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  • Time Out Time Out Quick View

    $32.99
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    Time Out

    Import


    Remastered


    'Time Out' is the 1959 album by The Dave Brubeck Quartet, based upon the use of time signatures that were unusual for jazz (mainly waltz or double-waltz time, but also 9/8, and most famously 5/4).
    Although the album was intended as an experiment and received negative reviews by critics upon its release, it became one of the best-known and biggest-selling jazz albums ever! Obviously, timing is everything!


    Just over 50 years after its original release, we present this timeless album on 180 grams audiophile vinyl.

    1. Blue Rondo A La Turk
    2. Strange Meadow Lark
    3. Take 5
    4. 3 To Get Ready
    5. Kathy's Waltz
    6. Everybody's Jumpin'
    7. Pick Up Sticks
    Dave Brubeck
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bossa Nova U.S.A. Bossa Nova U.S.A. Quick View

    $27.99
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    Bossa Nova U.S.A.

    Import


    With the popularization of bossa nova in the early '60s, practically every recording artist had to have at least one bossa nova album. This effort by the Dave Brubeck Quartet is better than most due to the high quality of the compositions, of which the title cut is best-known. The date's two standards (This Can't Be Love and Trolley Song) also fare well on this upbeat session.

    -All Music Guide

    1. Bossa Nova USA
    2. Vento Fresco
    3. Trolley Song
    4. Theme For June
    5. Coracao Sesivel (Tender Heart)
    6. Irmao Amigo (Brother Friend)
    7. There'll Be No Tomorrow
    8. Cantiga Nova Swing
    9. Lamento
    10. This Can't Be Love
    11. Fatha*


    *Bonus Track

    Dave Brubeck
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Time Out Time Out Quick View

    $39.99
    Buy Now
    x

    Time Out

    Import

    Remastered


    'Time Out' is the 1959 album by The Dave Brubeck Quartet, based upon the use of time signatures that were unusual for jazz (mainly waltz or double-waltz time, but also 9/8, and most famously 5/4).
    Although the album was intended as an experiment and received negative reviews by critics upon its release, it became one of the best-known and biggest-selling jazz albums ever! Obviously, timing is everything!


    Just over 50 years after its original release, we present this timeless album on 180 grams audiophile vinyl.

    1. Blue Rondo A La Turk
    2. Strange Meadow Lark
    3. Take 5
    4. 3 To Get Ready
    5. Kathy's Waltz
    6. Everybody's Jumpin'
    7. Pick Up Sticks
    Dave Brubeck
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • At Carnegie Hall (Speakers Corner) (Awaiting Repress) At Carnegie Hall (Speakers Corner) (Awaiting Repress) Quick View

    $69.99
    Buy Now
    x

    At Carnegie Hall (Speakers Corner) (Awaiting Repress)

    Many critics regard Dave Brubeck's Carnegie Hall concert from February 1963 as his greatest ever live appearance. But who can really determine that? For no one - apart from Brubeck himself - would have seen and heard his conservatively estimated 12,000 concerts.



    Although the twelve titles had already been released on LPs that had been recorded in the studio, these records were certainly not known to all those in the audience. In between the numbers on each LP, Brubeck made little 'advertising spots' in short comments, but with such charm and wit that one really cannot be angry with him.



    The concert programme begins with St. Louis Blues and ends with Take Five. Luckily, the solos are distributed among all the musicians, so that Paul Desmond and Joe Morello - whose prowess on this evening can only be called 'amazingly good' - justifiably received enthusiastic applause from both the audience and us alike. Castilian Drums demonstrates Morello's wealth of ideas and his grandiose feeling for rhythm; though short, Paul Desmond's solos (Southern Scene is a good example!) are compelling, highly melodic, lyrical and possess a unique tone - as such they are immediately recognisable.



    How fortunate that the twelve brilliantly improvised numbers are now available once again on vinyl, having been recorded live at the legendary Carnegie Hall 60 years ago.



    Musicians:



    • Dave Brubeck (piano)

    • Paul Desmond (alto saxophone)

    • Eugene Wright (bass)

    • Joe Morello (drums)


    Recording: February 1963 Carnegie Hall, New York

    Production: Teo Macero



    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.



    St. Louis Blues
    Bossa Nova U.S.A.
    For All We Know
    Pennies From Heaven
    Southern Scene
    Three To Get Ready
    Eleven Four
    King For A Day
    Castillian Drums
    It's A Raggy Waltz
    Blue Rondo A La Turk
    Take Five
    Dave Brubeck
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Jazz At Oberlin Jazz At Oberlin Quick View

    $21.99
    Buy Now
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    Jazz At Oberlin

    1953 live recording from Oberlin College in Ohio by the Brubeck quartet with alto saxophonist Paul Desmond. Tracks: These Foolish Things, Perdido, Stardust, The Way You Look Tonight, How High The Moon.
    1. The Way You Look Tonight
    2. How High The Moon
    3. These Foolish Things
    4. Perdido
    5. Stardust
    Dave Brubeck
    $21.99
    Vinyl LP - Sealed Buy Now
  • The Essential Dave Brubeck The Essential Dave Brubeck Quick View

    $27.99
    Buy Now
    x

    The Essential Dave Brubeck

    An amazingly comprehensive anthology-thanks to Brubeck, who personally selected the tracks!


    In the 1950s and '60s, few American jazz artists were as influential, and fewer still were as popular, as Dave Brubeck. At a time when the cooler sounds of West Coast jazz began to dominate the public face of the music, Brubeck proved there was an audience for the style far beyond the confines of the in-crowd, and with his emphasis on unusual time signatures and adventurous tonalities, Brubeck showed that ambitious and challenging music could still be accessible.

    LP 1
    1. Audrey
    2. The Duke (live)
    3. In Your Own Sweet Way
    4. Someday My Prince Will Come
    5. Tangerine (live)
    6. Brandenburg Gate
    7. Three To Get Ready


    LP 2
    1. Take Five
    2. Blue Rondo A La Turk
    3. Maria
    4. It's A Raggy Waltz
    5. Unsquare Dance
    6. Summer Song
    7. That Old Black Magic
    8. Bossa Nova U.S.A.
    9. Theme from Mr. Broadway
    10. La Paloma Azul (live)

    Dave Brubeck
    $27.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Kind Of Blue (Mono) Kind Of Blue (Mono) Quick View

    $39.99
    Buy Now
    x

    Kind Of Blue (Mono)

    Import

    180 Gram Audiophile Vinyl


    Mono


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


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

    1. So What
    2. Freddie Freeloader
    3. Blue In Green
    4. All Blues
    5. Flamenco Sketches
    Miles Davis
    $39.99
    180 Gram Audiophile Vinyl LP Mono - Sealed Buy Now
  • Jazz Goes To College Jazz Goes To College Quick View

    $34.99
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    Jazz Goes To College

    Import

    In the spring of 1954 Jazz-great Dave Brubeck did a tour of North American college campuses. Paul Desmond (alto sax), Bob Bates (bass), and Joe Dodge (drums) joined him and their support of Brubeck is uniformly flawless, ultimately producing what many consider as the most memorable music in the artist's cannon.


    Indeed the genre gets schooled as the quartet leans in with striking energy and finesse. Enjoyed among college students in the 1950s and early 1960s both the tour and album brought Jazz to a whole new generation.

    1. Balcony Rock
    2. Out Of Nowhere
    3. Le Souk
    4. Take The "a" Train
    5. The Song Is You
    6. Don't Worry 'bout Me
    7. I Want To Be Happy
    Dave Brubeck Quartet
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Jazz At The College Of The Pacific Jazz At The College Of The Pacific Quick View

    $21.99
    Buy Now
    x

    Jazz At The College Of The Pacific

    One of the many stellar sessions from the Dave Brubeck Quartet, famed jazz scribe Nat Hentoff wrote in DownBeat Magazine of Jazz At The College Of
    The Pacific that it ranks with the Oberlin and Storyville sets as the best of Brubeck on record." Featuring a lineup of drummer Joe Dodge, bassist Ron
    Crotty, and longtime Brubeck collaborator, altoist Paul Desmond, this set delivers the goods in a way that only a Brubeck combo can. Providing timeless
    interplay on six standards, Brubeck and Desmond trade solos that are absolutely brimming with creativity. A true classic in the Brubeck catalog, Jazz At
    The College Of The Pacific is essential listening for all fans of Brubeck, Desmond, and classic jazz.


    This timeless jazz recording has now been newly reissued on VINYL.

    1. All The Things You Are
    2. Laura
    3. Lullaby In Rhythm
    4. I'll Never Smile Again
    5. I Remember You
    6. For All We Know
    Dave Brubeck Quartet
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • Concierto (Pure Pleasure) (Awaiting Repress) Concierto (Pure Pleasure) (Awaiting Repress) Quick View

    $49.99
    Buy Now
    x

    Concierto (Pure Pleasure) (Awaiting Repress)

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



    Musicians:



    • Jim Hall (guitar)

    • Chet Baker (trumpet)

    • Paul Desmond (alto saxophone)

    • Roland Hanna (piano)

    • Ron Carter (bass)

    • Steve Gadd (drums)



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

    Production: Creed Taylor



    Format: 2LPs 33rpm / gatefold sleeve



    About Pure Pleasure



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



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



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



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



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



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



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

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

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

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

    $19.99
    Buy Now
    x

    Time Out

    Dake Brubeck presents Time Out. Features exclusive cover by photographer Jean-Pierre Leloir.
    1. Blue Rondo A La Turk
    2. Strange Meadow Lark
    3. Take Five
    4. Three To Get Ready

    5. Kathy's Waltz
    6. Everybody's Jumpin'
    7. Pick Up Sticks
    Dave Brubeck
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Real Ambassadors Real Ambassadors Quick View

    $27.99
    Buy Now
    x

    Real Ambassadors

    Import

    1. Everybody's Comin'

    2. Cultural Exchange

    3. Good Reviews
    4. Remember Who You Are

    5. My One Bad Habit

    6. Summer Song
    7. King For A Day
    8. Blow Satchmo
    9. The Real Ambassador


    1. In The Lurch
    2. One Moment Worth Years
    3. They Say I Look Like God

    4. Since Love Had Its Way

    5. Swing Bells

    6. Blow Satchmo

    7. Finale

    Dave Brubeck, Louis Armstrong
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Gone With The Wind Gone With The Wind Quick View

    $27.99
    Buy Now
    x

    Gone With The Wind

    Import

    1. Swanee River
    2. The Lonesome Road
    3. Georgia on My Mind
    4. Camptown Races [version 1]
    5. Camptown Races [version 2]
    6. Short'nin Bread
    7. Basin Street Blues
    8. Ol' Man River
    9. Gone with the Wind
    10. Thank You (Dziekuje)*


    *Bonus Track

    Dave Brubeck
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • A Dave Brubeck Christmas A Dave Brubeck Christmas Quick View

    $21.99
    Buy Now
    x

    A Dave Brubeck Christmas

    Lending his signature style to traditional Christmas favorites and original Christmas compositions, pianist Dave Brubeck delivers what he calls, a very
    personal statement that speaks to the curious mixture of both the joy and the melancholy of Christmas. Covering a host of favorite carols, Brubeck's
    chime-like rendition of Joy to the World and his striding Winter Wonderland are treasures. This special vinyl reissue contains two original Brubeck
    compositions: the delightful Run, Run, Run to Bethlehem and the meditative To Us Is Given. Without a doubt, A Dave Brubeck Christmas is a
    Christmas album that merits many repeat listens and essential record for any holiday music collection.
    1. "Homecoming" Jingle Bells
    2. Santa Claus Is Coming To Town
    3. Joy To The World
    4. Away In A Manger
    5. Winter Wonderland
    6. What Child Is This? (Greensleeves)
    7. Just One Of Those Things
    8. To Us Is Given
    9. O Tannenbaum
    10. Silent Night
    11. Run, Run, Run To Bethlehem
    12. The Christmas Song
    Dave Brubeck
    $21.99
    Vinyl LP - Sealed Buy Now
  • Compadres (Speakers Corner) Compadres (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Compadres (Speakers Corner)

    To this day, the typical sound colouring of the Dave Brubeck Quartet is quite distinctive and unmistakable thanks to Paul Desmond's tenor saxophone. But Gerry Mulligan's low-pitched horn and his restrained swing also offers enough appeal to make one want to listen to these somewhat less popular but - for all that - very worthwhile recording by the Quartet.



    The Quartet's concert tour of Mexico's major cities in 1968 was a great success and so Dave Brubeck's recording company had no qualms in making live recordings of the group - complemented by bassist Jack Six and drummer Alan Dawson. Themes from indigenous folk music were skilfully coupled with new compositions with the result that the LP Compadres with its concert excerpts was in great demand and became a top hit.
    This carefully remastered new pressing will certainly contribute to the popularity of Dave Brubeck and Gerry Mulligan long after their demise.



    Musicians:



    • Dave Brubeck (piano)

    • Gerry Mulligan (bassoon)

    • Jack Six (bass)

    • Alan Dawson (drums)




    Recording: 1968 live in Mexico by John Guerriere and Russ Payne

    Production: Teo Macero



    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. Jumping Bean
    2. Adios Mariquita Linda
    3. Indian Song
    4. Tender Woman
    5. Amapola
    6. Lullaby De Mexico
    7. Sapito
    8. Recuerdo
    Dave Brubeck
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Dave Brubeck Octet Dave Brubeck Octet Quick View

    $21.99
    Buy Now
    x

    Dave Brubeck Octet

    The listener has to forgive a few things about this undeniably brilliant collection of Dave Brubeck's first big ensemble. First: the liner notes' pretentions. Brubeck announces there that between 1946, when some of these tunes were recorded, and 1956, when the tapes were first reissued on LP, very few released recordings have more musical importance than the octet. Second: the nearly seven minutes of How High the Moon narrated to show how jazz was formed, as the band plays in short demonstrative segments. Third: the audio vÉritÉ sound, which even Brubeck thought questionable in 1956.


    Hearing this dynamic set, though, makes forgiveness easy. The arrangements show a wild abundance of color and orchestral finesse (many of the group's members were, like Brubeck, students of Darius Milhaud). You get quick-clip swingers like The Way You Looked Tonight and the string of chamber-esque horn studies that includes Schizophrenic Scherzo and more. You also get to hear early Paul Desmond and William O. Smith bouncing ideas off each other and drummer Cal Tjader. And it's all a delight, especially with the magnanimity of forgiving Brubeck. --Andrew Bartlett

    1. The Way You Look Tonight
    2. Love Walked In
    3. What Is This Thing Called Love?
    4. September in the Rain
    5. Prelude
    6. Fugue on Bop Themes
    7. Let's Fall in Love
    8. Ipca
    9. How High the Moon
    10. Serenade Suite
    11. Playland at the Beach
    12. The Prisoner's Song
    13. Schizophrenic Scherzo
    14. Rondo
    15. I Hear a Rhapsody
    16. You Go To My Head
    17. Laura
    18. Closing Theme
    Dave Brubeck Octet
    $21.99
    Vinyl LP - Sealed Buy Now
  • Take Ten (Speakers Corner) Take Ten (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Take Ten (Speakers Corner)

    No, not Take Five but Take Ten is the title of this LP and its very first number. Certainly this should be taken as a hint that it was not Dave Brubeck but Paul Desmond who was the composer of this 'million seller'. At the recording session, the guitarist Jim Hall was more than a substitute for the piano - he contributed to the quartet a whole new sound colouring which was tinged with the influences of bossa nova.
    The numbers are all easy-going and airy, the melodic lines and sound are filled with transparency. All the while one is curious as to the clear part-writing, and the wealth of ideas emanating from the soloists. This does not only apply to the old favourites Alone Together, Nancy and The One I Love, all three of them arrangements made ad hoc in the studio and which demonstrate how familiar the musicians were with one another, how they listened to one another, answered, and kept the dialogue flowing. The atmosphere is relaxed, and this conveys itself to the listener even after almost half a century.



    RCA's recording and reproduction technology was ahead of its time. The music of these South-American-sounding gems comes out of the loudspeakers with brilliance, clarity and - at last - without the frustrating crackle of a second-hand LP.



    Musicians:



    • Paul Desmond (alto saxophone)

    • Jim Hall (guitar)

    • Gene Cherico, Gene Wright (bass)

    • Connie Kay (drums)




    Recording: 1963 in Webster Hall, New York, by Ray Hall

    Production: George Avakian





    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. Take Ten
    2. El Prince
    3. Alone Together
    4. Embarcadero
    5. Theme from ''Black Orpheus''
    6. Nancy (With the Laughing Face)
    7. Samba de Orfeu
    8. The One I Love (Belongs to Somebody Else)
    Paul Desmond
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Straight No Chaser Straight No Chaser Quick View

    $34.99
    Buy Now
    x

    Straight No Chaser

    Import

    A few years after recording Straight, No Chaser, Thelonious Monk disappeared from the public eye. But as the years passed, more people became aware of the seminal role he played in the development in jazz as both pianist and composer, creating a standard of excellence that many musicians after him aspire to.


    Produced by Teo Macero, who was also responsible for legendary albums such as Miles Davis' Kind Of Blue and Dave Brubeck's Time Out!, Monk's Straight, No Chaser is a classic in its own right. It's the last album the talented pianist and composer recorded with his quartet consisting of Larry Gales on bass, Ben Riley on drums and his musical soul mate Charlie Rouse on tenor sax. It includes a light yet mature version of one of his standards; Straight, No Chaser is one idea played again and again, each time in a different part of the measure and with a different ending, and highlights some stellar action between Monk and Rouse.

    1. Locomotive
    2. I Didn't Know About You
    3. Straight, No Chaser
    4. Japanese Folk Song
    5. Between The Devil And The Deep Blue Sea
    6. We See
    Thelonious Monk
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Newport 1958 Newport 1958 Quick View

    $32.99
    Buy Now
    x

    Newport 1958

    Import


    Recorded Live At The Newport Jazz Festival, Newport, Rhode Island, July 3, 1958


    This 1958 set by the Dave Brubeck Quartet was recorded live at the Newport Jazz Festival in Rhode Island, July 3, 1958. It served as a tribute to Duke Ellington, with each band playing a set primarily drawn from Ellington's repertoire. The inspired choice of "Jump for Joy" makes for some of the most magical moments, while "Perdido" provides an extended workout for Desmond and Brubeck. "Liberian Suite Dance No. 3" is actually one movement of Ellington's Liberian Suite, which was premiered in late 1947. Brubeck's "The Duke," an elegant tribute to Ellington that showcases Desmond's lyrical alto and the exciting finale of "C Jam Blues" (the latter spotlighting Morello are also highlights).

    1. Things Ain't What They Used To Be
    2. Jump For Joy

    3. Perdido
    4. Liberian Suite - Dance No. 3
    5. The Duke 3. Flamingo
    6. C Jam Blues
    The Dave Brubeck Quartet
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Blues Roots (Pure Pleasure) (Awaiting Repress) Blues Roots (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
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    Blues Roots (Pure Pleasure) (Awaiting Repress)

    Although this is a blues-oriented set, there is plenty of variety in tempos and grooves. The 1968 Quartet featured the leader/pianist, baritone saxophonist Gerry Mulligan, bassist Jack Six and drummer Alan Dawson. The repertoire on this LP ranges from Limehouse Blues (which is not really a blues) to Things Ain't What They Used To Be and several originals. These songs are average for 1968, but the soloing is remarkable and the musicians here are some of the best. Journey is a remarkably beautiful piano ballad, while Blues Roots narrowly rises above in it's epic scope, and over-the-top ending. It's probably my favourite song here. But, Broke Blues is also exceptional. This one, along with Cross Ties and Blues Roots, are fairly progressive, drawing as much from post bop as blues and traditional Jazz, pushing toward avante-garde. -G. Skate/S. Yannow

    Musicians:



    • Dave Brubeck (piano)
    • Gerry Mulligan (bassoon))
    • Jack Six (bass, electric bass)
    • Alan Dawson (drums)




    About Pure Pleasure



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



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



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



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



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



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

    1. Limehouse Blues
    2. Journey
    3. Cross Ties
    4. Broke Blues
    5. Things Ain't What They Used To Be
    6. Movin' Out
    7. Blues Roots
    The Dave Brubeck Trio And Gerry Mulligan
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Southern Scene Southern Scene Quick View

    $27.99
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    Southern Scene

    Import


    Southern Scene features the classic Dave Brubeck Quartet with Paul Desmond, Gene Wright and Joe Morello.


    Heavyweight direct metal mastered 180 gram vinyl LP pressing. Wax Time.

    1. Oh Susanna
    2. When It Is Sleepy Time Down South
    3. Little Rock Get Away
    4. (I Dream Of) Jeannie With The Light Brown Hair
    5. Deep In The Heart Of Texas
    6. Darktown Strutters Ball
    7. Noboby Knows The Trouble I've Seen
    8. Happy Times
    9. Darling Nellie Gray
    10. Southern Scene
    Dave Brubeck
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Boy Next Door (Pure Pleasure) The Boy Next Door (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    The Boy Next Door (Pure Pleasure)

    Ms Kent's album, The Boy Next Door, is a heartfelt and reverent tribute to her musical heroes, which include legendary crooners Frank Sinatra and Dean Martin, octogenarian jazz master Dave Brubeck and Manhattan cabaret doyen Bobby Short. The stylish jazz chanteuse's repertoire also finds her working outside the Great American Songbook for the first time, with contributions from latter-day pop songwriters Burt Bacharach, Paul Simon and Carole King. Ms Kent puts her own indelible stamp on each number as she weaves her magic on a delectable collection of pop-jazz standards that encompass infatuation, seduction, love, loss and reminiscence.



    Ms Kent receives impeccable support from her sleek, urbane jazz quintet, whose rhythmic fluency is further enhanced by the tasteful, literate arrangements. Newton and Tomlinson, both accomplished musicians in their own right, also display hitherto unknown musical talents as they join Curtis Schwartz to provide tongue-in-cheek backing vocals for Ms Kent's deliciously bouncy rendition of Ooh-Shoo-Be-Doo-Bee.




    Musicians:



    • Stacey Kent (vocal)

    • Jim Tomlinson (vocal, saxophone)

    • Colin Oxley (guitar)

    • David Newton (piano, keyboards, vocal)

    • Dave Chamberlain (bass)

    • Matt Home (drum)

    • Curtis Schwartz (backing vocal)




    Recording: February 2003 at Curtis Schwartz Studios in Ardingly, UK, by Curtis Schwartz

    Production: Jim Tomlinson




    About Pure Pleasure



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



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



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



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



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



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



    1. The Best Is Yet To Come

    2. The Boy Next Door

    3. The Trolley Song

    4. Say It Isn't So
    5. Too Darn Hot

    6. Makin' Whoopee

    7. What The World Needs Now Is Love

    8. You've Got A Friend

    9. I Got It Bad
    10. Ooh-Shoo-Be-Doo-Bee
    11. People Will Say We're In Love

    12. 'Tis Autumn

    13. All I Do Is Dream Of You

    14. I Get Along Without You Very Well

    15. You're The Top
    16. Bookends
    Stacey Kent
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Studio Rio Presents: The Brazil Connection Studio Rio Presents: The Brazil Connection Quick View

    $19.99
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    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
  • Desmond Blue (Pure Pleasure) Desmond Blue (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Desmond Blue (Pure Pleasure)

    As intended, this album presents alto sax specialist Paul Desmond as never featured before, with the backing of a string orchestra. The record, filled with such beautiful jazz standards as My Funny Valentine, I've Got You Under My Skin, and Body and Soul, is very rich in texture, yet subtle and mellow overall in mood. It's unyielding purpose: to soothe the souls of its listeners. Desmond's style and tone shine with an alluring quality, and the record is filled with melodies that don't fail to stimulate the sophisticated jazz listener. Desmond's melodies are eloquently detailed and charmingly spun in the midst of the string orchestra arranged and conducted by Bob Prince. The legendary Jim Hall is featured as guest guitarist, playing yet another scintillating role and using his classic comping style. Hall is perhaps the most highly respected of all jazz guitarists for his good taste and witty inventiveness. Desmond has always been most familiar to the jazz public for his sweeping scale passages and his seemingly effortless spontaneity during periods of improvisation, although here he is often featured in a more lyrical ballad style on such romantic tunes as My Funny Valentine, Late Lament, and Then I'll Be Tired of You. This album is a highly innovative and meticulously crafted work, reflecting the ongoing success of both Desmond and Hall within the 1960s and the cool jazz period. Both of these musicians spent time working with Dave Brubeck and later lent themselves to many of Antonio Carlos Jobim's bossa nova projects. The arrangements are extraordinary throughout this collection, including the charming Valentine, which begins with a fantastic Elizabethan flavor. The intro sets up the mood to carry Desmond into the first chorus, which then glides into a 20th century style. The tune I Should Care is »a shimmering debt to Ibert and one of the most imaginative blendings you will ever hear of strings, reeds, French horn and harp,« according to the liner notes. The tone of the album: lush, reflective, thought-provoking, and soul-stirring. This work is quite a plus for any listener and especially those who consider themselves avid fans of Paul Desmond.



    Musicians:



    • Paul Desmond (saxophone)

    • Jim Hall (guitar)

    • Bob Prince (arranger, conductor & strings)



    Recording: 1962 at Webster Hall, New York City, by Ray Hall

    Production: George Aviakan



    Format: 2LPs 33rpm / gatefold sleeve



    About Pure Pleasure



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



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



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



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



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



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



    1. My Funny Valentine
    2. Desmond Blue
    3. Then I'll Be Tired of You
    4. I've Got You Under My Skin
    5. Late Lament
    6. I Should Care
    7. Like Someone In Love
    8. Ill Wind
    9. Body and Soul
    Paul Desmond
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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