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  • Slaves Mass (Pure Pleasure) Slaves Mass (Pure Pleasure) Quick View

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    Slaves Mass (Pure Pleasure)

    Not strictly a jazz album in the strict sense, Slaves Mass has strong compositional themes among its seven tracks. The maestro Hermeto Pascoal plays everything from flutes, soprano saxophone, guitar, Fender Rhodes, acoustic piano and clavinet on this set, and enlists help from Ron Carter, Airto, Flora Purim, Raul DeSouza, David Maro and others. Mixing Pot, is the opener and an anomaly in that it is a vanguard fusion tune where Pascoal really digs in and improvises. It also features the only appearance on this set of Alphonso Johnson on electric bass. In Missa Dos Escravos, the title track, Pascoal's emblematic pig gives his first growls in a song dominated by Brazilian Indian references. Wonderfully and intricately composed, it centers around folk tropes. Chorinho Para Ele is a beautiful and modern choro with a somewhat challenging glissando bridge that really proposed new directions for the traditional genre. Aquela Valsa is a beautiful six/eight theme that turns into a samba with a beautiful trombone solo by DeSouza. Cannon is an utterly improvisational piece that meanders and winds around Pascoal's flute solo. Atonalism dominates the piano solo in Escuta Meu Piano, which also presents bits and pieces of different styles (like baio) and folk songs. Hot samba improvisation is found in GelÉia de Cereja, that slips and slides through a variety of schema and dynamic changes without much internal focus, but it is a compelling bit of creative anarchy nonetheless in that it displays Pascoal's full range of restless musical and textural impulses -- as well as a beautiful soprano solo.


    • Hermeto Pascoal (saxophone, trombone, flute, keyboard)

    • David Amaro (guitar)

    • Raul De Souza (trombone)

    • Airto Moreira (drums)

    • Flora Purim (vocal)

    Recording: 1977

    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. Mixing Pot
    2. Slaves Mass
    3. Little Cry For Him
    4. Cannon (Dedicated To Cannonball Adderley)
    5. Just Listen
    6. That Waltz
    7. Cherry Jam
    Hermeto Pascoal
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Brasileiro Brasileiro Quick View

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    Brasileiro won the 1992 Grammy Award for Best World Music Album. The album was released at June 17 in 1992.

    Mendes went back to the taproots of his heritage, calling upon a plethora of explosive tracks from L.A. sessionmen and give the production a finished sheen. Combining Forro and Samba Reggae with Indiado stomps and shouts, What Is This is a romping Bahian take on Hiphop and grafts Portuguese vocals onto a swinging American Funk groove. And the unusual ¾-meter samba Pipoca is the creation of do-everything mystery man Hermeto Pascoal.

    Mendes draws upon the giants and comers of Brazilian songwriting like Ivan Lins, Gilberto Gil, Joao Bosco, Carlinhos Brown, and Guinga. Mendes vocal blend is Gracinha Leporace who sounds more vibrant than ever. Bassist Sebastian Neto also returns to the Mendes fold.

    1. Fanfarra (Cabua-Le-Le)
    2. Magalenha
    3. Indiado
    4. What Is This?
    5. Lua Soberana
    6. Sambadouro
    7. Senhoras Do Amazonas
    8. Kalimba
    9. Barabare
    10 Esconjuros
    11. Pipoca
    12. Magano
    13. Chorado
    14. Fanfarra (Despedida)
    Sergio Mendes
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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