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Harry Connick Jr'
When Harry Met Sally... SoundtrackThe soundtrack for one of the biggest Hollywood successes of the '80s, When Harry Met Sally... consists of standards performed by singer and pianist Harry Connick, Jr., with a big band and orchestra arranged by Marc Shaiman.
The soundtrack album (which stands apart from the movie) was a big hit and a major step forward for the young pianist-vocalist. Connick warmly sings such numbers as It Had to Be You, Our Love Is Here to Stay, But Not for Me, and Let's Call the Whole Thing Off, while usually accompanied by bassist Benjamin Wolfe, drummer Jeff Tain Watts, and a big band. Frank Wess' warm tenor makes a brief appearance on Our Love Is Here to Stay. In addition, there are a few melodic instrumentals, including some solo Connick piano on Winter Wonderland and Autumn in New York.
The performance of Connick on this wonderful soundtrack won him his first Grammy for Best Jazz Male Vocal Performance. The soundtrack went to #1 on the Billboard Traditional Jazz Chart and was within the top 50 on the Billboard 200. Connick also toured North America in support of this album. It went on to reach double-platinum status.1. It Had To Be You
2. Our Love Is Here To Stay
3. Stompin' At The Savoy
4. But Not For Me
5. Winter Wonderland
6. Don't Get Around Much Anymore
7. Autumn In New York
8. I Could Write A Book
9. Let's Call The Whole Thing Off
10. It Had To Be You
11. Where Or When$41.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Pointless Nostalgic (Pure Pleasure)This is the sensational debut album by Jamie Cullum - the brightest young male singer/pianist on the block. Jamie Cullum has quickly become a household name after Candid Records launched Jamie with the original, award winning hit album Pointless Nostalgic. A caustic blend of hip, catchy originals, contemporary covers and standards, Pointless Nostalgic went straight to the top of the charts and demanded attention.
Barely in his twenties, Cullum has a wise old rasp that usually takes decades of chain-smoking to acquire. Cullum's move to mix jazz standards, American songbook classics, and contemporary popular music was a risky one that could easily isolate fans of each genre. However, Cullum managed to find a unifying thread in all of the styles, tying them together in a manner that seemed like the natural culmination of a diverse record collection. Jazz plays heaviest in the mix, but Cullum's version of it is lively and roguish. A rock & roll spirit among erstwhile snobs, he brings blue jeans to the beret set.
Highlights come courtesy of Cullum's diverse and well-chosen array of cover songs. While so many Harry Connick, Jr. wannabes stick to the standards and limply mimic moves lifted from Frank Sinatra's catalog, Cullum hops from Radiohead to Thelonious Monk with equal verve and accomplishment. Closing number I Want To Be A Popstar is a playful rumination on the advantages of being a pop star rather than a jazz key pounder. The mischievous romp exemplifies the lighthearted approach that has become Cullum's calling card, endearing him to jazzophiles and screaming young girls alike.
- Ben Castle, Dave 0' Higgins (tenor saxophone)
- Matt Wates (alto saxophone)
- Martin Shaw (trumpet)
- Martin Gladdish (trombone)
- Jamie Cullum (piano, vocal)
- Geoff Gascoyne (bass)
- Sebastiaan de Krom (drums)
Recording: 2002 at Clowns Pocket Studios by Derek Nash and Livingstone Studios by Mark Chamberlain
Production: Jamie Cullum and Geoff Gascoyne
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 And The Night And The Music
2. I Can't Get Started
3. Devil May Care
4. You're Nobody Till Somebody Loves You
5. Pointless Nostalgic
6. In The Wee Small Hours Of The Morning
7. Well You Needn't
8. It Ain't Necessarily So
9. High And Dry
10. Too Close For Comfort
11. A Time For Love
12. Lookin' Good
13. I Want To Be A Popstar
$44.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now