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Grover Washington Jr

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  • Winelight Winelight Quick View

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    Winelight (1980) is a Grammy Award winning album by revered Jazz musician Grover Washington Jr. It received the Grammy Award for Best Jazz Fusion Performance in 1982. The album also includes the Grammy Award winning hit Just the Two of Us sung by Bill Withers. The track In the Name of Love was also released in rearranged form.

    Washington really pushes himself on some of these selections. Winelight is, therefore, a memorable set of high-quality and danceable soul-jazz.

    1. Winelight
    2. Let It Flow ( "For Dr. J")
    3. In The Name Of Love
    4. Take Me There
    5. Just The Two Of Us
    6. Make Me A Memory (Sad Samba)
    Grover Washington, Jr
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Blue Moses (Speakers Corner) Blue Moses (Speakers Corner) Quick View

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    Blue Moses (Speakers Corner)

    Randy Weston - now an elderly gentleman and one of the few living witnesses and co-creators from the heyday of hard bop - still leaves his home in Brooklyn to tour through Africa, Europe and Asia. A truly multicultural man. His percussive style has been influenced in particular by the ethnic music of Morocco; his amazing sense for the sounds produced by North-African melodic and rhythmic instruments has enriched his music over many years.
    After seven years without making any recordings, Blue Moses was recorded in 1972 in Rudy Van Gelder's studio. Lengthy trips through North Africa and as far as the Niger, plus the ignorance of American record companies, were the reasons for the long pause. Finally the CTI producer Creed Taylor took an interest in Randy Weston and financed a large ensemble with Don Sebesky as arranger.
    The four themes provide a great basis for improvisations by the soloists, whereby the Randy Weston's piano takes the lion's share. The flute is also very prominent - and no wonder: it is played by Hubert Laws. It is quite possible that many jazz fans will have missed the name Randy Weston when flipping through the letter 'W' in record shops in the 70s. Now they have the opportunity to correct this mistake with this re-release


    • Randy Weston (piano)

    • Don Sebesky (arranger)

    • Grover Washington Jr. (tenor saxophone)

    • Freddie Hubbard (trumpet)

    • Garnett Brown (trombone)

    • Alan Rubin (fluegel horn)

    • Hubert Laws (flute)

    • George Marge (english horn, clarinet, flute)

    • Ron Carter (bass)

    • Bill Cobham (drums)

    Recording: March & April 1972 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA
    Production: Creed Taylor

    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.

    This title is not eligible for discount.

    1. Ifrane
    2. Ganawa (Blue Moses)
    3. Night In Medina
    4. Marrakesh Blues
    Randy Weston
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Slammin And Jammin Slammin And Jammin Quick View

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    Slammin And Jammin

    Charles Earland was known as the Mighty Burner for the intense way he commanded the Hammond B-3. Earland was originally a saxophonist who taught himself the unwieldy organ during a sax stint in Jimmy McGriff's band. Right from the get go, Earland coaxed the most individual of sounds from the Hammond B-3, firing off machine-gun ostinatos balanced with a cavalcade of just-right cushioning from his left hand and, most notably, a string-bassist's command of the organ's difficult foot pedals.

    Earland's May 1997 recording of Slammin' & Jammin', now re-released by Savant as part of their 180-gram LP series, is among the Mighty Burner's very best. The six cookers here, not a ballad in the bunch, a collection of familiar and soulful covers, these grooves are ones Earland himself always admired. From Bill Doggett's Honky Tonk and Joe Zawinul's Mercy, Mercy, Mercy to Stanley Turrentine's Sugar and the late Grover Washington Jr.'s Mr. Magic, Earland shares his love of these tunes with some especially strong grooving. Guitarist Melvin Sparks, and funky drummer supreme, Bernard Purdie get loose and just play the way they were meant to play. Carlos Garnett adds his surprisingly warm tenor sax groove to Honky Tonk and Mr. Magic. These guys must have loved doing this date: playing the stuff they like, exactly the way they want. It cooks.

    1. Honky Tonk
    2. Sugar
    3. Mercy Mercy
    4. When Johnny Comes Marching Home
    5. Blues For Sheila
    6. Mr. Magic
    Charles Earland
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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