumps the more clean, controlled environment of a session that was recorded on a three-track reel-to-reel. There's also plenty of room for exceptional solos from most of the participants, as Hefti is mindful of who is in the band and how each musician might sound when given his head.


    This is tried and true swing-oriented modern big-band music that actually sounds advanced for its time frame, and is solid as anything Basie has done post-April in Paris. The band is atypically bold and brazen on the opener, I'm Shoutin' Again, with Frank Wess on alto (not tenor) sax for his spirited solo. The great chart of Jump for Johnny is a hard bopper for Johnny Carson, basic Basie with tenor saxophonist Frank Foster and trumpeter Sonny Cohn trading licks. Hefti's best work is showcased during Together Again, as the hopping brass and singing horns take tuneful twists and turns. This set also includes the classic track The Long Night, a famous blues featuring the sly flute of Wess in front of the horn section and a masterful muted solo by trumpeter Thad Jones. There are other tunes that are derivative, as you can clearly hear the borrowed phrases of C Jam Blues/Duke's Place in the low-key then blasted-out Eee Dee, Shiny Stockings sprinkled about during the more typical laid-back Rose Bud, and Groove Merchant or Hallelujah, I Just Love Him So in the easy-swinging soul groove of Ain't That Right. Hefti's movie soundtrack experience comes to the fore on Shanghaied, definite spy music with Cohn's muted trumpet masking phobias and paranoia. There are two cute tunes: Skippin' with Skitch, led by three flutes (Wess, Eric Dixon, and Charlie Fowlkes); and the lightly strutting Ducky Bumps, featuring Henry Coker's trombone, with brief solos from Basie's piano and bassist Buddy Catlett.


    A solid and worthwhile album that has been out of print for far too long, this will be a welcome addition to any Basie lover's collection, and comes highly recommended to anyone even mildly interested in excellent large-ensemble mainstream jazz.


    - Michael G. Nastos (All Music Guide)

    1. I'm Shoutin' Again
    2. Ducky Bumps
    3. The Long Night
    4. Jump For Johnny
    5. Ain't That Right
    6. Together Again
    7. Shanghaied
    8. Skippin' With Skitch
    9. Eee Dee
    10. Rose Bud
    11. Lester Leaps In
    Count Basie
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Newport Uproar (Pure Pleasure) Newport Uproar (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Newport Uproar (Pure Pleasure)

    The 1967 Newport Jazz Festival, fourteenth in a world-famous series, was inexplicably the first at which Lionel Hampton had ever appeared. Better late than never, the great vibist and bandleader came, played and conquered. As the crowd roars ecstatically at the end of this record, the awed but happy voice of producer George Wein is heard: »This hasn't happened since Duke « he begins, casting back in his mind to 1956 and the nearest comparable triumph.



    There is nothing quite so effective as a big band at an outdoor jazz festival. So the 1967 Newport programme included those of Count Basie, Buddy Rich, Woody Herman, Don Ellis and Lionel Hampton. Lionel knew the competition he had to face, and knew that in the festival's climatic spot - the last act on the last night - his performance would be compared with those of all the others. He prepared accordingly.
    Members of his Inner Circle, the octet with which he normally works, would provide the nucleus for an orchestra largely composed of alumni from his earlier bands. When the call went out to the Old Guard, the response was magnificent, as a glance at the personnel will show. Top names in the profession came back to join him, to form one of the great all-star bands of all time. A two week engagement at The Metropole in New York, immediately before the festival, served as a prolonged dress rehearsal, where the ensembles were polished and new arrangements familiarized. Enthusiasm mounted night by night in the Seventh Avenue club, among musicians and public alike, until Newport and the evening of 3rd July were reached. Then, as you will hear, the spirit was willing and the flesh far, far from weak.



    All these preparations ensured a good performance, but the spark, the magic necessary to make it a great one, had to come from the leader. Everybody knows that he is a kind of rhythmic dynamo-driving, full of energy, unsparing of himself. His commitment and conviction communicate rapidly with any audience, so that it is soon won over to his side. Yet in the long, ninety minute program, errors in pacing would have been easy, forgivable, but extremely damaging. A climax reached too soon would have led to anti-climax, and a flat feeling as the crowd left the ground. As it was, Lionel's long professional experience served him superbly, so that his program rose steadily and inexorably to the all-out, emotional frenzy of Flying Home. Like a good general, he never lost his grasp on the situation. He inspired his men by personal example on the vibes, reinforced the beat on a second set of drums, and finally brought up the reserves - Alan Dawson, Milt Buckner and Illinois Jacquet - at just the right time, and in the right spot, to secure an unforgettable triumph and a tumultuous ovation.



    Musicians:



    • Lionel Hampton (vibraphone, piano, drums)

    • Illinois Jacquet (tenor saxophone)

    • Snooky Young, Wallace Davenport (trumpet)

    • Al Grey, Benny Powell (trombone)

    • Jerome Richardson, George Dorsey, Ed Pazant (reeds)

    • John Spruill, Milt Buckne (piano)

    • Billy Mackel (guitar)

    • George Duvivier (bass)

    • Steve Little (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.


    This title is not eligible for discount.

    1. Turn Me Loose
    2. Thai Silk
    3. Tempo's Birthday
    4. Greasy Greens
    5. Greasy Greens (Encore)
    6. Meety Benny Baily
    7. Medley:
    Hey! Ba-Ba-Re-Bop/Hamp's Boogie Woogie
    8. Misunderstood Blues
    9. Flying Home
    Lionel Hampton
    $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.



    This title is not eligible for discount.

    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
  • Battle Royal Battle Royal Quick View

    $27.99
    Buy Now
    x

    Battle Royal

    Import


    Limited 180gm vinyl LP pressing of this 1961 album including two bonus tracks. Despite the much spoken rivalry between them, Duke Ellington and Count Basie were close friends and great admirers of each other's work. Although they had known each other since their youth, and on many occasions were featured on the same bill, the Duke and the Count never crossed paths in a recording studio before the 1961 session included here. While their bands performed separately on the same stage many times following the 1961 session, they would never record together again. Wax Time.

    1. Battle Royal
    2. To You
    3. Take The A Train
    4. Corner Pocket (Aka Until I Met You)
    5. Blues In Hoss' Flat (Blues In Frankie's Flat)*
    6. Wild Man (Aka Wild Man Moore)
    7. Segue In C
    8. B D B
    9. Jumpin' At The Woodside
    10. One More Once*


    *Bonus Tracks

    Duke Ellington & Count Basie
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Ellington & Coltrane Ellington & Coltrane Quick View

    $27.99
    Buy Now
    x

    Ellington & Coltrane

    180 Gram Vinyl


    Includes Bonus Track


    Duke Ellington & John Coltrane is a jazz album by Duke Ellington and John Coltrane recorded on September 26, 1962 and released in February 1963 on Impulse! Records.


    For Ellington, it was one of many collaborations with fellow jazz-greats in the early 1960s, including Count Basie, Louis Armstrong, Coleman Hawkins, Max Roach and Charles Mingus. More unusually, it placed him in a jazz quartet setting (in this case, saxophone, piano, bass and drums), rather than his usual one in a big band.


    For Coltrane, it was an opportunity to work with one of jazz's all-time greats. It was one of several albums he recorded in the early 1960s in a more conservative and accessible style, alongside John Coltrane and Johnny Hartman and Ballads. Despite their differences in background, style and age (Ellington was 63 and Coltrane 36 when the tracks were recorded), it has been said that the two interacted seamlessly and subtly, neither one outshining the other.


    The quartet was filled out by the bassist and drummer from either of their bands. The tracks they recorded featured Ellington standards (In a Sentimental Mood), new Ellington compositions and a new Coltrane composition (Big Nick).


    Coltrane felt very honoured to work with Ellington: I was really honoured to have the opportunity of working with Duke. It was a wonderful experience. He has set standards I haven't caught up with yet. I would have liked to have worked over all those numbers again, but then I guess the performances wouldn't have had the same spontaneity. And they mightn't have been any better!

    1. In A Sentimental Mood
    2. Take The Coltrane
    3. Big Nick
    4. Stevie
    5. My Little Brown Book
    6. Angelica
    7. The Feeling Of Jazz
    8. I Got It Bad and That Ain't Good*


    *Bonus Track

    Duke Ellington & John Coltrane
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Boss Of The Blues (Pure Pleasure) The Boss Of The Blues (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    The Boss Of The Blues (Pure Pleasure)

    Besides helping to invent rock 'n roll with his hit Shake, Rattle and Roll, Big Joe Turner was one of the most soulful blues shouters of all time. His best albums married the boogie-woogie piano stylings of the great Pete Johnson with a jazzy jumpin' horn section. Boss Of The Blues is arguably Joe's best recording, in part because he sang with particular gusto during these 1956 sessions. At the time, Boss Of The Blues marked a nostalgic return to the jump-blues style that Turner helped pioneer in the '40s. Besides Johnson, Boss featured some of Kansas City's finest ever jazzmen and various members of Count Basie's band, including Joe Newman (trumpet), Pete Brown (alto sax), Lawrence Brown (trombone), Frank Wess (tenor sax) and Freddie Green (guitar). The bawdy Cherry Red and the rollicking Roll 'Em Pete are my favorite Turner-Johnson collaborations. Both feature some incredible playing by the piano master. Turner's versions of I Want A Little Girl, Low Down Dog, You're Driving Me Crazy, and Morning Glories are definitive. If I had to compile a list of my 10 favorite albums, Boss Of The Blues would be there.



    Musicians:



    • Joe Turner (vocal)

    • Joe Newman (trumpet)

    • Lawrence Brown (trombone)

    • Pete Brown (alto saxophone)

    • Frank Wess (tenor saxophone)

    • Pete Johnson (piano)

    • Freddie Green (guitar)

    • Walter Page (bass)

    • Cliff Leeman (drums)




    Recording:1956 in New York by Len Frank

    Production: Nesuhi Ertegun & Jerry Wexler




    About Pure Pleasure



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



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



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



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



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



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


    This title is not eligible for discount.

    1. Cherry Red
    2. Roll 'Em Pete
    3. I Want a Little Girl
    4. Low Down Dog
    5. Wee Baby Blues
    6. You're Driving Me Crazy (What Did I Do?)
    7. How Long Blues
    8. Morning Glories
    9. St. Louis Blues
    10. Piney Brown Blues
    Big Joe Turner
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Out of the Forrest Out of the Forrest Quick View

    $39.99
    Buy Now
    x

    Out of the Forrest

    Part of the ultimate audiophile Prestige stereo reissues from Analogue Productions - 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 33 1/3.


    All mastered from the original analog master tapes by mastering maestro Kevin Gray. 200-gram LPs pressed at Acoustic Sounds' state-of-the-art pressing plant, Quality Record Pressings, plated by Gary Salstrom


    Deep groove label LP pressings, tip-on jackets on thick cardboard stock


    From the time Coleman Hawkins firmly established the tenor saxophone on the jazz map, it has been one of the most potent forces in the music, its best practitioners able to raise the roof with a jumping blues, soothe the savage beast with a tender love ballad, and do just about anything in between. At the time of this recording (1961), Jimmy Forrest, the St. Louis-born reedman, was a veteran of the Fate Marable, Jay McShann, Andy Kirk, and Duke Ellington bands. Later in his career he starred with Count Basie. Here he leads a quartet of teammates from the combo of Sweets Edison, including the young Austrian pianist Joe Zawinul, through a gamut of the aforementioned moods from Crash Program to the caressing That's All, with a few tips of the cap to Ben Webster along the way. With Joe Zawinul, Tommy Potter and Clarence Johnston.


    This title is not eligible for discount.

    1. Bolo Blues
    2. I Cried for You (Now It's Your Turn to Cry Over Me)
    3. I've Got a Right to Cry
    4. This Can't Be Love
    5. By the River Sainte Marie
    6. Yesterdays
    7. Crash Program
    8. That's All
    Jimmy Forrest
    $39.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Jazz Party Jazz Party Quick View

    $39.99
    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
    $39.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Keep On Keepin' On Keep On Keepin' On Quick View

    $34.99
    Buy Now
    x

    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
  • A Very Swingin' Basie Christmas A Very Swingin' Basie Christmas Quick View

    $21.99
    Buy Now
    x

    A Very Swingin' Basie Christmas

    A Very Swingin' Basie Christmas! is a Christmas album by the Count Basie Orchestra, directed by Scotty Barnhart, and originally released by Concord Records in 2015.


    *Artwork to subject to change

    1. Jingle Bells
    2. Let It Snow (feat. Ellis Marsalis)
    3. It's the Holiday Season (feat. Johnny Mathis)
    4. Silent Night
    5. Good "Swing" Wenceslas
    6. The Christmas Song (feat. Ledisi)
    7. Little Drummer Boy
    8. Sleigh Ride
    9. Have Yourself a Merry Little Christmas (feat. Carmen Bradford)
    10. Winter Wonderland
    11. I'll Be Home for Christmas (feat. Ellis Marsalis and Plas Johnson)
    Scotty Barnhart & The Count Basie Orchestra
    $21.99
    Vinyl LP - Sealed Buy Now
  • The Third Face of Fame (Pure Pleasure) The Third Face of Fame (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    The Third Face of Fame (Pure Pleasure)

    Georgie Fame's swinging, surprisingly credible blend of jazz and American R&B earned him a substantial following in his native U.K., where he scored three number one singles during the '60s and a top ten hit with Bonnie & Clyde in the States. Fame played piano and organ in addition to singing, and was influenced by the likes of Mose Allison, Ray Charles, Booker T and the MG's and Louis Jordan. Early in his career, he also peppered his repertoire with Jamaican ska and bluebeat tunes, helping to popularize that genre in England; during his later years, he was one of the few jazz singers of any stripe to take an interest in the vanishing art of vocalese, and earned much general respect from jazz critics on both sides of the Atlantic.



    This set finds him in a suaver, jazzier vein accompanied by a band made up of the cream of jazz musicians on the UK scene at the time. It was at this time, 1967 and 1968, that to much acclaim, he toured as featured vocalist with the Count Basie Orchestra throughout the UK & Europe.



    Musicians:



    • Georgie Fame (piano, organ, vocal) and orchestra




    Recording: 1968 by Mike Ross

    Production: Mike Smith



    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.



    This title is not eligible for discount.

    1. The Ballad of Bonnie and Clyde
    2. When I'm Sixty Four
    3. Ask Me Nice
    4. Exactly Like You
    5. Someone to Watch Over Me

    6. Blue Prelude
    7. Bullets Laverne
    8. This is Always
    9. Side By Side
    10. St. James Infirmary

    11. Mellow Yellow
    Georgie Fame
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Eddie 'Lockjaw' Davis Cookbook Vol. 1 Eddie 'Lockjaw' Davis Cookbook Vol. 1 Quick View

    $21.99
    Buy Now
    x

    Eddie 'Lockjaw' Davis Cookbook Vol. 1

    Eddie Lockjaw Davis and Shirley Scott set an enduring standard for tenor saxophone/organ groups, beginning with this their first recording together. Davis' authoritative, hard swinging style came through his seasoning as a key player in the Count Basie band. Scott, an accomplished pianist, took up the organ when she joined Davis in 1955, emerging with her distinctive, driving yet subtle style virtually fully formed. The music on this 1958 date holds few surprises; it's meat and potatoes all the way, but it's made using the choicest ingredients. The barbecue sauce is applied in moderation, as the band steers closer to Basie-style swing than to overt R&B riffing. Davis and his working band -- Scott and drummer Arthur Edgehill -- are joined here by reed player Jerome Richardson and bassist George Duvivier. Richardson, playing flute on most tracks, provides a useful complement to Davis' tenor. Duvivier is indispensable in anchoring the music with a commanding walking bass. Edgehill's quick, light touch helps maintain the swinging, jazzy feel. The tracks comprise three strong Davis originals, two standards, including But Beautiful, which ranks as a master class in ballad playing, and the albums's centerpiece, the 12-minute plus In the Kitchen. This slow blues by Johnny Hodges has room for extended soloing all around in a performance that underlines the skill, passion and artistry that made the Davis and Scott partnership a potent and influential combination.


    - Jim Todd (All Music Guide)

    1. Have Horn, Will Blow

    2. The Chef

    3. But Beautiful

    4. In The Kitchen

    5. Three Deuces

    6. Avalon
    Eddie Lockjaw Davis
    $21.99
    Vinyl LP - Sealed Buy Now
  • Green Onions Green Onions Quick View

    $21.99
    Buy Now
    x

    Green Onions

    Green Onions is the debut album by Booker T. & the M.G.s, originally released on Stax Records in October 1962. It reached number 33 on the pop album chart in the month of its release. The title single had been a hit worldwide and was covered by dozens of artists, including the Blues Brothers (featuring guitarist Steve Cropper), the Ventures, Al Kooper, the Shadows, Mongo Santamaría, Roy Buchanan (also featuring Steve Cropper and Jan Hammer), Count Basie and many others.
    1. Green Onions
    2. Rinky-Dink
    3. I Got A Woman
    4. Mo' Onions
    5. Twist And Shout
    6. Behave Yourself
    7. Stranger On The Shore

    8. Lonely Avenue
    9. One Who Really Loves You

    10. I Can't Sit Down
    11. A Woman, A Lover, A Friend
    12. Comin' Home Baby
    Booker T. & The MG's
    $21.99
    Vinyl LP - Sealed Buy Now
  • MTO Plays Sly MTO Plays Sly Quick View

    $18.99
    Buy Now
    x

    MTO Plays Sly

    New York City's favorite 'little big band' Steven Bernstein's Millennial Territory Orchestra cracks open wide the monumental songbook of Sly & The Family Stone on its third album, MTO Plays Sly.


    On this freewheeling and jubilant 13-track tribute, MTO, propelled by a dynamic cast of special guests, treats Sly and Co. with the same reverence it would Duke Ellington or Count Basie, illuminating the melodic and harmonic sophistication of the iconoclast's body of work by re-imagining the music through the filter of their own downtown NYC aesthetic, while upholding th Day-Glo soul and psychedelic funk that is the backbone for classics like M'Lady, Everybody People and Family Affair.


    MTO is Steven Bernstein, Peter Apfelbaum, Doug Wieselman, Erik Lawrence, Curtis Fowlkes, Charlie Burnham, Matt Munisteri, Ben Allison and Ben Perowsky. MTO Plays Sly also features many special guests including Anthony Hegarty, Bernie Worrell, Bill Laswell, Dean Bowman, Martha Wainwright, Sandra St. Victor, Shilpa and Vernon Reid.

    1. Stand ft. Sandra St. Victor, Bernie Worrell and Vernon Reid
    2. Family Affair ft. Antony Hegarty
    3. Sly Notions
    4. Que Sera, Sera ft. Martha Wainwright
    5. M'Lady feat. Dean Bowman
    6. You Can Make it If You Try
    7. Everyday People ft. Shilpa Ray
    8. Bernie Interlude ft. Bernie Worrell
    9. Skin I'm In ft. Sandra St. Victor
    10. Sly Notions 2/Fun ft. Dean Bowman
    11. Time feat. Dean Bowman and Vernon Reid
    12. Thank You For Talkin' To Me Africa (Bill Laswell mix translation)
    13. Life
    Steven Bernstein's Millennial Territory Orchestra
    $18.99
    Vinyl LP - Sealed Buy Now
  • Ben Webster And Sweets Edison Ben Webster And Sweets Edison Quick View

    $54.99
    Buy Now
    x

    Ben Webster And Sweets Edison

    Mastered by Bernie Grundman from the Original Analog Master Tapes! Only 2500 Numbered Limited Edition Copies Worldwide!


    The two jazz giants Ben Webster and Harry Sweets Edison had long wanted to record an album together, and in 1962, they did. Although associated with two different orchestras (Edison was with Basie and Webster was with Ellington), these two swing kings found that they had a lot in common.


    This album features both horn men on three medium tempo blues, Better Go, Kitty, and Did You Call Her Today. Other than this, Webster gets two tenor features, contributing absolutely luscious solos on both How Long Has This Been Going On, and My Romance. After listening to these songs, there can be no doubt that Webster is one of the best balladeers jazz has ever produced. Edison gets his moment in the sun too. On the album closer, Sweets plays a wonderful, even fairly modern sounding, rendition of Embraceable You using a Harmon mute. The ballads, enhanced by the wonderful harmonic sense of pianist Hank Jones, are the highlight of this release, and show both Webster and Sweets' unbeatable melodic sense.


    Ben Webster was considered to be on of the three most important 'swing tenors' along with Coleman Hawkins and Lester Young. Known by some as The Brute, he had a tough, raspy and brutal tone on stompes but could deliver warmth and sentiment on softer ballads. Trumpeter Harry Sweets Edison spent his early childhood in Kentucky where he was introduced to music by his uncle. After moving back to his hometown of Columbus, Ohio at the age of 12, he began playing the trumpet with local bands, eventually landing a spot with the Count Basie Orchestra.


    Tenor-saxophonist Ben Webster and trumpeter Harry Sweets Edison, both veterans of the swing era (although associated with different orchestras), had long wanted to record a full album together. The results, a swinging quintet set with pianist Hank Jones, bassist George Duvivier and drummer Clarence Johnston, are quite rewarding. There are two ballad features for the tenor (How Long Has This Been Going on and a beautiful version of My Romance) and one for Edison (Embraceable You) along with three medium-tempo collaborations. Nothing unexpected occurs but the melodic music is quite enjoyable. - Scott Yanow, Allmusic.com


    At a time when some are steering jazz up a rather shallow third stream and others are busy digging up its roots, Webster and Edison are only motivated by the sheer love of playing.


    This title is not eligible for discount.

    1. Better Go
    2. How Long Has This Been Going On
    3. Kitty
    4. My Romance
    5. Did You Call Her Today
    6. Embraceable You
    Ben Webster & Sweets Edison
    $54.99
    180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
  • The Trio The Trio Quick View

    $37.99
    Buy Now
    x

    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
  • H.R. Is A Dirty Guitar Player H.R. Is A Dirty Guitar Player Quick View

    $24.99
    Buy Now
    x

    H.R. Is A Dirty Guitar Player

    In the pantheon of under-the-radar American guitar heroes, Howard Roberts looms large. A remarkably versatile musician who was one of Los Angeles' most in-demand session players from the early 1950s through the 1970s, Roberts' career encompassed an incredible array of studio assignments. He recorded with a dizzying assortment of acts, including Elvis Presley, Frank Sinatra, the Beach Boys, the Monkees, Dean Martin, Sonny and Cher, the Jackson 5, Peggy Lee, Eddie Cochran, Chet Atkins and the Electric Prunes. He also played on countless film and television soundtracks; his guitar work is featured prominently in the iconic theme music of The Twilight Zone, The Munsters and I Dream of Jeannie.


    Roberts was also an accomplished musical educator, co-founding Hollywood's Guitar Institute of Technology, writing a regular instructional column on jazz improvisation for Guitar Player magazine, and penning several highly-regarded guitar instruction books. As a guitar teacher, one of his students was a teenaged Phil Spector, for whom Roberts would later work as a session man.


    Impressive as his session resume is, for many guitar aficionados, the real highlights of Howard Roberts' body of work are the instrumental albums he released under his own name throughout his career. One of his best-loved solo releases is the memorably titled H.R. Is A Dirty Guitar Player, originally released by Capitol Records in 1963. Recorded at the legendary Studio A in the Capitol Tower, with a band that includes fellow studio legends Chuck Berghofer and Earl Palmer on bass and drums, H.R. Is A Dirty Guitar Player is a potent showcase for Roberts' fluid, swinging guitar work. The material offers ample opportunity for the artist to demonstrate his versatility, encompassing pop standards 9Lerner, Loewe If Ever I Would Leave You), bossa nova (Antonio Carlos Jobim's One Note Samba) and jazz (tunes by Herbie Hancock, Count Basie and Duke Ellington), along with such Roberts originals as Smolderin', Turista, Deep Fry and Dirty Old Bossa Nova.


    Long unavailable in its original form, this vintage instrumental gem has been restored to its original vinyl glory by Sundazed Music. The album has been sourced from the original stereo masters and pressed on 180 gram vinyl, with complete original cover art.
    1.Watermelon Man
    2. Smolderin'
    3. Liâl Darlin'
    4. Turista
    5. If Ever I Would Leave You
    6. One O'Clock Jump
    7. Deep Fry
    8. Rough Ridin'
    9. Satin Doll
    10. Smokin'
    11. One Note Samba
    12. Dirty Old Bossa Nova
    Howard Roberts
    $24.99
    180 Gram Audiophile Virgin Vinyl LP- Sealed Buy Now
  • 1
  • 2
Go to top