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David Fathead Newman

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  • I Remember Brother Ray I Remember Brother Ray Quick View

    $18.99
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    I Remember Brother Ray

    David 'Fathead' Newmanï's warm tone, occasionally terse phrasing, and always heartfelt delivery placed him in high demand by artists as diverse as B.B. King, Herbie Mann, Jane Monheit, and Gregg Allman. With over twenty recordings to his name, I Remember Brother Ray stands as an understated highlight, a record that doesn't so much jump out at you as it does gently sidle up beside you and ingratiates itself with its warmth and affability. Newman got his first big break with Ray Charles in the early '50s, playing in his band from '54 through '64 and subsequently making numerous guest appearances over the years. And so Newman entered the studio of another legend, engineer Rudy Van Gelder just two months after Charles' death to record I Remember Brother Ray, a tribute to the jazzier side of a man who regarded himself as a jazz singer anyway.


    The record evokes the ambience of a smoky bar in the early hours of the morning. Newman assembled a quintet as comfortable with the tender balladry of Georgia on My Mind as it is the soul-drenched blues of Drown in My Tears. Charles believed that the ability to play jazz permits the ability to cross over into other genres, and the playing on I Remember Brother Ray clearly supports his conviction.


    While there were quite a few Ray Charles tributes, few equaled I Remember Brother Ray for its grace, integrity, honesty, and pure connection to the true essence of Charles' legacy.

    1. Hit The Road Jack
    2. Georgia On My Mind
    3. Drown In My Tears
    4. When Your Lover Has Gone
    5. Deed I Do
    6. It Had To Be You
    7. Them That Got (I Ain't Got Nothing Yet)
    David Fathead Newman
    $18.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • At Newport At Newport Quick View

    $34.99
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    At Newport

    Import

    For his appearance at the Newport Jazz Festival on July 5, 1958, Charles pulled out all the stops, performing raucous versions of The Right Time, his massive hit I Got A Woman and Talkin' 'Bout You. Featuring (a.o.) Bennie Crawford on baritone sax, David Fathead Newman on tenor sax and the Raylettes on backing vocals, the band is really on fire. The detailed liner notes on the album were written by Kenneth Lee Karpe.

    1. The Right Time
    2. In A Little Spanish Town
    3. I Got A Woman
    4. Blues Waltz
    5. Hot Rod
    6. Talkin' About You
    7. Sherry
    8. A Fool For You
    Ray Charles
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Doug Sahm And Band Doug Sahm And Band Quick View

    $25.99
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    Doug Sahm And Band


    Limited Edition Of 1000 Copies


    Pressed On Gold Vinyl


    Produced By Jerry Wexler & Arif Mardin


    Doug Sahm's first solo record was something of a coming out party, a big budget affair that let the world know what the insiders already knew: that Doug Sahm was a quintessentially American musical visionary. After The Sir Douglas Quintet concluded its contract with Smash/Mercury, Jerry Wexler convinced Sahm to sign with Atlantic and brought him to New York for the sessions that were to become Doug Sahm and Band. To call the personnel that Wexler and co-producer Arif Mardin assembled for the album star-studded is a severe understatement: among the musicians on this 1972 release were Dr. John, David Fathead Newman, David Bromberg, and Flaco JimÉnez (the first in a series of collaborations with Doug); Sir Doug stalwarts Augie Meyers, Jack Barber, and George Rains; and, of course, Bob Dylan, who contributes a hitherto-unheard song (Wallflower).


    It is a testament to Sahm's boundless talent that all of these stellar musicians wanted to play with him; it's even more of a testament that despite all of the formidable artists in the room, and despite the fact that Sahm only wrote three of the album's 12 tunes, Doug Sahm and Band never sounds like anything but a Doug Sahm record. And a hell of a good one, too, highlighted by the anthemic (Is Anybody Going to) San Antone and the brilliant Willie Nelson cover Me and Paul. This turned out to be Doug's only charting solo album, but he was never about the money. What mattered to Doug was the groove, and this record has it in every one of 'em. Real Gone Music is proud to present the first-ever vinyl reissue of this classic record, limited to 1000 gold vinyl copies. A must for your American music collection.

    1. (Is Anybody Going To) San Antone
    2. It's Gonna Be Easy
    3. Your Friends
    4. Poison Love
    5. Wallflower
    6. Dealer's Blues
    7. Faded Love
    8. Blues Stay Away from Me
    9. Papa Ain't Salty
    10. Me and Paul
    11. Don't Turn Around
    12. I Get Off
    Doug Sahm
    $25.99
    Colored Vinyl LP - Sealed Buy Now
  • The Genius After Hours (Speakers Corner) The Genius After Hours (Speakers Corner) Quick View

    $34.99
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    The Genius After Hours (Speakers Corner)

    No ifs and buts! Ray Charles belongs in every jazz collection. Friends of pure jazz tend to forget this in the light of his numerous hits in categories such as gentle ballads, and even country and western songs, and rhythm'n'blues during the more than 60 years of Charles' extremely successful (also financially speaking) career.


    The producer Neshui Ertegun gathered together a star-studded cast for this Atlantic Records studio recording. There was David Newman on the tenor sax, Joe Harris on the drums, and even Oscar Pettiford on the bass. Not forgetting Ray Charles himself who was an excellent jazz pianist.


    The studio was saturated with the blues! A relaxed mood prevailed, just as one might imagine it. The musicians came to the studio after a concert, they were completely drained, worn out, exhausted: they had the blues and then they played the blues.


    Even a standard work such as Gershwin's The Man I Love was turned into an elegy. Only Ain't Misbehavin', which reminds one more of Earl Hines than Fats Waller, and Charlesville - a fast blues number - were treated to a change of tempo.


    The Genius After Hours is a self-portrait that exhibits the less well-known talents of this exceptional artist during the second half of the last century. It makes great listening for all lovers of jazz, soul, blues, rhythm'n'blues, country and western, pop, funk You name it, Charles has got it!


    Musicians:


    • Ray Charles (piano)
    • Dave 'Fathead' Newman (alto saxophone, tenor saxophone)
    • Emmott Dennis (bassoon)
    • Joseph Bridgewater, John Hunt (trumpet)
    • Roosevelt Sheffield, Oscar Pettiford (bass)
    • Joe Harris, William Peebles (drums)


    Recording: April 1956 and September 1957 in New York City in mono

    Production: Nesuhi Ertegun & Jerry Wexler

    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. The Genius After Hours
    2. Ain't Misbehavin'
    3. Dawn Ray
    4. Joy Ride
    5. Hornful Soul
    6. The Man I Love
    7. Charlesville
    8. Music, Music, Music
    Ray Charles
    $34.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
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