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  • The Jazz Age (Awaiting Repress) The Jazz Age (Awaiting Repress) Quick View

    $24.99
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    The Jazz Age (Awaiting Repress)

    If there was ever a musical icon and a decade destined to come together it is Bryan Ferry and the Roaring Twenties. The artist as creative powerhouse with a dazzling career of endless surprise, delight and innovation, and the decade - a time of modernity, decadence and bright young things - all driven on by the thrill of it all.


    So what better way to celebrate and mark the 40th year anniversary of Ferry's incredible career as a singer and songwriter, than by rearranging his own compositions and have them performed in a 1920's style by his very own Jazz Orchestra? It began as an idea, fueled by Ferry's fascination of that time between the wars known as The Jazz Age. He decided the songs were to be all completely instrumental reinterpretations. A lot of the music I listen to nowadays is instrumental, he explains and I wanted to let my songs have a different life, a life without words.


    He put together his very own jazz orchestra comprised of many of the great British jazz players from his past tribute to the 1930's, the album As Time Goes By - including his long-term musical director Colin Good, with whom Ferry worked closely on these new arrangements. The 13 songs have been chosen from 11 albums, from his very first release Roxy Music (1972) to his recent solo record Olympia (2010)

    1. Do The Strand
    2. Love Is The Drug
    3. Don't Stop The Dance
    4. Just Like You
    5. Avalon
    6. The Bogus Man
    7. Slave To Love
    8. This Is Tomorrow
    9. The Only Face
    10. I Thought
    11. Reason Or Rhyme
    12. Virginia Plain
    13. This Island Earth
    The Bryan Ferry Orchestra
    $24.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • The Feeling Of Jazz The Feeling Of Jazz Quick View

    $29.99
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    The Feeling Of Jazz

    Mastered From Original Analog Tapes By Grammy Award Winner Bernie Grundman


    Pressed On Audiophile-Grade 180 Gram Vinyl At Pallas Group In Germany


    Contains Never-Before-Heard Ellington Originals


    Features Exclusive Artwork and Packaging


    Recorded at four different sessions in 1962 at Bell Studio, The Feeling of Jazz is one of the rarest titles America's greatest composer ever released, containing both never-before-heard originals as well as reinterpretations of Ellington classics. Performed by the Duke Ellington Orchestra, which included players such as Paul Gonsalves, Johnny Hodges, Harold Baker, and Jimmy Hamilton, the material contains a wealth of spot-on solos and stop-on-a-dime changes.


    The Feeling of Jazz represents a critical juncture in Ellington's career and a can't-miss opportunity for collectors and enthusiasts to get closer to the man and his music. The album was mastered from the original analog tapes at Bernie Grundman Studios, and pressed on 180 gram vinyl at Pallas Group in Germany.

    1. Taffy Twist
    2. Flirtibird
    3. Smada
    4. What Am I Here For
    5. Take The 'A' Train
    6. I'm Gonna Go Fishin'
    7. Boo-Dah
    8. Black And Tan Fantasy
    9. The Feeling Of Jazz
    10. Jump For Joy
    11. I Let A Song... / Don't Get Around...
    Duke Ellington
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Jazz Samba Jazz Samba Quick View

    $27.99
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    Jazz Samba

    Import


    Partly because of its Brazilian collaborators and partly because of The Girl From Ipanema, Getz/Gilberto is nearly always acknowledged as the Stan Getz bossa nova LP. But Jazz Samba is just as crucial and groundbreaking; after all, it came first, and in fact was the first full-fledged bossa nova album ever recorded by American jazz musicians. And it was just as commercially successful, topping the LP charts and producing its own pop chart hit single in Desafinado. It was the true beginning of the bossa nova craze, and introduced several standards of the genre (including Ary Barroso's Bahia and Antonio Carlos Jobim's Desafinado and Samba de Uma Nota Só [aka One Note Samba]). But above all, Jazz Samba stands on its own artistic merit as a shimmering, graceful collection that's as subtly advanced -- in harmony and rhythm -- as it is beautiful. Getz and his co-billed partner, guitarist Charlie Byrd -- who was actually responsible for bringing bossa nova records to the U.S. and introducing Getz to the style -- have the perfect touch for bossa nova's delicate, airy texture. For his part, Byrd was one of the first American musicians to master bossa nova's difficult, bubbling syncopations, and his solos are light and lilting. Meanwhile, Getz's playing is superb, simultaneously offering a warm, full tone and a cool control of dynamics; plus, Byrd's gently off-kilter harmonies seem to stimulate Getz's melodic inventiveness even more than usual. But beyond technique, Getz intuitively understands the romanticism and the undercurrent of melancholy inherent in the music, and that's what really made Jazz Samba such a revelatory classic. Absolutely essential for any jazz collection.

    -All Music Guide

    1. Desafinado
    2. Samba Dees Days
    3. O Pato
    4. Samba Triste
    5. Samba de Uma Nota So
    6. E Luxo So
    7. Baia (A.K.A. Baia)
    8. Samba De Uma Nota So (Big Bang Version)*


    *Bonus Track

    Stan Getz
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Free Jazz Free Jazz Quick View

    $49.99
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    Free Jazz

    Mastered from the Original Master Tapes


    Features a Double Quartet: One Band in Each Stereo Channel with Two Simultaneously Playing Rhythm Sections


    Features Don Cherry, Scott LaFaro, Eric Dolphy, Charlie Haden, Freddie Hubbard Among Other Musicians


    Modern improvisational jazz starts here. With one quartet placed in the left stereo channel and another situated in the right, Free Jazz unloads with two simultaneously playing rhythm sections and a 37-minute-plus title cut devised entirely on the spot.


    Distinctive from the copycat attempts that followed, this 1960 magnum opus claims melody and harmony, solidifying Ornette Coleman's reputation as a compositional genius. Of course, the presence of Don Cherry, Scott LaFaro, Billy Higgins in the left channel and Coleman, Freddie Hubbard, Charlie Haden, and Ed Blackwell in the right doesn't hurt.


    Mastered from the original master tapes, ORG Music's analog edition has turned this classic into an audiophile spectacular. Due to the presentation of the recording in two distinct stereo channels, this album supremely benefits from the label's mastering efforts and decision to expand the music into wider grooves. Prepare for a mind-blowing experience.

    1. Free Jazz- Part 1

    Ornette Coleman


    2. Free Jazz - Part 2

    Ornette Coleman

    Ornette Coleman
    $49.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Legrand Jazz (Awaiting Repress) Legrand Jazz (Awaiting Repress) Quick View

    $27.99
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    Legrand Jazz (Awaiting Repress)

    Import


    French composer and pianist Michel Legrand's album Legrand Jazz in its entirety, featuring his first recorded collaboration with Miles Davis.


    Legrand Jazz compiled three June 1958 New York sessions featuring many of the finest jazz musicians in the history of the genre. Featuring John Coltrane, Bill Evans, Herbie Mann, Ben Webster, Hank Jones, Paul Chambers & Max Roach, among others.


    One Pressing Limited Edition

    1. Wild Man Blues(Louis Armstrong-Jelly Roll Morton)
    2. Round Midnight(Thelonious Monk-Cootie Williams-Bernie Hanighen)

    3. The Jitterbug Waltz (Fats Waller)

    4. Django (John Lewis)

    5. Nuages (Django Reinhardt)

    6. Round Midnight (Thelonious Monk-Cootie Williams-Bernie Hanighen)

    7. Rosetta (Earl Hines-William Henri Woode)

    8. Dont Get Around Much Anymore (Duke Ellington-Sidney Keith Russell)

    9. Blue And Sentimental (Count Basie-Mack David-Jerry Livingston)

    10. Stompin At The Savoy (Benny Goodman-Chick Webb-Edgar M. Sampson)

    11. A Night In Tunisia (Dizzy Gillespie-Frank Paparelli)

    12. In A Mist (Bix Beiderbecke)

    Michel Legrand & Miles Davis
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Jazz Goes To College Jazz Goes To College Quick View

    $34.99
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    Jazz Goes To College

    Import

    In the spring of 1954 Jazz-great Dave Brubeck did a tour of North American college campuses. Paul Desmond (alto sax), Bob Bates (bass), and Joe Dodge (drums) joined him and their support of Brubeck is uniformly flawless, ultimately producing what many consider as the most memorable music in the artist's cannon.


    Indeed the genre gets schooled as the quartet leans in with striking energy and finesse. Enjoyed among college students in the 1950s and early 1960s both the tour and album brought Jazz to a whole new generation.

    1. Balcony Rock
    2. Out Of Nowhere
    3. Le Souk
    4. Take The "a" Train
    5. The Song Is You
    6. Don't Worry 'bout Me
    7. I Want To Be Happy
    Dave Brubeck Quartet
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Jazz U.S.A (Discontinued) Jazz U.S.A (Discontinued) Quick View

    $13.99
    Buy Now
    x

    Jazz U.S.A (Discontinued)

    One of Sonny Criss' classic albums for Imperial, 1956's Jazz U.S.A. is a brilliant collection of impeccably recorded L.A. bop from the '50s. Criss had a tone like nobody else on the alto and he's at the height of his powers here, settling into an amazing groove with a sense of power, confidence and sophistication. Features Criss on alto sax, Kenny Drew on piano, Barney Kessel on guitar, Bill Woodson on bass and Chuck Thompson on drums. Tracks include West Coast Blues, Criss Cross, Ham's Blues and Blue Friday among others.
    1. Willow Weep for Me
    2. These Foolish Things
    3. Blue Firday
    4. Sunday
    5. More than You Know
    6. Easy Living
    7. Alabamy Bound
    8. Something's Gotta Give
    9. West Coast Blues
    10. Criss-Cross
    11. Ham's Blues
    12. Sweet Georgia Brown
    Sonny Criss
    $13.99
    Vinyl LP - Sealed Buy Now
  • Jazz Composers Workshop Jazz Composers Workshop Quick View

    $32.99
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    Jazz Composers Workshop

    Import


    The Jazz Composers' Workshop album, originally released on Savoy in 1956, is made up of two sessions-recorded on 31 October 1954 (side A and tracks 5 & 6 on side B), and 30 January 1955 (tracks 1-4 on side B)-that were part of Mingus' influential "Jazz Composers' Workshop", a forum intended to give young jazz composers the opportunity to play and record their own compositions. The 1954 session-a sextet line-up featuring Charles Mingus (bass), John La Porta (clarinet & alto sax), Teo Macero (tenor & baritone sax), George Barrow (tenor & baritone sax), Mal Waldron (piano) and Rudy Nichols (drums)-was made up entirely of Mingus originals, with the exception of the 1925 standard "Tea For Two". Mingus' "Body & Soul", found here, did not appear on the original LP. The 1955 date-a quartet session led by pianist Wally Cirillo, and featuring Mingus on bass, tenor-saxophonist Teo Macero, and drummer Kenny Clarke-was actually intended as a showcase for four compositions by Cirillo, and featured one of the first, if not THE first, jazz composition to be based on a 12-tone row, "Transeason".

    1. Purple Heart
    2. Gregarian Chant
    3. Eulogy For Rudy Williams
    4. Tea For Two
    5. Smog L.A.
    6. Level Seven
    7. Transeason
    8. Rose Geranium
    9. Getting Together
    10. Body & Soul
    Charles Mingus
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sex 'n' Jazz (Expanded) Sex 'n' Jazz (Expanded) Quick View

    $39.99
    Buy Now
    x

    Sex 'n' Jazz (Expanded)

    Limited Edition Of 1,000 Numbered Copies On White Vinyl, Black Vinyl Thereafter

    180-Gram Audiophile Vinyl

    Gatefold Sleeve With Deluxe Spot Varnish

    Remastered Expanded Edition

    Featuring Marvin Gaye And Paul Carrack

    First Time On Vinyl!

    Originally released in March 2007, Sex 'n' Jazz, starring Marvin Gaye, Paul Carrack, and Erik Truffaz, immediately captured the public's attention and became an overnight success for Dutch groove jazz band Gare du Nord. Tracks like Marvin & Miles, You're My Medicine and Beautiful Day would become instant classics and kick-started a new jazz pop wave in The Netherlands.

    The appeal of the album was also recognized by jazz label Blue Note and in 2009 a remixed version of the album hit the shelves. With the key tracks, originally mixed in the chill mode, dramatically remixed in club soul style, the blue label parachuted Sex 'n' Jazz into platinum heaven.

    This 2017 expanded edition brings together both the Blue Note remix album master and the original vintage album master from early 2007 for the very first time. State of the art remastered, this landmark edition of Sex 'n' Jazz sounds as crispy as ever. This must be the ultimate fan experience to celebrate the 10th Anniversary of the trendsetting club soul masterwork and its prelude.

    Ten years after its original release, the album is now available on vinyl for the first time. The first limited, individually numbered edition is pressed on white vinyl. Only 1,000 copies available.

    Further decades may pass and public taste may change, but it will always be just the right time for Sex 'n' Jazz.

    LP 1
    1. Somethin' In My Mouth (Sex 'n' Jazz 1)
    2. Marvin & Miles
    3. Ride On (Featuring Paul Carrack)
    4. Cool Summer Breeze
    5. Beautiful Day
    6. You're My Medicine (feat. Marvin Gaye)
    7. More Medicine
    8. Chet's Chat
    9. Quiet Storm
    10. I Want Love
    11. Lobster For Love (Sex 'n' Jazz 2)
    12. Hey, Mr. Glider (feat. Erik Truffaz)
    13. Hot Glue


    LP 2
    1. Marvin & Miles
    2. Somethin' In My Mouth (Sex 'n' Jazz 1)
    3. Ride On
    4. You're My Medicine
    5. More Medicine
    6. Summer Breeze
    7. Beautiful Day
    8. Chet's Chat
    9. Lobster For Love (Sex 'n' Jazz 2)
    10. Hey, Mr. Glider
    11. Quiet Storm
    12. I Want Love
    13. Hot Glue

    Gare du Nord
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • 20 Jazz Funk Greats 20 Jazz Funk Greats Quick View

    $23.99
    Buy Now
    x

    20 Jazz Funk Greats

    Pressed On Limited Edition Green Colored Vinyl


    Mute are delighted to announce a limited edition green LP reissue
    of 20 Jazz Funk Greats, the landmark 1979 album from industrial
    music pioneers Throbbing Gristle.


    The impetus for the record apparently came about from Genesis
    P-Orridge's mum's request that the band record something
    "nice". The tame cover photo shows the nattily dressed band -
    white disco jacket, comfy slacks, mini-skirt - stood amid flowers
    on a clifftop. The chosen scene of natural beauty was Beachy
    Head, a notorious suicide spot.


    20 Jazz Funk Greats' cheerful breaching of lounge jazz and
    disco contains some of the band's prettiest moments on songs
    like the breathy "Hot on the Heels of Love". Similarly "Tanith"
    and "Exotica" are gentle interludes in which TG's usual jagged
    punctuations are kept to a minimum. You could be fooled into
    thinking this was indeed easy-listening industrial.


    Pitchfork wrote that "20 Jazz Funk Greats finds the band waking
    up from D.O.A's dark night of the soul and feeling curiously
    frisky. Snacking on not only the titular funk and jazz, the band
    also takes touristic zig zags through exotica, rock and disco",
    ultimately describing it as a "kitsch detour toward mutant disco".
    Uncut Magazine wrote that "musically, it turned away from the
    precipice; not exactly jazz and funk, but sublimating TG's noise
    elements within electronic rhythms and proto-exotica." Dusted
    Magazine described the album as "a deliberate attempt to toy
    with the ideas behind marketing strategy and the purpose of
    musical genres."


    Pitchfork ranked 20 Jazz Funk Greats at number 91 in its list of
    the 100 greatest albums of the 1970s. UK magazine Fact named
    it the best album of the 1970s, writing that "This album is a
    rupture. It's an open crack into the unpronounceable dimensions
    into which tumble important streams of 20th century pop, art
    and underground culture, to seethe around each other, mingling,
    festering, sprouting new and unpredictable forms which in turn
    would ooze out to infest vast sections of what comes after."

    1. 20 Jazz Funk Greats
    2. Beachy Head
    3. Still Walking
    4. Tanith
    5. Convincing People
    6. Exotica
    7. Hot On The Heels Of Love
    8. Persuasion
    9. Walkabout
    10. What A Day
    11. Six Six Sixties
    Throbbing Gristle
    $23.99
    Colored Vinyl LP - Sealed Buy Now
  • Jazz Reunion (Pure Pleasure) Jazz Reunion (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Jazz Reunion (Pure Pleasure)

    It is strange that two such individual musicians as Pee Wee Russell and Coleman Hawkins were kept apart for some 32 years but it is a fact that not since 1929 had they met in a recording studio. Pee Wee Russell's unique, and sometimes derided approach was praised as ahead of its time, and cited by some as an early example of free jazz. Coleman Hawkins, at the time of this 1961 Jazz Reunion record date dismissed any idea that Russell was now playing modern, claiming that he had always played that way. The greatly imaginative improvisations of Russell when at his best remain an inspiration to jazz clarinetists.



    On this album the whole group move with an elasticity which only comes when exactly the right mood is attained by all the musicians taking part. Pee Wee plays with deep passion throughout and Hawkins was never heard in better blowing form than this. His virile, robust solos are as forceful as anything he recorded in his long distinguished career. Emmett Berry's solos are models of tasteful improvisation. Brookmeyer displays a pretty turn of wit and builds his solos with ingenuity. With excellent arrangements by Nat Pierce and some lovely cymbal work from Jo Jones this really is a beauty.




    Musicians:



    • Coleman Hawkins (tenor saxophone)

    • Pee Wee Russell (clarinet)

    • Emmett Berry (trumpet)

    • Bob Brookmeyer (trombone)

    • Nat Pierce (piano)

    • Milt Hinton (bass)

    • Jo Jones (drums)




    Recording: February 1961 at Nola Penthouse Studio, New York City, by Bob d'Orleans
    Production: Nat Hentoff




    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. If I Could Be With You (One Hour Tonight)

    2. Tin Tin Deo
    3. Mariooch
    4. All Too Soon
    5. 28th And 8th
    6. What Am I Here For
    Pee Wee Russell & Coleman Hawkins
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Art Blakey!!!!! Jazz Messengers!!!!! Art Blakey!!!!! Jazz Messengers!!!!! Quick View

    $49.99
    Buy Now
    x

    Art Blakey!!!!! Jazz Messengers!!!!!

    Art Blakey discovered and championed young talented musicians such as Clifford Brown, Lou Donaldson, Keith Jarrett and Wynton Marsalis to name but a few. But he also delivered the message of hard bop through thousands of performances at festivals right down to the smallest club. Lively, joyous performances, the very highest technical standards and somnambulistic music-making characterize this recording. Right from the very start it is clear that these jazz ambassadors have a new message for us. The hard-beat recordings win in lyricism thanks to the gentle sound of Curtis Fuller's trombone, something that was often missing in the powerful Blue Note sound. Four jazz evergreens give the musicians the time and opportunity to display their soloistic talents. The real climax, however, is to be found in the harmonic layering of the three winds which lend the themes new appeal. The message was broadcasted many times until the death of Art Blakey, but the history of jazz would have been a great deal poorer without these milestone recordings on the Impulse label. Art Blakey certainly knew how to delight his audience with fire, originality, a wealth of ideas and great humor. All these attributes are applicable to the six titles on this album.


    Musicians:

    Lee Morgan (trumpet)

    Curtis Fuller (trombone)

    Wayne Shorter (tenor saxophone)

    Robert H. "Bobby" Timmons (piano)

    Jymie Merritt (bass)

    Art Blakey (drums)


    Recording: June 1961 at Rudy van Gelder's Recording Studios, Englewood Cliffs, N.J., USA by Rudy van Gelder Production: Bob Thiele



    This title is not eligible for discount.

    1. À la Mode
    2. Invitation
    3. Circus
    4. You Don't Know What Love Is
    5. I Hear a Rhapsody
    6. Gee Baby, Ain't I Good to You
    Art Blakey
    $49.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Art Blakey!!!!! Jazz Messengers!!!!! Art Blakey!!!!! Jazz Messengers!!!!! Quick View

    $27.99
    Buy Now
    x

    Art Blakey!!!!! Jazz Messengers!!!!!

    Import


    Art Blakey discovered and championed young talented musicians such as Clifford Brown, Lou Donaldson, Keith Jarrett and Wynton Marsalis to name but a few. But he also delivered the message of hard bop through thousands of performances at festivals right down to the smallest club. Lively, joyous performances, the very highest technical standards and somnambulistic music-making characterize this recording. Right from the very start it is clear that these jazz ambassadors have a new message for us. The hard-beat recordings win in lyricism thanks to the gentle sound of Curtis Fuller's trombone, something that was often missing in the powerful Blue Note sound. Four jazz evergreens give the musicians the time and opportunity to display their soloistic talents. The real climax, however, is to be found in the harmonic layering of the three winds which lend the themes new appeal. The message was broadcasted many times until the death of Art Blakey, but the history of jazz would have been a great deal poorer without these milestone recordings on the Impulse label. Art Blakey certainly knew how to delight his audience with fire, originality, a wealth of ideas and great humor. All these attributes are applicable to the six titles on this album.


    Musicians:

    Lee Morgan (trumpet)

    Curtis Fuller (trombone)

    Wayne Shorter (tenor saxophone)

    Robert H. "Bobby" Timmons (piano)

    Jymie Merritt (bass)

    Art Blakey (drums)


    Recording: June 1961 at Rudy van Gelder's Recording Studios, Englewood Cliffs, N.J., USA by Rudy van Gelder Production: Bob Thiele

    1. Alamode
    2. Invitation
    3. Circus
    4. You Don't Know What Love Is
    5. I Hear A Rhapsody
    6. Gee Baby, Ain't I Good To You
    Art Blakey
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Jazz Waltz (Pure Pleasure) Jazz Waltz (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Jazz Waltz (Pure Pleasure)

    Shorty Rogers' Jazz Waltz is exactly that, an exploration of ten compositions played in waltz settings. Only these big-band charts are hardly the waltzes heard on Lawrence Welk's long-running television series. Rogers kicks off with a swinging number (I'm Gonna Go Fishin') written by Duke Ellington for the soundtrack to the film Anatomy Of A Murder and featuring the leader's rich flÜgelhorn. The lyrical take of the centuries-old folk melody Greensleeves alternates between the tense rhythm section and Bud Shank's gorgeous flute solo. Rogers' delightful Be As Children almost sounds as if it was adapted from a gospel song. The brisk treatment of Ellington's Echoes of Harlem, featuring Paul Horn on flute, is refreshing. Only Bobby Scott's A Taste of Honey is the least bit disappointing, simply because this arrangement isn't quite as adventurous as the rest of the album. Originally issued by Reprise in 1962 and out of print for decades. -Ken Dryden/AMG


    Musicians:


    • Bud Shank (alto saxophone)
    • Bill Perkins, Bob Cooper (tenor saxophone)
    • Paul Horn (alto saxophone, flute)
    • Shorty Rogers (flugelhorn)
    • Bill Hood (bassoon)
    • Al Porcino (trumpet)
    • Joe Burnett (trumpet, flugelhorn)
    • Harry Betts (trombone)
    • Lou Levy (piano)
    • Larry Bunker (vibraphone)
    • Joe Mondragon (bass)
    • Mel Lewis (drums)



    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. I'm Gonna Go Fishin'
    2. Greensleeves
    3. Walk On The Wild Side
    4. Witchcraft
    5. Be As Children
    6. Jazz Waltz
    7. Echoes Of Harlem
    8. A Taste Of Honey
    9. Terence's Farewell
    10. The Streets Of Laredo
    Shorty Rogers & His Giants
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Portrait In Jazz (Awaiting Repress) Portrait In Jazz (Awaiting Repress) Quick View

    $21.99
    Buy Now
    x

    Portrait In Jazz (Awaiting Repress)

    Bill Evans made two albums in 1959 that had a profound impact on jazz history Kind of Blue with Miles Davis and this debut disc by Evans first permanent working unit. The fluidity and interdependence these three developed forever changed the face of the piano trio, introducing new notions of shading, balance, and poetic lyricism, not to mention the superhuman virtuosity of the tragically short-lived bassist Scott LaFaro.
    1. Come Rain Or Come Shine
    2. Autumn Leaves
    3. Witchcraft
    4. When I Fall In Love
    5. Peri's Scope
    6. What Is This Thing Called Love?
    7. Spring Is Here
    8. Some Day My Prince Will Come
    9. Blue In Green
    Bill Evans Trio
    $21.99
    Vinyl LP Reissue - Sealed AWAITING REPRESS Buy Now
  • Jazz Impressions Of Black Orpheus Jazz Impressions Of Black Orpheus Quick View

    $21.99
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    Jazz Impressions Of Black Orpheus


    Special Vinyl Reissue


    Impressions of Black Orpheus is the legendary album by the Vince Guaraldi Trio, originally released in 1962. The album contains both original
    compositions and covers of songs from the 1959 film Black Orpheus. It spawned the hit single Cast Your Fate to the Wind, which won the 1963 Grammy
    Award for Best Original Jazz Composition.


    This unique and memorable album has been newly released on vinyl, and is essential for all jazz and vinyl collectors, as well as fans of the famed 1959
    Brazilian film.

    1. Samba De Orpheus
    2. Manhã De Carnaval
    3. O Nosso Amor
    4. Felicidade
    5. Cast Your Fate To The Wind
    6. Moon River
    7. Alma-Ville
    8. Since I Fell For You
    Vince Guaraldi Trio
    $21.99
    Vinyl LP - Sealed Buy Now
  • Negrophilia: The Album Negrophilia: The Album Quick View

    $16.99
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    Negrophilia: The Album

    Ladd is regarded as one of the urban world's most creative and diverse entities. Charting a strangely macabre, yet familiar territory, he has once again sculpted a truly entrancing record. Much like a strange back alleyway, it beckons you to wonder what lies beyond the shadows and lights. Says Mike, "The goal of this record is to serve as an organic backdrop to a digital landscape." Inspired in part by Petrine Archer-Straw's book, "Negrophilia", Ladd combined his thoughts and visions with renowned drummer Guillermo E. Brown and pianist Vijay Iyer, who return to work with him on the heels of last year's critically acclaimed "In What Language?". Melding natural and synthetic sound, this album engages the listener with the urgency of futurism, while also harkening to a not too distant past.
    1. Field Work (The Ethnographer's Daughter)

    2. The French Dig Latinos, Too

    3. In Perspective

    4. Shake It

    5. Worldwide Shrinkwrap (Contact Zones)

    6. Back At Ya

    7. Appropriated Metro

    8. Blonde Negress

    9. Sam And Milli Dine Out

    10. Nancy And Carl Go Christmas Shopping

    11. Sleep Patterns Of Black Expatriots Circa 1960
    Mike Ladd
    $16.99
    Vinyl LP - Sealed Buy Now
  • Classic Album Collection Classic Album Collection Quick View

    $37.99
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    Classic Album Collection

    Import


    3 LP set, all recorded originally in 1956/57

    LP1 - Ella & Louis
    1. Can't We Be Friends
    2. Isn't This A Lovely Day
    3. Moonlight In Vermont
    4. They Can't Take That Away From Me
    5. Under A Blanket Of Blue
    6. Tenderly
    7. A Foggy Day
    8. Stars Fell On Alabama
    9. Cheek To Cheek
    10. The Nearness Of You
    11. April In Paris


    LP2 - Ella & Louis Again
    1. Don't Be That Way
    2. Makin' Whoopee
    3. They All Laughed
    4. Comes Love
    5. Autumn In New York
    6. Let's Do It (Let's Fall In Love)
    7. Stompin' At The Savoy
    8. I Won't Dance
    9. Gee, Baby, Ain't I Good To You?


    LP3 - Ella & Louis Again
    1. Let's Call The Whole Thing Off
    2. These Foolish Things (Remind Me Of You)
    3. I've Got My Love To Keep Me Warm
    4. Willow Weep For Me
    5. I'm Puttin' My Eggs In One Basket
    6. A Fine Romance
    7. Ill Wind
    8. Love Is Here To Stay
    9. I Get A Kick Out Of You
    10. Learnin' The Blues

    Ella Fitzgerald and Louis Armstrong
    $37.99
    Vinyl LP - 3 LPs Sealed Buy Now
  • The Second Album The Second Album Quick View

    $24.99
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    The Second Album

    Back in 1995, Bay Area rap was at the big-ballin' peak of the mobb music craze, LA was chronically gripped in a G-funk indo smoke haze, Atlanta was
    enjoying its Southernplayalistic days, and NYC was entering a shiny-suit phase. There was no frame of reference for two lyrical emcees experimenting
    with the tonality and resonance of rhyme patterns. This was uncharted territory. The pairing of Lyrics Born and Lateef the Truthspeaker into Latyrx was an accident, LB recalls. Both emcees were solo artists, but when LB heard the pre-Endtroducing DJ Shadow beat which would become Latyrx' eponymous debut single, his reaction was, Oh my God, I gotta get on this.


    Latyrx was a syllabic tour de force which began with two dissonant voices -- one gruff and bassy, the other higher-pitched and trebly, both hella fluid -- it
    transmogrified into a harmonic convergence of doubled verses simultaneously assaulting eardrums. Undeniably, it was great... but weird. It was ill,
    Lateef recalls. We really felt like we had something unlike anyone else had done, he adds. Latyrx' first and thusfar, only, full-length, 1997's Latyrx: the Album, set the tone for what Solesides and Quannum would do, LB recalls, while 1998's Muzappers Re-Mixes EP spawned one of the only feminist-affirming club bangers in hip-hop history, Lady Don't Tek No.


    Though Latyrx never officially broke up, after Muzappers, both members followed their chosen paths to considerable solo success. Yet no matter how
    much acclaim each attained individually, the notion of someday making another Latyrx record was always present. It's probably the number one thing I
    got asked about in my career, LB says. 16 years (!) after the release of Latyrx: the Album, LB and Lateef have finally answered the prayers of long-starved fans who have begged, pleaded and, by now, tweeted about the possibilities of a reunion. An impromptu Latyrx set at a 2010 Jazz Mafia concert at San Francisco's Mezzanine led to an
    appearance at 2011's Outside Lands festival, Google's Summer Concert Series (they were the first ever hip-hop act to perform) and a last minute
    appearance as part of HITRECORD At The Movies -- a unique film and music traveling showcase curated and hosted by actor and artist Joseph Gordon-
    Levitt.


    Most recently the duo have performed at the Wintersalt Festival in San Francisco last December and toured the United States with super funk group,
    Galactic. Having just released a brand new EP titled 'DISCONNECTION' late last year, LB & Lateef are hard at work on the proper follow up to their debut album, a
    new record aptly titled, 'THE SECOND ALBUM'.


    Featuring a long list of producers and special guests, the album credits read like a music festival with artists from Tune Yards and Forrest Day to
    Blackalicious and The Decemberists stepping in to help create one of the most highly anticipated records of all time. What Latyrx brings to the table is a technical difficulty level rare these days in hip-hop and matched only by a few groups in the genre's entire history: Run -DMC, Jurassic 5, Blackstar, Freestyle Fellowship. Their challenging, intricate back-and forth arrangements evoke a lyrical version of bebop, with layer
    upon layer of rhythmic syncopation and vocal patterning constantly pushing the envelope.


    We have a good chemistry and it's kind of unique, Lateef says. We step up each others' game content, and both of us push each other in the originality
    department. What we've talked about is very simply, picking up where we left off, LB explains. The return of Latyrx stands as Very Good News for true hip-hop fans,
    lyrical aficionados, boom-bap beatniks, urban bohemians, wee tots in Reeboks, and Muzappers of all shapes, sizes, colors, and ages.

    1. Arrival [prod. by Jel of Anticon]
    2. It's Time [feat. Zion I, prod. by Amp Live]
    3. Reload [prod. by Jel of Anticon]
    4. Exclamation Point [feat. Forrest Day, prod. by Forrest Day]
    5. Deliberate Jibberish [prod. by tUnE-yArDs]
    6. Close Your Eyes [feat. Busdriver, prod. by Antonionian]
    7. Nebula's Eye [feat. 1-O.A.K. & Joyo Velarde, prod. by G-Koop & O-Man]
    8. The Power of Rumor (Leonard Is Lost) [prod. by Adam Theis and Lyrics Born]
    9. Watershed Moment [feat. The Gift of Gab of Blackalicious, prod. by tUnE-yArDs]
    10. Sometimes Why? [prod. by Chris Funk of The Decemberists]
    11. Every Man For Himself [feat. Joyo Velarde, prod. by Future People]
    12. Electric Chair [feat. Corey Glover of Living Colour, prod. by Kaveh Rastegar & Jeremy Ruzumna]
    13. Gorgeous Spirits (Aye, Let's Go!) [prod. by The Bangerz]
    Latyrx
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Live At The Jazz Mill Live At The Jazz Mill Quick View

    $24.99
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    Live At The Jazz Mill

    Pressed On Red Vinyl


    Unearthed tape from a jazz icon. Thanks to a 21-year-old with a tape machine, we can all experience the majesty of guitar legend Barney Kessel at his 1954 best!


    Even if you don't know Barney Kessel, you know Barney Kessel -- as a first-string member of the group of LA session musicians nicknamed The Wrecking Crew, Kessel's guitar is heard on just about every LA-based hit you'd care to name from the 60s, including songs by the Monkees and The Beach Boys' legendary Smile LP. And that's Kessel's playing on the famous fight music from the Star Trek TV series. He was regarded as the very best of the session guitarists by just about everyone around, and guitarists everywhere site him as an influence.


    But before he played rock and roll, Kessel was a jazz pioneer -- as one of the leading lights of the hard-bop movement, his jazz guitar was legendary, and he was ranked the No. 1 guitarist in Down Beat and Playboy for numerous years. He played with Sonny Rollins and Oscar Peterson (and Chico Marx -- yes, that Chico Marx!) as well as leading his own super-tight group. On albums such as The Poll Winners, Kessel defined the bop style with a jazz power trio, creating a body of work that made him a legend.


    Live At The Jazz Mill is a unique artifact -- recorded on a tape recorder by young jazz fan Jack Miller, this live recording catches Barney Kessel in the middle of his run at the Jazz Mill with a great four-piece band. The collection, gleaned from a couple of nights' best recordings, features Kessel's spirited take on such Songbook classics as Get Happy and Stardust, not to mention the Gershwin great Embraceable You. It's pressed on red vinyl and wrapped in a sleeve which captures the unique vibe of jazz graphics of the 1950s. Get with Barney Kessel, and get with a true pioneer of the jazz form!

    1. Strike Up The Band
    2. How About You
    3. Get Happy
    4. Stardust
    5. Seven Come Eleven
    6. Rose Room
    7. Somebody Loves Me
    8. Embraceable You
    Barney Kessel
    $24.99
    Colored Vinyl LP - Sealed Buy Now
  • The Jazz Workshop (Speakers Corner) The Jazz Workshop (Speakers Corner) Quick View

    $37.99
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    The Jazz Workshop (Speakers Corner)

    As a soloist, Al Cohn was not such an inspired tenor sax player as his colleague Zoot Sims. But he was a superb arranger, an unprofitable yet highly important function when it comes to such workshops. And though Manny Albam also played the baritone sax, his real instrument was the pen. He arranged not only jazz, but also film music and musicals. His arrangements were multi-faceted and tailor-made to suit the accomplishments of the individual instrumentalists.

    For this particular Jazz Workshop, the record company RCA-Victor could afford the services of excellent session musicians: Joe Newman and Freddie Green came from the Basie Band, Al Cohn, Bernie Glow, and Nick Travis from the Woody Herman Band, and the studio musicians Dick Katz, Buddy Jones, and Osie Johnson were present at all times of day and night anyway.

    As long as you don't expect fierce battles between five tenors, or six tweeters on the trumpet, then you will enjoy this LP with its swinging, relaxed improvisations on such works as Rosetta, Linger Awhile, and I'm Coming Virginia - and you will realise that Lester Young's sound has been heard, cultivated and further developed by these musicians.

    Four trumpets, a tenor sax, and then a piano, guitar, bass, and drums into the bargain - that's certainly no common ensemble, but it certainly is a good reason to purchase this LP. And for certain, this album has been missing in your collection to this day.

    This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.

    Musicians:
    Al Cohn (tenor saxophone, arranger)
    Manny Albam (arranger)
    Joe Newman, Bart Valve, Bernie Glow, Joe Wilder, Phil Sunkel (trumpet)
    Nick Travis (trumper, trombone)
    Dick Katz (piano)
    Freddie Green (guitar)
    Buddy Jones (bass)
    Osie Johnson (drums)

    Recording: May 1955 in Webster Hall, New York City, in mono
    Production: Jack Lewis

    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. Rosetta
    2. The Song Is Ended
    3. Linger Awhile
    4. Every Time
    5. Haroosh
    6. Just Plain Sam
    7. I'm Coming Virginia
    8. Cohn Not Cohen
    9. Foggy Water
    11. Sugar Cohn
    12. Alone Together
    Al Cohn
    $37.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Great Jazz Standards (Pure Pleasure) Great Jazz Standards (Pure Pleasure) Quick View

    $34.99
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    Great Jazz Standards (Pure Pleasure)

    Great Jazz Standards was recorded when Evans was red-hot from two successes with Miles Davis, Miles Ahead and Porgy And Bess.
    Evans' signature brass choir is in place - creatively voiced, spaciously arranged, a supple, multi-coloured, sonically surprising counterpoint to a succession of superb soloists. The added bonus, for Evans' projects, is the foregrounding of saxophone and clarinet soloists Steve Lacy and Budd Johnson.
    Lacy and the original swing-to-bop missing link, Johnson, are the ones who will make the hair on your neck curl. Lacy's solos on Monk's Straight No Chaser and John Lewis' Django must be some of the finest pre-free improvisations he recorded, already heading from quirky to out-there. Johnson's clarinet solo on Don Redman's spooky, swing-meets-whole tone classic, Chant Of The Weed, and slow-burning, stirring tenor solo on Evans' La Nevada are some of the finest the all-but-forgotten genius ever recorded. Trumpeter Johnny Coles, has the inevitable misfortune of being compared to Miles Davis and being found to be ... different. Sunny, open and extroverted, he may not be a stylist of Davis' proportions, but he's an enjoyable alternative foil for Evans' arrangements.
    A magnificent but neglected album, and still coming up fresh as daisies.




    Musicians:



    • Budd Johnson (tenor saxophone, clarinet)

    • Steve Lacy (soprano saxophone)

    • Al Block (woodwinds)

    • Johnny Coles, Allen Smith (trumpet)

    • Jimmy Cleveland (trombone)

    • Bill Barber (tuba)

    • Gil Evans (piano)

    • Chuck Wayne (guitar)

    • Dick Carter (bass)

    • Elvin Jones (drums)



    Recording: February 1959

    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.



    Gil Evans
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Shape Of Jazz To Come The Shape Of Jazz To Come Quick View

    $32.99
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    The Shape Of Jazz To Come

    Import


    Ranked 246/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    An aptly titled 1959 release, Ornette Coleman's The Shape Of Jazz To Come was one of the first free jazz albums ever produced. A classic in every sense of the word!

    1. Lonely Woman
    2. Eventually
    3. Peace
    4. Focus On Sanity
    5. Congeniality
    6. Chronology
    Ornette Coleman
    $32.99
    Vinyl LP - Sealed Buy Now
  • The Tony Bennett/Bill Evans Album The Tony Bennett/Bill Evans Album Quick View

    $21.99
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    The Tony Bennett/Bill Evans Album

    One of the best albums of either's career, The Tony Bennett / Bill Evans Album spotlights two legends at work in equal partnership, tackling classics from
    the Great American Songbook with masterful ease. A consistently enthusiastic and balanced musical partnership, Bennett and Evans shine both
    individually and in tandem-Evans supporting Bennett with his steady left hand and then frequently diving into melodically inventive solos at the end of the
    phrase. Recorded in intimate sessions at Fantasy Studios in Berkeley, CA, without even a bassist or drummer present, this album is the product of
    meticulous personal involvement by the two giants of their genres. Bennett and Evans selected the tunes, worked out the arrangements semi-spontaneously, and picked the final takes to be used. The result was a perfect jazz/pop crossover worthy of many repeat listens. A must-have on vinyl for
    any serious fan of either of these two greats.
    1. Young And Foolish
    2. The Touch Of Your Lips
    3. Some Other Time
    4. When In Rome
    5. We'll Be Together Again
    6. My Foolish Heart
    7. Waltz For Debby
    8. But Beautiful
    9. Days Of Wine And Roses
    Tony Bennett & Bill Evans
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
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