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  • After Midnight (Pure Pleasure) (Discontinued) After Midnight (Pure Pleasure) (Discontinued) Quick View

    $49.99
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    After Midnight (Pure Pleasure) (Discontinued)

    Nat 'King' Cole's music is the perfect combination of romantic charm and musical invention. Cole is renowned for his big production numbers and pop hits such as Stardust, but he was also an accomplished and unique jazz pianist and excelled in a small-group setting. After Midnight's album cover states that this is a 'trio' release. However, Cole is actually paired up with his trio plus five guest soloists (saxophone, trombone, trumpet, percussion, and violin). The dubious credits don't matter much though. This is precious music and, without a doubt, one of Cole's best records. Included here are wonderful and intimate renditions of Cole favorites Sweet Lorraine, (Get Your Kicks on) Route 66, and many others. Trombonist Juan Tizol performs a beautiful version of his Afro-Cuban tune Caravan, and Cole and violinist Stuff Smith trade some hot licks on the up-tempo I Know That You Know. For anybody looking to understand the depth and breadth of Cole's jazz roots, this disc is an excellent point of departure.




    Musicians:



    • Nat 'King' Cole (piano, vocal)

    • Willie Smith (alto saxophone)

    • Harry 'Sweets' Edison (trumpet)

    • Juan Tizol (trombone)

    • John Collins (guitar)

    • Charlie Harris (bass)

    • Stuff Smith (violin)

    • Lee Young (drums)

    • Jack Costanza (conga, bongo)




    Recording: August and September 1956 at Capitol Studios, Los Angeles, California

    Production: Lee Gillettedeutsch



    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. Just You, Just Me
    2. Sweet Lorraine
    3. Sometimes I'm Happy
    4. Caravan
    5. It's Only a Paper Moon
    6. You're Looking at Me

    7. The Lonely One
    8. Don't Let it Go to Your Head
    9. I Know That You Know
    10. Blame it on my Youth
    11. When I Grow too Old to Dream
    12. Route 66

    13. I Was a Little too Lonely (and You Were a Little too Late)
    14. Your Can Depend on Me
    15. What is There to Say
    16. Two Loves Have I
    17. andy
    18. You're Looking at Me (alternate take)
    Nat King Cole
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Buena Vista Social Club Buena Vista Social Club Quick View

    $29.99
    Buy Now
    x

    Buena Vista Social Club

    Mastered by Bernie Grudman from the Original Analogue Master Tapes


    Includes 20 Page Booklet


    Ry Cooder's name has helped bring attention to this session, but it's the veteran Cuban son musicians who make this album really special. Reminiscent of Ellington in its scope and sense of hushed romanticism, Buena Vista Social Club is that rare meld of quietude and intensity; while the players sound laid-back, they're putting forth very alive music, a reminder that aging doesn't mean taking to bed. Barbarito Torres's laoud solo on El Cuarto de Tula is both more blinding and more tasteful than any guitar showcase on any recent rock album; a quote from Stormy Weather and some very distinct parallels to Hawaiian styles remind us of why it's called world music. --Rickey Wright

    1. Chan Chan
    2. De Camino A La Vereda
    3. El Cuarto De Tula
    4. Pueblo Nuevo
    5. Dos Gardenias
    6. Y Tu Que Has Hecho
    7. Veinte Anos
    8. El Carretero
    9. Candela
    10. Amor De Loca Juventud
    11. Orgullecida
    12. Murmullo
    13. Buena Vista Social Club
    14. La Bayamesa
    Buena Vista Social Club
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Mi Tierra Mi Tierra Quick View

    $34.99
    Buy Now
    x

    Mi Tierra

    Import

    Mi Tierra (English: My Homeland) is the third studio album by Cuban-American recording artist Gloria Estefan, released in 1993. Produced by husband Emilio Estefan, it is her first Spanish-language album and pays homage to her Cuban roots. The album features Cuban musical genres, including Boleros, Danzan and Son music. Recorded at Crescent Moon Studios in Miami, Florida and produced by Estefan's husband, Emilio Estefan, Mi Tierra features notable Latin musicians such as Arturo Sandoval, Tito Puente, Cachao López, Chamin Correa and Paquito D'Rivera. Also Sheila E and Miami Sound Machine members Clay Ostwald and Jorge Casas play on the album.


    The album was an international success, selling eight million copies worldwide as of 2006, the majority of listeners non-Hispanics. The album received favorable reviews from critics, who praised the album's production, songs and Estefan's vocals. Its success won the singer a Grammy Award for Best Tropical Latin Album. Mi Tierra spawned no less than seven singles: Mi Tierra, Con Los Años Que Me Quedan, Tradición, Montuno, ¡Sí Señor!..., Mi Buen Amor and Ayer.

    1. Con Los Años Que Me Quedan
    2. Mi Tierra
    3. Ayer
    4. Mi Buen Amor
    5. Tus Ojos
    6. No Hay Mal Que Por Bien No Venga
    7. ¡Si Señor!...
    8. Volveras
    9. Montuno
    10. Hablemos El Mismo Idioma
    11. Hablas De Mi
    12. Tradicion
    Gloria Estefan
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Cafe Atlantico Cafe Atlantico Quick View

    $34.99
    Buy Now
    x

    Cafe Atlantico

    Import

    Available On Vinyl For The First Time!


    2 Bonus Tracks: Sodade & Luiza


    A native of the island nation of Cape Verde, Cesária Évora was known as the country's foremost practitioner of the morna, a combination of West African percussion with Portuguese fados, Brazilian modhinas, and British sea shanties. After a short singing career in the 1970's, she returned in the late '80s with a string of fine albums.


    Her 1999 album CafÉ Atlantico (a reference to her home where she frequently entertained guests) is a much acclaimed masterpiece, finding CÉsaria Évora venturing into more Latin American musical landscapes, as opposed to Portuguese, which dominated her previous albums. Évora draws from traditional Cuban and Brazilian music to mesmerizing effect. The music is heartbreaking and nostalgic, warm and tragic all at once.


    This album is nothing short of world class, and we're overjoyed to give CafÉ Atlantico its very first vinyl issue, with two bonus tracks to boot!

    LP1
    1. Flôr Di Nha Esperança
    2.Vaquinha Mansa
    3. Amor Di Mundo
    4. Paraiso Di Atlantico
    5. Sorte
    6. Carnaval De São Vicente
    7. Desilusão Dum Amdjer
    8. Nho Antone Escaderode


    LP2
    1. Beijo De Longe
    2. Roma Criola
    3. Perseguida
    4. Maria Elena
    5. Beijo De Longe
    6. Roma Criola
    7. Perseguida
    8. Maria Elena

    Cesaria Evora
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Behind The Scale (Discontinued) Behind The Scale (Discontinued) Quick View

    $16.99
    Buy Now
    x

    Behind The Scale (Discontinued)

    The DMV rapper has been building the album for the past few years and is ready to reveal his work! You may remember Sean Born from his appearance on the Apollo Brown produced The Trenches with Hassaan Mackey on the Daily Bread album. The rugged new project from Low Budget's Sean Born is gauranteed to knock people back with its brash lyrics depicting street life at its gritty coldest alongside the heavy soulful production of Kev Brown, Oddisee, Dunc of DTMD, Quartermaine, and Kenwood.


    A gritty 90s style album for those who grew up on Illmatic, Midnight Marauders, Only Built for Cuban Links, Moment of Truth, and Ready to Die. Sean Born & Kev Brown bring reality rap at its finest. Behind The Scale is unfiltered real sh*t on tape.

    1. Grandeur / Interlude
    2. Queen Anne / 90's
    3. Go Hard
    4. Murderland

    5. Skeez
    6. Pluck Em Off
    7. The Quartermaine (Reefer Smoke) / Interlude
    8. DrugsAlcoholSex
    9. Honor / Interlude
    10. Lights On
    11 Bullshit / Interlude
    12 Take It & Run
    13. Pour Out Liquor
    14. Flood & Drain (BONUS)
    15. 12/12 (featuring Kaimbr, Toine of DTMD, Hassaan Mackey) (BONUS)
    Sean Born
    $16.99
    Vinyl LP - Sealed Buy Now
  • Immobilarity Immobilarity Quick View

    $39.99
    Buy Now
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    Immobilarity

    Import

    180 Gram Audiophile Vinyl

    Gatefold Sleeve

    Includes Fuck Them Featuring Method Man, Sneakers, Yae Yo and Power

    Immobilarity is the second studio album and the follow-up to Only Built 4 Cuban Linx by Wu-Tang Clan member Raekwon (a.k.a. The Chef). Raekwon has been cited as a pioneer of Mafioso rap and is the founder of his own label ICEH20 Records.

    The producers Triflyn, The Infinite Arkatechz, and Six July Productions gave Immobilarity the same sounds which producer RZA gave to Raekwon's first album with ill beats and street lyrics.

    Fellow rappers from the Wu-Tang Clan also appear on the album such as Method Man on Fuck Them, Power with the American Cream Team and The Table featuring Masta Killa. As a nice bonus attribute, there's even a solid Pete Rock produced track Sneakers with Raekwon's flowing rhymes.

    Raekwon explained that the album title is an acronym for I Move More Officially by Implementing Loyalty and Respect in the Youth.

    The album, which was originally released in 1999, reached to number 2 in the US Billboard Top R&B/Hip-Hop Albums and number 4 on the US Billboard album charts and was certified gold by the RIAA.

    LP 1
    1. Intro (Skit)
    2. Yae Yo
    3. Casablanca

    4. 100 Rounds
    5. Real Life

    6. Power

    7. Skit No. 1
    8. All I Got Is You Pt. II
    9. Jury
    10. Fuck Them
    11. Skit No. 2


    LP 2
    1. Live From New York
    2. My Favorite Dred
    3. Friday
    4. The Table
    5. Sneakers
    6. Raw
    7. Pop Shit
    8. Heart To Heart
    9. Forecast
    10. Outro

    Raekwon
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Mi Sueno Mi Sueno Quick View

    $24.99
    Buy Now
    x

    Mi Sueno

    Limited vinyl LP pressing. The Cuban singer Ibrahim Ferrer emerged as perhaps the most popular star of the Buena Vista Social Club phenomenon. World Circuit is proud to announce the release of his final album Mi Sueño (My Dream) the project he dreamed of realizing all his life - an album devoted to the most meltingly romantic of all Cuban styles - the bolero. Mi Sueño is an intimate arranged by Roberto Fonseca, the remarkable young pianist with whom he had developed a deep musical understanding. Recorded in Havana in 2004, the year before he died, with a wonderful small group that included Manuel Galbán on guitar and Cachaíto López on bass, the album is a very personal take on the bolero style - deeply traditional and at the same time startlingly modern. Full of passion and tenderness but still with an inimitable and irrepressible swing, Ibrahim sculpts familiar songs into fresh and atmospheric creations that are uniquely his own. As Ibrahim said, I have just one thing left to tell you all. We dream together and we will keep doing it. If my days ended tomorrow I would leave very satisfied in having achieved my wish, the wish was that dream: to sing a bolero. A labor of love and the realization of a dream, Mi Sueño presents Ibrahim Ferrer as one of the world's great bolero singers - the way he always wanted to be remembered.
    1. Dos Almas
    2. Si Te Contara
    3. Melodia Del Rio
    4. Cada Noche Un Amor
    5. Deuda
    6. Uno
    7. Convergencia
    8. Quiereme Mucho
    9. Perfidia
    10. Copla Guajira
    11. Quizas Quizas
    12. Alma Libre
    Ibrahim Ferrer
    $24.99
    Vinyl LP - Sealed Buy Now
  • Buenos Hermanos Buenos Hermanos Quick View

    $21.99
    Buy Now
    x

    Buenos Hermanos

    Limited 180-Gram Vinyl LP Pressing


    Includes 12-Page Booklet


    Released in 2003 when Ferrer was 76 years old, Buenos Hermanos now gets a welcome reissue and today sounds more like a 'classic' than ever - the ultimate Latin record, as Cooder described it at the time. I don't think anybody other than Ibrahim would or could make a record like this. It has every kind of nuance and subtlety that it could possibly have, as well as muscle, he added. Like the original Buena Vista Social Club release and his 1999 solo debut, Buena Vista Social Club presents Ibrahim Ferrer, the album boasted the same production team of Cooder, Nick Gold and engineer Jerry Boys and confirmed Ferrer's place among the all-time great voices of Cuban music. Combining both Cuban and American musicians, the hand-picked core band, comprised Orlando 'Cachaíto' López on bass, Manuel Galbán on electric guitar, piano and organ, Chucho ValdÉs on piano, and Miguel 'Angá' Díaz on congas augmented by Ry Cooder on guitars and veteran rock drummer Jim Keltner and Joachim Cooder on percussion.

    1. Boquiñeñe
    2. Buenos Hermanos
    3. La Música Cubana
    4. Guaguancó Callejero
    5. Naufragio
    6. Como El Arrullo de Palma
    7. Perfume de Gardenias
    8. Mil Congojas
    9. Hay Que Entarle a Palos a Ése
    10. No Tiene Telaraña
    11. Fuiste Cruel
    12. Boliviana
    13. Oye El Consejo
    Ibrahim Ferrer
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Moscow Penny Ante Moscow Penny Ante Quick View

    $15.99
    Buy Now
    x

    Moscow Penny Ante

    While the direction of Dead To Me's career has always been on an ascending trajectory, their path has never been confined to a straight line. Multiple lineup changes have brought varied influences in song writing from album to album and have always afforded Dead To Me with an organic method of exploring and expressing diversity in their songs. After the acclaimed release of their last full-length, African Elephants, the band witnessed a changing of the guard with the retirement of guitarist Nathan and the addition of Sam Johnsons (New Mexican Disasater Squad, No Friends, Virgins) on guitar and vocals and Ken Yamazaki (Western Addiction, Enemy You) on second guitar. Upon the inclusion of the new members, the quartet headed out on a full year of touring, cementing the most cohesive and committed incarnation of the band to date.


    This chemistry manifested itself distinctively in the recording of Dead To Me's latest full-length, Moscow Penny Ante. With more up-tempo and straight forward songs than their last album, Moscow Penny Ante revisits and updates the classic sound that first caught everyone's attention on 2006's Cuban Ballerina. The tracks are crafted with multiple layers throughout, noting a marked increase in adroit guitar leads, melodic vocal interplay from singer to singer, and even playful percussive elements that were not present on past releases. It's the manner in which these intricate layers are melded so seamlessly that makes the music so accessible and immediately gratifying.

    1. Undertow
    2. Reckless Behavior
    3. The Evolution Will Be Tel Visualized
    4. The Hand With Inherited Rings
    5. No Lullabies
    6. The Trials of Oscar Wilde
    7. The Monarch Hotel
    8. Never Relief
    9. I Love My Problems
    10. Dead Pigeon Tricks
    11. Victims of No Ambition
    Dead To Me
    $15.99
    Vinyl LP - Sealed Buy Now
  • Stone Soul (Speakers Corner) Stone Soul (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Stone Soul (Speakers Corner)

    With all the exultation about the reconciliation between the capitalistic USA and the socialistic island state of Cuba, it is easy to oversee that the musical fusion between the two countries took place decades ago. Afro Cuban jazz, in which the interpretation and rhythms of swing and bebop are united with all imaginable rhythms from Brazil and the Caribbean, was label enough to describe a peaceful yet exciting and revolutionary music.


    At first glance it appears that in his album Stone Soul the Cuban percussionist Mongo Santamaria just took a handful of popular songs from pop and soul and 'translated' them into his own musical language. So far so good: but the enthusiasm and joy with which the band performs is anything but ordinary. Once the threshold for a potent Latin combo has been overcome with meaty winds (See Saw), Sonny Fortune on the alto sax storms ahead along rhythm & blues tracks and breaks out with hectic cleft licks on his own headstrong path. Incited by crisp percussion, one can experience how traditional music is combined with a musician's own ideas to create completely new music.

    Musicians:



    • Mongo Santamaria (conga,bongo)
    • Sonny Fortune (alto saxophone)
    • Hadley Caliman, Hubert Laws (tenor saxophone)
    • Art Kaplan (bassoon)
    • Louis Gasca (trumpet)
    • Rodgers Grant (piano)
    • William Allen (bass)
    • Steve Berrios (timpani)
    • Bernard Purdie (drums)
    • Julito Collazo, Osualdo Martinez (percussion)


    Recording: 1969 by Fred Catero

    Production: David Rubinson

    About Speakers Corner



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



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



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



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



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



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


    1. See-Saw
    2. Son-Of-A-Preacher Man

    3. Love Child
    4. Where Are We
    5. Hitchcock Railway

    6. Stoned Soul Picnic
    7. Who's Making Love
    8. The Now Generation
    9. Little Green Apples
    10. Cloud Nine
    Mongo Santamaria
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Kenya (Pure Pleasure) Kenya (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Kenya (Pure Pleasure)

    This outstanding album, recorded in 1957, in honor of the then recently formed republic of Kenya, highlights the wonderful Afro-American and Afro-Cuban musical language Machito spoke so well.



    In this album, Machito has combined all the elements needed in bringing the true meaning of Afro-Cuban jazz music to the listener. Machito, his musical director Mario Bauza, Rene Hernandez and A. K. Salim who along with Mr Bauza composed and arranged this music, define it this way: Afro-Cuban rhythm differs from other rhythms in that instead of the usual drums carrying the rhythmic beat, it is carried by Cuban percussion instruments such as the bongos, congas, timbales, guiros and maracas. Also, and even more elemental, is that although there are four beats to the bar as in all jazz, in Afro-Cuban jazz the beat is not played by any instrunments as such. It is felt, rather than actually heard. Afro-Cuban jazz is, in it's performance, the marriage of Afro-Cuban rhythm and soloists.



    Musicians:



    • Machito (vocal, conductor)

    • Mario Bauza, Doc Cheatham, Joe Newman (trumpet)

    • Cannonball Adderley (as)

    • Ray Santos (ts)

    • Santo Russo, Eddie Bert (trombone)

    • Rene Hernandez (piano)

    • Roberto Rodriguez (bass)

    • Jose Mangual, Uba Nieto, Candido Camero (percussion)




    Recording: December 1957 at Metropolitan Studios, New York City



    About Pure Pleasure



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



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



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



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



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



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


    1. Wild Jungle
    2. Congo Mulence

    3. Kenya
    4. Oyeme
    5. Holiday
    6. Cannonology
    7. Frenzy
    8. Blues A La Machito

    9. Conversation
    10. Tin Tin Deo
    11. Minor Rama
    12. Tururato
    Machito & His Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Felix Beloy: Baila Mi Son (Pure Pleasure) Felix Beloy: Baila Mi Son (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Felix Beloy: Baila Mi Son (Pure Pleasure)

    Rich and rhythmic, sparkling and seductive, Felix Baloy's voice marks him as one of Cuba's very finest soneros. This magnificent performance showcases a true artist at the peak of his profession, backed by the thrilling arrangements of Juan de Marcos and the peerless Afro Cuban All Stars.



    Felix Baloy has been singing for more than 40 years which means he has waited a long time to make his first solo album. One of Cuba's outstanding soneros with a unique timbre, the opportunity came about after he met Tumi Music founder Mo Fini in Havana in 1995 when Baloy sang on the label's splendid four CD set Las Leyendas de la Musica Cubana as part of the Cuban All Stars with Orquesta Amèrica.



    There's an absolute joy about this record, and Baloy proves himself worthy of all the praise that's been heaped on him in Cuba, as capable of gliding through the cha cha of Van a Bailar el Cha Cha Cha, with its prim strings, as the rawer bolero of El Mal de la Hipocresia. The arrangements frame his voice wonderfully, too, as on the rich bolero cha of Los Es Todo Tu Amor, with its glistening flute solo. Baloy does himself proud, and Gonzalez gives him a band to remember behind him, some crystal clear production, and songs any singer would love to sing. Nigh on perfect.



    Musicians:



    • Juan de Marcos Gonzalez (director)

    • Felix Baloy (vocal)

    • Teresa Garcia Caturla (vocal)

    • Javier Zalba (bassoon)

    • Yanko Pizaco (trumpet)

    • Daniel "El Gordo" Ramos (trumpet)

    • Alberto "Molote" Munoz (trombone)

    • Antonio Sesma (trombone)

    • David Alfaro (piano)

    • Ricardo Munoz (bass)

    • Rolando "El Nino" Salgado (percussion)



    Recording: 2000 in ICAIC Studios and DM Ahora Studios, Havana, Cuba, by Alain Martinez de la Torre

    Production: Juan de Marcos Gonzalez




    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. Baila mi son
    2. Mami te Gusto
    3. Yo Soy el del sentimiento
    4. DespuÉs de esta noche
    5. El mal de la hipocresía
    6. Ven a bailer cha cha cha
    7. Cada vez que te veo
    8. Lo es todo to amor
    9. El son de Baloy
    10. Misericordia, no aguanto
    Afro-Cuban All Stars
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Studio Rio Presents: The Brazil Connection Studio Rio Presents: The Brazil Connection Quick View

    $19.99
    Buy Now
    x

    Studio Rio Presents: The Brazil Connection

    Legacy Recordings, the catalog division of Sony Music Entertainment, will release Studio Rio Presents: The Brazil Connection, an innovative new collection of 12 beloved vocal recordings re-experienced through new samba and bossa nova arrangements created by iconic Brazilian musicians and The Berman Brothers.


    Embracing the All In One Rhythm™ Theme of the 2014 FIFA World Cup, Studio Rio Presents: The Brazil Connection blends 12 iconic performances--from Bill Withers, Aretha Franklin, Marvin Gaye, Billie Holiday, Sly & The Family Stone, The Isley Brothers, Mel TormÉ, Nina Simone, Johnny Nash, Dave Brubeck with Carmen McRae, Andy Williams and Sarah Vaughan--with new, samba and bossa nova arrangements and production inspired by the spirit of Brazilian music.


    Working on Studio Rio Presents: The Brazil Connection project, the Berman Brothers sought out the original multi-track masters and utilized an all-new, state-of-the-art separation technology from Science of Sounds to extract exquisitely pristine and detailed vocals. The newly isolated vocals were then melded with brand-new, authentic backing arrangements played by Studio Rio, an all-star cast of Brazilian musical pioneers from the bossa nova and samba genres, including Latin Grammy Lifetime Achievement Award winner Roberto Menescal and Brazilian musical legend Marcos Valle.


    Studio Rio Presents: The Brazil Connection is the latest innovative musical project from the Berman Brothers (Frank and Christian), a production team whose previous work includes Rhythms Del Mundo (2006), a cross-cultural album summit which which fused an all-star cast of Cuban musicians including Ibrahim Ferrer and Omara Portuondo of the Buena Vista Social Club with US and UK artists and superstars such as U2, Coldplay, Sting, Jack Johnson, Maroon5, Arctic Monkeys, Franz Ferdinand, Kaiser Chiefs and others. Rhythms del Mundo was released in more than 61 countries and received multiple sales awards worldwide.


    During the past 20 years, the Berman Brothers have received more than 90 gold and platinum awards, two BMI Awards, a Golden Globe nomination, a Grammy nomination (for Love One Another, recorded by Cher) and a place in history for their production and remix of the Baha Men's colossal hit, Who Let the Dogs Out. As producers, writers and publishers, the Bermans have worked with an array of international superstars including Coldplay, Sting, Cher, Real McCoy, Dido, Maroon5, Sophie B Hawkins, Reamonn and members of the legendary Buena Vista Social Club.


    Music is the heart and soul of Brazil, celebrating with syncopated beats and beautifully expressive melodies. It's the life force of the entire culture, wrote the Berman Brothers in their notes for Studio Rio Presents: The Brazil Connection. We have always had a huge appreciation of Brazilian music. Between us, we have a massive collection of bossa nova and samba recordings, new and old, a lot which we found in flea markets in Amsterdam, Paris, and London.... Once you get into this music, there really is no way to stop. It was this joyful and timeless music that inspired the idea for this collection. Our goal was to bring the Brazilian joie de vivre to iconic performances by well-known American artists like Billie Holiday, Aretha Franklin, Marvin Gaye, The Isley Brothers, and many others. What would these classic songs sound like had they been recorded in the studios of Rio De Janeiro in the first place, with the best Brazilian musicians and arrangers?"


    "It was an amazing journey-bringing together these American classics and the vibrancy of Brazilian music with the help of so many talented musicians, arrangers and a dedicated production team. We learned many things putting together this music including what was the most important, and least surprising lesson of all: Brazil is the most musical place we have ever been in our lives.

    1. Lovely Day (Studio Rio Version) - Bill Withers with Studio Rio
    2. Walk on By (Studio Rio Version) - Aretha Franklin with Studio Rio
    3. Sexual Healing (Studio Rio Version) - Marvin Gaye with Studio Rio
    4. You've Changed (Rio Music Collective Version) - Billie Holiday with Studio Rio
    5. Family Affair (Rio Music Collective Version) - Sly & The Family Stone with Studio Rio
    6. It's Your Thing (Rio Music Collective Version) - The Isley Brothers with Studio Rio
    7. I've Got You Under My Skin (Studio Rio Version) - Mel TormÉ witb Studio Rio
    8. I Can See Clearly Now (Studio Rio Version) - Johnny Nash with Studio Rio
    9. Take Five (Studio Rio Version) - Dave Brubeck & Carmen McRae with Studio Rio
    10. Music to Watch Girls By (Studio Rio Version) - Andy Williams with Studio Rio
    11. Summertime (Studio Rio Version) - Sarah Vaughan with Studio Rio
    Studio Rio
    $19.99
    Vinyl LP - Sealed Buy Now
  • Cafe Atlantico (Pure Pleasure) Cafe Atlantico (Pure Pleasure) Quick View

    $49.99
    Buy Now
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    Cafe Atlantico (Pure Pleasure)

    The glorious CafÉ Atlantico finds CÉsaria Évora venturing into more Latin American musical landscapes, as opposed to Portuguese, which dominated her previous albums. Évora draws from traditional Cuban and Brazilian music to mesmerizing effect. The album is also a tribute to her home town of Mindelo, on the Cape Verdean island of Sao Vicente, which was once a busy port with sailors cruising between South America, the Caribbean, and Portugal. Therefore, the music is heartbreaking and nostalgic, warm and tragic all at once. The masterful Carnaval de So Vicente is one of the most joyous, bittersweet party songs ever put on wax (and was even issued as a maxi-single with fantastic remixes). Roma Criola is tragic, lonely, destitute, and always interesting, making for an undiscovered masterpiece of a ballad, and her rendition of the Spanish language standard Maria Elena is absolutely heartbreaking. The album evokes a moody elegance rarely found in modern music, from the sweeping opener Flôr Di Nha Esperança to the summery Amor Di Mundo, and the picture she paints of this cafÉ at the end of the world is a gorgeous, multi-colored, and emotion-stirring palate. This album is nothing short of world class and will be enjoyed by generations to come.



    Musicians:



    • Cesaria Evora (vocal)

    • Bau (guitar, arranger, cavaquinho)

    • Luis Ramos (guitar, vocal)

    • Jacinto Pereira (cavaquinho, vocal)

    • Jose Paris (bass, vocal)

    • Nando Andrade (piano, vocal)

    • Calu (drums)

    • Tey Santos (percussion)

    • Totinho (tenor saxophone, soprano saxophone, percussion, vocal)

    • Silvano Michelino (pander, bongo)

    • Conde Djeli Moussa (kora)

    • Jacky Fourniret (accordion)




    Recording: 1999 at Studio Recall, Pompignan (France) by Joao Magalhaes and at Studio Harry Son, Paris, by Pascal Catet

    Production: Jose de Silva



    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.

    LP1
    1. Flôr Di Nha Esperança
    2. Vaquinha Mansa
    3. Amor Di Mundo
    4. Paraiso Di Atlantico
    5. Sorte
    6. Carnaval De São Vicente
    7. Desilusão Dum Amdjer
    8. Nho Antone Escaderode


    LP2
    1. Beijo De Longe
    2. Roma Criola
    3. Perseguida
    4. Maria Elena
    5. Beijo De Longe
    6. Roma Criola
    7. Perseguida
    8. Maria Elena

    Cesaria Evora
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Jerry Garcia And David Grisman Jerry Garcia And David Grisman Quick View

    $49.99
    Buy Now
    x

    Jerry Garcia And David Grisman


    Numbered Limited Edition 180g 2LP from Mobile Fidelity


    Contemporary Interest in Roots Music Kick-Started by Stellar Grammy-Nominated 1991 Collaboration


    Recording Now As Realistic, Natural, Close-Up, Intimate, and Enveloping as Any Acoustic Record Released: 1st Time-Ever on LP


    Garcia and Grisman Put on Virtuosic Performance, Make Way Through Pop Standards, Blues Classics, Folk Staples, Bluegrass Jaunts, and More


    Jerry Garcia achieved monumental accomplishments over a prolific career, yet the guitarist never sounded better than on his first official collaboration with longtime friend and fellow instrumental maestro David Grisman. Indeed, contemporary interest in roots music can be directly traced to this stellar Grammy-nominated 1991 collaboration. Putting distinctive rustic spins on pop standards, blues classics, and folk staples, the kindred musical spirits' earnest authenticity and relaxed intimacy are matched only by virtuosic playing and superb production. As realistic, warm, close-up, and immersive as any acoustic album, Mobile Fidelity's reissue raises the bar on the meaning of reference-standard.


    Mastered from the original master tapes, Mobile Fidelity's 180g 2LP of Garcia/Grisman takes a record forever renowned for breathtaking sonics to another level. Originally released on Grisman's fabled Acoustic Disc label and recorded at his plush studios, the album now sounds even more realistic-with distinctive tones, palpable air, smooth vocals, three-dimensional soundstaging, balanced imaging, and timbral extension that mirror the feeling and experience of hearing live music in a small space.


    Unadorned with any post-production tricks or overdubs, Garcia/Grisman breathes with naturalism and presence. You will effortlessly detect the full body of the instruments, witness the woody grain textures, and get lost in the surprisingly velvety qualities of Garcia's lullaby-like singing. Mobile Fidelity's meticulous pressing also marks the first time this delightfully joyous affair has been issued in analog form. You will never hear a better-sounding Americana-styled recording.


    Pals since the mid-1960s, Garcia and Grisman bonded over their love for traditional folk and bluegrass. The two teamed up amidst what became a gold rush of top-notch productivity and creativity for Garcia. Partnering with bassist Jim Kerwin and percussionist/fiddler Joe Craven, the pair approaches every passage with innate ease, as if either musician could finish the others sentence. The affable chemistry and soothing interplay wash over a selection of songs as notable for their diversity as the way Garcia and "Dawg" turn them into the equivalent of old friends you haven't seen in years.


    Exquisite melodies and jewel-shaped notes decorate the simple, convivial structures of tunes that hop, jump, skip, skitter, and bop. The atmosphere is reminiscent of the legendary gypsy-jazz exchanges between Django Reinhardt and Stephane Grappelli, and equally sharp. Swirling with Middle Eastern modality, the closing 16-minute-plus rendition of Grisman's rippling "Arabia"-complete with a section based on a Cuban fold theme-is alone enough worth the price of admission to this sensational session. But there's so much more.


    The quartet delves into Celtic themes ("Two Soldiers"), jazz-grass ("Grateful Dawg"), old-world ballads ("Russian Lullaby"), and Appalachian flavors ("Walkin' Boss") with nonpareil skill and soulfulness. Garcia and Grisman's tandem picking throughout epitomize sublime. And for many listeners, the duo's revised version of the Grateful Dead staple "Friend of the Devil" ranks as the finest-ever recorded, the pace patient, the narrative vocals heartfelt, and the synchronous solos tailor-made for the enveloping progression. Better yet, it's all captured in astonishing fidelity.


    This title is not eligible for discount.

    1. The Thrill Is Gone
    2. Grateful Dawg
    3. Two Soldiers
    4. Friend of the Devil
    5. Russian Lullaby
    6. Dawg's Waltz
    7. Walkin' Boss
    8. Rockin' Chair
    9. Arabia
    Jerry Garcia And David Grisman
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Dream Weaver (Pure Pleasure) Dream Weaver (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Dream Weaver (Pure Pleasure)

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


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

    Musicians:



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


    Recording: March 1966 by Phil Iehle

    Production: George Avakian & Arif Mardin

    About Pure Pleasure



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



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



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



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



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



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

    Autumn Sequence
    1. Autumn Prelude
    2. Autumn Leaves
    3. Autumn Echo
    Dream Weaver
    4.Meditation
    5.Dervish Dance
    -
    6. Bird Flight
    7. Love Ship
    8. Sombrero Sam
    Charles Lloyd
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Casa de Trova - Cuba 50's (Pure Pleasure) Casa de Trova - Cuba 50's (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    Casa de Trova - Cuba 50's (Pure Pleasure)

    La Casa de Trova. The house of the troubadours. It's a place of almost mythical status in Cuban music, the home of so many of the glorious songs that have come out of the island. Even Paul McCartney has made his pilgrimage there. For Alejandro Almenares, it's a place he visits every single day, still carrying his guitar as he goes to play and talk with friends. And it's the inspiration behind his album Casa De Trova (Tumi Records: release: February 25, 2014).
    For Almenares, the connection to the house is deep. His musician father, Angel Sanchez Almenares, was one of the founders of the Casa.
    »I was there when it all began, too,« he recalls. »I grew up listening to them playing there, the trovas and soneros. I'm 76 now. I'm the last of the founders still alive.«



    It's a house filled with memories of all the tunes that have filled the air over the years - and still do. As a child, Almenares took them all in as naturally as breathing. When he was 10 years old he began attending music school staying until he was 14, »when I had to quit in order to work and help my parents.«



    Two years later he was a professional musician, playing the music his father had written and performed in groups like Los Taínos, Trio Oriente and Las Guitarras Internacionales. A lifetime of music, and, he adds with a smile, »so many bands that the number and names escape me now.«
    If you're a fan of the Buena Vista Social Club, this guy's gonna make them seem like a bunch of posers. Composer, vocalist and tres guitarist, Alejandro Almenares delivers the real thing from Cuba here on this set. This double vinyl set contains the same songs (although in different order); the difference is that the first features his rich and full voice, while the second features his material as (mostly) instrumentals. Flutes, percussion, violin, soprano sax, guitars and intermittent vocal choruses accompany Almenares on the gentle and fragrant instrumental takes of "No Critiques Al Nene" and "La Nina Que Yo Ame", while vocalists Tony Rodon, Eva Grinan, Jose Cabrera and Ismael Borges deliver tales of passion on "Mujercita "Linda", A Tu Retrato", "Te Vi Y Te Contemple" and "De Lo Que Quiero Saber" respectively. The simplicity of the old world charms are on abundant display here. No gimmicks, no frills, just earnest notes and, like the best of cooks, letting the simple ingredients do all the work in creating the flavor that makes your mouth water. Essential listening!




    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.

    LP1 - Vocals
    1. No Critiques Al Nene
    2. La Finca De Vila
    3. Mujercita Linda
    4. Te Vi Y Te Contemple
    5. El Son De Vicentico
    6. A Tu Retrato
    7. La Chica De Mi Rosal
    8. Esa Guitarra Que Suena
    9. Lechero
    10. La Nina Que Yo Ame
    11. De Lo Que Quiero Saber
    12. Pepillito
    13. Con Amor Te Pagare


    LP2 - Instrumentals
    1. No Critiques Al Nene
    2. El Son De Vicentico
    3. Pepillito
    4. Te Vi Y Te Contemple
    5. Con Amor Te Pagare
    6. Lechero
    7. A Tu Retrato
    8. Mujercita Linda
    9. La Chica De Mi Rosal
    10. La Nina Que Yo Ame
    11. De Lo Que Quiero Saber
    12. Esa Guitarra Que Suena
    13. El Mismo Paso
    14. La Finca De Vila

    Alejandro Almenares
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Quatro: The Definitive Collection Quatro: The Definitive Collection Quick View

    $109.99
    Buy Now
    x

    Quatro: The Definitive Collection

    Over the course of his impressive artistic career, Tito Puente was a perennial and prolific innovator of Latin tropical music and Latin jazz of the highest caliber. Now thanks to Sony Music Latin, we all get to enjoy the four signature and landmark albums (artwork - front & back- as it originally appeared), along with a fifth bonus album, that truly defined the "American Icon" and his golden era:


    "Cuban Carnival" (1956) is included with the original artwork. "Dance Mania" (1958) is the best-selling album of Tito's career. "Night Beat" (1957) became one of Latin jazz's seminal albums, while "Revolving Bandstand" (1960), considered the most innovative jazz recording of its time with the simultaneous inclusion of two big bands in the studio, is re-issued for the first time, with original artwork and liner notes.


    This impressive and ever so unique package of 5 albums is being collectively released as Quatro - The Definitive Collection. A compendium that's like no other in the discography of Tito Puente, as it focuses on his early years, the RCA era of 1955-1960, so beloved by fans, critics and music historians.


    Quatro - The Definitive Collection includes informative liner notes written by Joe Conzo (curator & music historian and author of the book "Mambo Diablo My Journey with Tito Puente"), a close friend of Tito Puente. It also contains never-before published facts and photos, plus previously unreleased artwork and alternate takes.


    Among the other highlights and most interesting, informative features of this collection are the quotes from a plethora of musicians, producers and others who personally knew and/or worked with Tito over the course of his six-decade musical career.

    LP1 - Cuban Carnival
    1. Elegua Chango
    2. Cuál Es La Idea (What's the Idea)
    3. Pa' Los Rumberos
    4. Que Sera (What Is It?)
    5. Oye mi guaguanco
    6. Yambeque (Mambo Yambu)
    7. Happy Cha-Cha-Cha
    8. Mambo Buda
    9. Cha-Cha De Pollos (Cha-Cha for Chicks)
    10. Guaguanco Margarito
    11. Cuban Fantasy


    LP2 - Night Beat
    1. Night Beat
    2. Mambo Beat
    3. Sea Breeze
    4. Emerald Beach
    5. The Late, Late Scene
    6. Carioca
    7. Night Ritual
    8. Malibu Beat
    9. Flying Down To Rio
    10. Night Hawk
    11. Live A Little


    LP3 - Dance Mania
    1. El Cayuco
    2. Comlication
    3. Three D Mambo
    4. Liego Mijan (Son Montuno)
    5. Cuando Te vea
    6. Hong Kong Mambo
    7. Mambo Gozon
    8. Mi Chiquita Quiere Bembe
    9. Varsity Drag (Mambo Jazz instrumental)
    10. Estoy Siempre Junto a Ti
    11. Agua Limpia Todo
    12. Saca Tu Mujer


    LP4 - Revolving Bandstand
    1. Bahia (Na Baixa Do Sepateiro)
    2. I Concentrate On You
    3. Autumn Leaves
    4. Harlem Nocturne
    5. Kiss Of Fire
    6. The Continental
    7. Blue Moon
    8. Temptation
    9. So In Love
    10. Baby Won't You Please Come Home


    LP5 - Bonus Edition
    1. Ran Kan Kan
    2. Timbal Y Bongo
    3. Pa' Los Rumberos (Out-Take 1)
    4. Pa' Los Rumberos (Out-Take 2)
    5. Pa' Los Rumberos (Out-Take 3)
    6. Pa' Los Rumberos (Out-Take 4)
    7. Pa' Los Rumberos (Out-Take 5)
    8. Pa' Los Rumberos (Out-Take 6)
    9. Pa' Los Rumberos (Out-Take 7)
    10. The Continental (alternate take)
    11. Blue Moon (alternate take)
    12. Moonlight in Vermont
    13. La Virgen De La Macarena

    Tito Puente
    $109.99
    180 Gram Audiophile Virgin Vinyl LP - 5 LPs Sealed Buy Now
  • Live In Cuba (Box Set) Live In Cuba (Box Set) Quick View

    $39.99
    Buy Now
    x

    Live In Cuba (Box Set)

    Playing Afro-Cuban repertoire, jazz classics and contemporary works, the JALC Orchestra may have done more for American-Cuban relations in a single week than all the political rhetoric generated from both sides of the Straits of Florida for the past 60-plus years. - The Chicago Tribune


    Supercharged... A suave delight." - The New York Times


    Mr. Marsalis and company strike just the right mood, choose just the right set and play just the right amount to an adoring audience while maintaining the artistic high ground here. The band gave the Havana audience a lot of love over those three nights, and the crowd returned the favor. It's all evident on Live In Cuba. - DownBeat


    From bebop to bolero and beyond, LIVE IN CUBA captures nine-time Grammy Award-winning Wynton Marsalis and the world-renowned Jazz at Lincoln Center Orchestra with Wynton Marsalis's first-and only-performances in Cuba. Explore the profound connections between American jazz and Afro-Cuban music on this deluxe vinyl box set featuring four LPs and a gorgeous booklet.


    Recorded in front of clamorous, sold-out crowds over three nights at Havana's Mella Theatre in October 2010, LIVE IN CUBA finds the Jazz at Lincoln Center Orchestra with Wynton Marsalis performing Ellington standards, Afro-Cuban numbers, and distinctly modern compositions from band members. LIVE IN CUBA is a document of two nations' indelible cultural connections and of an emotional reunion between long-lost musical cousins.

    Wynton Marsalis
    $39.99
    Vinyl LP Box Set - 4 LPs Sealed Buy Now
  • Stan Getz / Cal Tjader Sextet Stan Getz / Cal Tjader Sextet Quick View

    $21.99
    Buy Now
    x

    Stan Getz / Cal Tjader Sextet


    This Newly Reissued Vinyl Addition Is A 'Must Have' Title For For Both Getz And Tjader Fans.


    In the vein of many a smooth West Coast jazz outing, this 1958 disc finds original cool stylist Getz paired with vibraphonist Cal Tjader on a very enjoyable
    selection of jazz standards and Tjader originals. The lineup includes pianist Vince Guaraldi, guitarist Eddie Duran, bassist Scott La Faro, and drummer
    Billy Higgins (this was one of the earliest record dates for either La Faro or Higgins, both of whom were playing with Getz at San Francisco's Black Hawk
    in between recording sessions). Guaraldi's spry Ginza Samba kicks thing off with nimble and imaginative statements by all the soloists. Tjader's
    swinging originals Crow's Nest and Big Bear provide prime solo vehicles as well, while his lovely waltz number Liz-Anne adds some nice contrast to
    the set, eliciting one of Getz's best solos in the process. The group rounds things out with fine ballad readings of I've Grown Accustomed to Her Face
    and For All We Know.


    Stan Getz: one of the all-time great tenor saxophonists


    Cal Tjader: The legendary percussionist who is often linked to the development of Latin rock and acid jazz. Although fusing jazz with Latin music is often
    categorized as Latin jazz (or, earlier, Afro-Cuban jazz), Tjader's output swung freely between both styles.

    1. Ginza Samba
    2. I've Grown Accustomed To Her Face
    3. For All We Know
    4. Crows' Nest
    5. Liz-Anne
    6. Big Bear
    7. My Buddy
    Stan Getz / Cal Tjader Sextet
    $21.99
    Vinyl LP - Sealed Buy Now
  • So It Is So It Is Quick View

    $19.99
    Buy Now
    x

    So It Is

    Preservation Hall Jazz Band have announced the release of their new album, So It Is, the septet's second release featuring all-new original music, releasing via Legacy Recordings. So It Is finds the classic PHJB sound invigorated by a number of fresh influences, not least among them the band's 2015 life-changing trip to Cuba.


    In Cuba, all of a sudden we were face to face with our musical counterparts, says bandleader/composer/bassist Ben Jaffe. There's been a connection between Cuba and New Orleans since day one - we're family. A gigantic light bulb went off and we realized that New Orleans music is not just a thing by itself; it's part of something much bigger. It was almost like having a religious epiphany.


    Producer David Sitek, a founder of art rock innovators TV on the Radio who has helmed projects by Kelis, the Yeah Yeah Yeahs and Santigold among others, offered both a keen modern perspective and a profound respect for the band's storied history. Upon arriving in New Orleans to meet with the band, Sitek recalls he and Jaffe accidentally stumbling into one of the city's famed second-line parades. I was struck by the visceral energy of the live music all around, this spontaneous joy, everything so immediate, he says. I knew I had to make sure that feeling came out of the studio. It needed to be alive. It needed to sound dangerous.


    The music on So It Is, penned largely by Jaffe and 84 year-old saxophonist Charlie Gabriel in collaboration with the entire PHJB, stirs together that variety of influences like classic New Orleans cuisine. Longtime members Jaffe, Gabriel, Clint Maedgen and Ronell Johnson have been joined over the past 18 months by Walter Harris, Branden Lewis and Kyle Roussel, and the new blood has hastened the journey into new musical territory. Inspired by that journey and reinvigorated by the post-Katrina rebuilding of their beloved home city, PHJB are redefining what New Orleans music means in 2017 by tapping into a sonic continuum that stretches back to the city's Afro-Cuban roots, through its common ancestry with the Afrobeat of Fela Kuti and the Fire Music of Pharoah Sanders and John Coltrane, and forward to cutting-edge artists with whom the PHJB have shared festival stages from Coachella to Newport, including legends like Stevie Wonder, Elvis Costello and the Grateful Dead and modern giants like My Morning Jacket, Arcade Fire and the Black Keys.


    Preservation Hall Jazz Band:


    BEN JAFFE - Bass (upright), Tuba, Percussion

    CHARLIE GABRIEL - Saxophone (tenor), Clarinet

    CLINT MAEDGEN - Saxophone (tenor), Percussion

    RONELL JOHNSON - Trombone

    WALTER HARRIS - Drums, Percussion

    KYLE ROUSSEL - Piano, Wurlitzer, Organ

    BRANDEN LEWIS - Trumpet

    1. So It Is
    2. Santiago
    3. Innocence
    4. La Malanga
    5. Convergence
    6. One Hundred Fires
    7. Mad
    Preservation Hall Jazz Band
    $19.99
    Vinyl LP - Sealed Buy Now
  • Cal Tjader's Latin Concert Cal Tjader's Latin Concert Quick View

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    Cal Tjader's Latin Concert

    As Cal Tjader's reputation and popularity grew as one of the major forces in Afro-Cuban jazz, he was able to hire some of the music's most able artists. On this 1958 album, recorded at San Francisco's famous Black Hawk, his band included percussionists Mongo Santamaria and Willie Bobo, pianist Vince Guaraldi, and bassist Al McKibbon, a veteran of the Dizzy Gillespie band that opened American ears to the charms and urgencies of Afro-Cuban rhythms. Having Al in the band, Tjader once said, is an impossible dream come true. Among the pieces here are several by Tjader and one that was destined to become a classic in the literature of Latin jazz, Ray Bryant's Cubano Chant.
    1. Viva Cepeda
    2. Mood for Milt
    3. The Continental
    4. Lucero
    5. Tu Crees Que?
    6. Mi Guaguanco
    7. Cubano Chant
    8. A Young Love
    9. Theme
    Cal Tjader
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • In Time In Time Quick View

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    In Time

    With a Cuban-American lead singer, garage-band ferocity, an intense live show and a deep love of both romance and pure country to go with the polyrhythmic beats they were raised on, the Mavericks were unlikely superstars. And yet, they distilled country's essences, bulked them up with big, raucous sound, then broke ground for the format that saw people from all walks of life, many cultures and some surprising places lining up for hits like Here Comes The Rain, Crying Shame, Dance The Night Away and All You Ever Do Is Bring Me Down.


    Twenty years later, the little-band-that-could returns, more soulful and innovative than ever. For their first sessions in almost a decade, it was spontaneous combustion; literally, the band falling into step with the euphoria they were known for. And they built quite an album from there. It took life for us to get to this point - everybody was so free. From the first notes, it sounded like an explosion of sound; we went wehere the songs took us with a singularity of purpose. We came into make music as grown-ups, to make music as men, says lead singer Raul Malo.

    1. Back In Your Arms Again
    2. Lies
    3. Born To Be Blue
    4. Come Unto Me
    5. In Another's Arms
    6. Fall Apart
    7. All Over Again
    8. Forgive Me
    9. Amsterdam Moon
    10. That's Not My Name
    11. As Long As There's Loving Tonight
    12. Dance in the Moonlight
    13. Call Me When You Get To Heaven
    The Mavericks
    $17.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Black Radio Black Radio Quick View

    $34.99
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    Black Radio

    The Robert Glasper Experiment's Blue Note Records/EMI release Black Radio is a future landmark recording that boldly stakes out new musical territory and transcends any notion of genre, drawing from jazz hip-hop, R&B and rock, but refusing to be pinned down by any one tag.


    The first full-length album from the Grammy-nominated keyboardist's electric Experiment band (Casey Benjamin/sax & vocoderist, Derrick Hodge/bass and Chris Dave/drummer) also features many of Glasper's famous friends from the spectrum of urban music, seamlessly incorporating appearances from a jaw-dropping roll call of special guests including Erykah Badu, Bilal, Lupe Fiasco, Lalah Hathaway, Shafiq Husayn, KING, Ledisi, Chrisette Michele, Musiq Soulchild, Meshell Ndegeocello, Stokley Williams and Mos Def.


    Throughout, the Experiment wears its eclecticism on its sleeve, presenting new collaborative originals and surprising cover songs. They transform the Afro-Cuban standard Afro Blue with Badu, Sade's Cherish The Day with Hathaway, David Bowie's Letter to Hermione with Bilal and Nirvana's Smells Like Teen Spirit with Benjamin's vocoder vocal.

    1. Lift Off ft. Shafig Husayn/Mic Check
    2. Afro Blue ft. Erykah Badu
    3. Cherish the Day ft. Lalah Hathaway
    4. Always Shine ft. Lupe Fiasco and Bilal
    5. Gonna Be Alright (F.T.B.) ft. Ledisi
    6. Move Love ft. KING
    7. Ah Yeah ft. Musiq Soulchild and Chrisette Michele
    8. The Consequences of Jealousy ft. Meshell Ndegeocello
    9. Why Do We Try ft. Stokely Williams
    10. Black Radio ft. Mos Def
    11. Letter to Hermione ft. Bilal
    12. Smells Like Teen Spirit
    Robert Glasper Experiment
    $34.99
    Vinyl LP - Sealed Buy Now
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