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Groovin' With Jug (Pure Pleasure)Ironically, Gene 'Jug' Ammons tended to be critical of organists; he was quoted as saying that »organ players don't know any changes.« However, as critical the Chicago tenor saxman might have been of organists - most of them, anyway - he did some of his best work in their presence. When Ammons united with Jack McDuff, Johnny 'Hammond' Smith and other B-3 masters in the '60s, the sparks would fly. They certainly fly on this excellent album, which finds Ammons and Richard 'Groove' Holmes co-leading a soul-jazz/hard bop organ combo that also includes guitarist Gene Edwards and drummer Leroy Henderson. The quartet is heard in two settings on August 15, 1961 - three of the eight selections were produced by Richard Bock in a Los Angeles studio in the afternoon, while the other three were recorded several hours later an L.A. club called the Black Orchid. Ammons and Holmes prove to be a strong combination in both settings, although their playing is somewhat looser at the Orchid, where the delights include some slow blues, a smokey ballad (Willow Weep for Me) and a lightning-fast barnburner. However critical Ammons might have been of most organists, it's obvious that he and Holmes share a lot of common ground on Groovin' With Jug.
- Richard "Groove" Holmes (organ)
- Gene Ammons (tenor saxophone)
- Gene Edwards (guitar)
- Leroy Henderson (drums)
Recording: August 1961 at The Black Orchid and Pacific Jazz Studios
Production: Richard Bock
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. Good Vibrations
2. Willow Weep For Me
3. Juggin Around Side
4. Groovin With Jug
5. Morris The Minor
6. Hey You, Whats That?$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The New Boss Guitar
Special Vinyl Reissue
George Benson was only 21 when, on May 1, 1964, he recorded his first album as a leader, The New Boss Guitar of George Benson. At that point, the
guitarist had yet to become a huge name in jazz, although many of those who knew Benson agreed that he showed great potential. This is an impressive
debut. The guitarist had developed a distinctive, recognizable sound on his instrument, and he plays with both feeling and technique on five Benson
originals (including the sly Shadow Dancers, the exuberant Rock-A-Bye, and the earthy blues I Don't Know) as well as interpretations of Easy Living
and Will You Still Be Mine. This album is historically important as well as rewarding.
George Benson is the legendary guitarist, singer/songwriter who is the recipient of 10 Grammy Awards!
This is a 'MUST-HAVE' for all George Benson Fans, as well as a pivotal addition to any vinyl collection given its historical importance as one of Benson's
first significant recordings.1. Shadow Dancers
2. The Sweet Alice Blues
3. I Don't Know
4. Just Another Sunday
5. Will You Still Be Mine?
6. Easy Living
8. My Three Sons$21.99Vinyl LP - Sealed Buy Now
Field NotesWil Blades Field Notes features guitarist Jeff Parker of Tortoise and drummer Simon Lott from New Orleans.
"He is the future to carry on the legend, the legacy of the organ, of the B-3." - Dr. Lonnie Smith
When Wil Blades sits down at the Hammond B3, count on inspired music to follow. The 34-year old, Chicago-native, Berkeley-based artist is a cornerstone organist of his generation-a modern voice in a lineage that includes giants like Richard "Groove" Holmes, Charles Earland and Brother Jack McDuff.
Having studied at the feet of the legendary Dr. Lonnie Smith and played alongside the likes of John Lee Hooker, Melvin Sparks and Idris Muhammad, Blades has absorbed the spirit of the masters. His extensive collaborations also reflect the high regard in which he's held by contemporaries, including Stanton Moore, Anders Osborne and Nicholas Payton.
Having released a critically acclaimed co-led duo album Shimmy with Medeski Martin & Wood drummer Billy Martin in 2012, Blades returns with a deeply soulful and sinuous nine-track effort, Field Notes, on which he's found fronting his own trio featuring Tortoise guitarist Jeff Parker and New Orleans' drummer Simon Lott.
From the recording's outset, it's easy to picture Blades fingers free-flowing across the keys, feet gliding along the bass pedals in a continuous dance. Syncopation drives songs like "Miller's Time" and "Addis" as the trio locks in tight to a relentless groove. But there's also a refined harmonic vision and deep affection for melody on tracks like "(I Can't Stand) The Whole Lott of You" and "Dewey" where Blades' Clavinet adds a fresh sonic dimension to the proceedings. Shades of psychedelia are weaved within "Parks 'N' Wreck," while a tip of the hat to vintage soul jazz balladry informs "Forgetful" and classic pop swing is at the heart of "I Get The Blues When It Rains."
In its sum, Field Notes is a masterful statement from an artist who's poised to keep the timeless sound of the Hammond B3 organ as vital and compelling today as it's ever been in the history of modern jazz and rock.1. Miller's Time
2. (I Can't Stand) The Whole Lott of You
6. Park N' Wreck
8. Red Lanterns Are Blue
10. I Get The Blues When It Rains$17.99Vinyl LP - Sealed Buy Now