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  • The Wonderful World Of Jazz (Pure Pleasure) The Wonderful World Of Jazz (Pure Pleasure) Quick View

    $34.99
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    The Wonderful World Of Jazz (Pure Pleasure)

    There is nothing hurried about this disc. That said, the music is focused and will stretch your mind. Lewis employed masterful melodic improvisers here: Paul Gonsalves, Eric Dolphy, Jim Hall among others. Listen to Body And Soul as it builds powerfully and the soloists explore every possible melodic theme, where the quiet power of these master musicians is almost too much to take. Listen to I Remember Clifford where the players are essentially the MJQ with Jim Hall replacing Milt Jackson. This set swings, but oh-so-elegantly. Just like Mr. Lewis. - S.C.Berry


    Whether you're an old-time jazz afficionado or new to the genre, this album is essential. In my opinion, Lewis' lovely solo on Body & Soul makes his version virtually definitive - 15 minutes of bliss. The rest of the album, particularly Afternoon In Paris, is at the same level. Wonderful is the perfect title for this record. - E Barrios

    Musicians:



    • John Lewis (piano)

    • Eric Dolphy (alto saxophone)

    • James Rivers (bassoon)

    • Paul Gonsalves (tenor saxophone)

    • Herb Pomeroy (trumpet)

    • Gunther Schuller (french horn)

    • Jim Hall (guitar)

    • George Duvivier (bass)

    • Connie Kay (drums)



    Recording: July and September 1960

    Production: Nesuhi Ertegun & Tom Dowd



    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. Body And Soul
    2. I Should Care
    3. Two Degrees East, Three Degrees West
    4. Afternoon In Paris
    5. I Remember Clifford
    John Lewis
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Jazz At The Philharmonic: The Ella Fitzgerald Set Jazz At The Philharmonic: The Ella Fitzgerald Set Quick View

    $24.99
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    Jazz At The Philharmonic: The Ella Fitzgerald Set

    This 2LP set is an updated version of its first vinyl release in Verve's original Jazz At The Philharmonic archival
    series, now matching the expanded CD edition issued in 2016. It's Ella fronting an all-star band, including Charlie
    Parker, Lester Young, Buddy Rich, et al, in performances recorded 1949 and 1953. And it's now one dynamic set,
    with jaw-dropping interpretations of "Oh, Lady Be Good!," "Lullaby Of Birdland" and the jam session "Flying Home."
    Includes an essay by Will Friedwald.
    LP 1
    1.Norman Granz Introduction Of Ella Fitzgerald #1
    2.Robbins' Nest
    3.A New Shade Of Blues
    4.Old Mother Hubbard
    5.I'm Just A Lucky So-And-So
    6.Somebody Loves Me
    7.Basin Street Blues
    8.Ow! / Introduction Of Ella Fitzgerald
    9.Flyin' Home
    10.Oh, Lady, Be Good!
    11.Black Coffee
    12.A-Tisket, A-Tasket


    LP 2
    1.How High The Moon
    2.Norman Granz Announcement #5 [Live From Carnegie Hall/1949]
    3.Perdido
    4.Bill
    5.Why Don't You Do Right?
    6.A Foggy Day (In London Town)
    7.Lullaby Of Birdland
    8.The Man That Got Away

    Ella Fitzgerald
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Hottest New Group In Jazz (Pure Pleasure) The Hottest New Group In Jazz (Pure Pleasure) Quick View

    $34.99
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    The Hottest New Group In Jazz (Pure Pleasure)

    The premier jazz vocal act of all time, Lambert, Hendricks & Ross revolutionized vocal music during the late '50s and early '60s by turning away from the increasingly crossover slant of the pop world to embrace the sheer musicianship inherent in vocal jazz. Applying the concepts of bop harmonies to swinging vocal music, the trio transformed dozens of instrumental jazz classics into their own songs, taking scat solos and trading off licks and riffs in precisely the same fashion as their favorite improvising musicians. Vocal arranger Dave Lambert wrote dense clusters of vocal lines for each voice that, while only distantly related, came together splendidly. Jon Hendricks wrote clever, witty lyrics to jazz standards like Summertime, Moanin', and Twisted, and Annie Ross proved to be one of the strongest, most dexterous female voices in the history of jazz vocals. Together Lambert, Hendricks & Ross paved the way for vocal groups like Manhattan Transfer while earning respect from vocalists and jazz musicians alike.



    Musicians:



    • Dave Lambert (vocals)

    • Joe Hendricks (vocals)

    • Annie Ross (vocals)

    • Harry Edison (trumpet)

    • Gildo Mahones (piano)

    • Ike Isaacs (bass)

    • Jimmy Wormworth (drums)



    Recording: 1959



    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. Charleston Alley
    2. Moanin'
    3. Twisted
    4. Bijou
    5. Cloudburst
    6. Centerpiece
    7. Gimme That Wine
    8. Sermonette
    9. Summertime
    10. Everybody's Boppin'
    Lambert, Hendricks & Ross
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Sound Of Jazz (Pure Pleasure) (Awaiting Repress) The Sound Of Jazz (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    The Sound Of Jazz (Pure Pleasure) (Awaiting Repress)

    The Sound Of Jazz is a 1957 edition of the CBS television series Seven Lively Arts, and was one of the first major programmes featuring jazz to air on American network television.
    The one-hour program aired on Sunday, December 8, 1957, at 5 p.m. Eastern Time, live from CBS Studio 58, the Town Theater at 851 Ninth Avenue in New York City. The show was hosted by New York Herald-Tribune media critic John Crosby, directed by Jack Smight, and produced by Robert Herridge. Jazz writers Nat Hentoff and Whitney Balliett were the primary music consultants.
    The Sound Of Jazz brought together 32 leading musicians from the swing era including Count Basie, Lester Young, Ben Webster, Billie Holiday, Jo Jones and Coleman Hawkins; the Chicago style players of the same era, like Henry 'Red' Allen, Vic Dickenson, and Pee Wee Russell; and younger 'modernist' musicians such as Gerry Mulligan, Thelonious Monk, and Jimmy Giuffre. These players played separately with their compatriots, but also joined to combine various styles in one group, such as Red Allen's group and the group backing Billie Holiday on Fine and Mellow.
    The show's performance of Fine and Mellow reunited Billie Holiday with her estranged long-time friend Lester Young for the final time. Jazz critic Nat Hentoff, who was involved in the show, recalled that during rehearsals, they kept to opposite sides of the room. Young was very weak, and Hentoff told him to skip the big band section of the show and that he could sit while performing in the group with Holiday.




    Musicians:



    • Red Allen Stars

    • Billie Holiday & Band

    • Count Basie All Stars

    • The Jimmy Giuffre Trio

    • Mal Waldron

    • Pee Wee Russell




    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. Wild Man Blues - The Henry "Red" Allen All-Stars

    2. Rosetta -  Henry Allen And His Orchestra

    3. Fine And Mellow - Billie Holiday with Mal Waldron & The All Stars

    4. Blues - Jimmy Giuffre;Pee Wee Russell

    5. I Left My Baby - Count Basie with All-Stars featuring Jimmy Rushing

    6. The Train And The River -  The Jimmy Giuffre Trio

    7. Nervous - Mal Waldron

    8. Dickie's Dream - Count Basie with All-Stars

    9. Wild Man Blues (Alternate Take) - The Henry "Red" Allen All-Stars
    Various Artists
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • The Jazz Workshop (Speakers Corner) The Jazz Workshop (Speakers Corner) Quick View

    $37.99
    Buy Now
    x

    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
  • 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
  • Soul Jazz Presents: Disco Vol 2 Soul Jazz Presents: Disco Vol 2 Quick View

    $29.99
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    Soul Jazz Presents: Disco Vol 2

    The latest release on Soul Jazz Records is a fantastic new album of disco, modern soul and boogie from 1978-82. This album is released to coincide with the massive new 360-page deluxe hardback book Disco - An Encyclopedic Guide To The Cover Art of Disco, featuring over 2,000 album cover designs as well as over 700 12" sleeves, including sections on roller disco, disco instruction albums and more. There are also interviews and introductions by Tom Moulton, Nicky Siano, Mel Cheren (West End Records), Ken Cayre (Salsoul), Marvin Schlachter (Prelude) and more. This album here is an amazing collection of rare and independent tracks from Disco's halcyon period - 1978 to 1982 - expertly compiled by Disco Patrick, who also compiled the new deluxe book. Blurring the musical lines between disco, modern soul and boogie this double album features many exclusive and hard to find records from the era.Included here are in-demand classics such as The Fantastic Aleems featuring Leroy Burgess, John Gibbs and the US Steel Orchestra, rare Patrick Adams and Peter Brown productions, Jessie G, The Eaton Assassin (a 12" given out free at boxing matches!) and much more!
    1. Sympho-State - You Know What I Like
    2. The Fantastic Aleems Featuring Corky Hodges - Movin' To The Beat
    3. Something Extra - Sexy Lady
    4. Stwange Poweple - Get Up
    5. Chemistry - Skateboard
    6. Cirt Gill And The Jam-A-Ditty Band - Turn This Disco Out
    7. Sugar Bear Johnson - When Your Jones Come Down
    8. Retta Young - My Man Is On His Way
    9. The Imperials - Fast Freddie The Roller Disco King
    10. Cordial - Wave
    Various Artists
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Free Jazz Free Jazz Quick View

    $49.99
    Buy Now
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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
  • The Feeling Of Jazz The Feeling Of Jazz Quick View

    $29.99
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    x

    The Feeling Of Jazz

    1962 Set from Duke Ellington and His Orchestra Contains New Material and Fresh Interpretations of Classics


    Spectacular Audiophile Restoration Series Resurrects UK Label Black Lion: Mastered at Bernie Grundman Studios by Chris Bellman and Pressed at Pallas


    EQ Notes and Curation Performed by Iconic Engineer Steve Hoffman; LPs EQ'd and Set Up by Bernie Grundman


    Conceived, Designed, and Manufactured for Collectors and Enthusiasts: Vinyl Jacket Features Exclusive Art


    Age never slowed Duke Ellington. Recorded at four different sessions in 1962 at Bell Studio in 1962, The Feeling of Jazz is one of the rarest titles America's greatest composer ever released, and contains 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.


    Originally released by the UK label Black Lion, an imprint that specialized in resurrecting rare gems from US jazz and blues legends, 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. Helmed by ORG, this historical reissue is afforded the ultimate in audiophile production standards, resulting in sonics and presentation befitting the museum-like worth of this record's existence.


    Mastered from the original master tapes at Bernie Grundman Studios by Chris Bellman and pressed at Pallas, the 180g LP was curated by legendary engineer Steve Hoffman and eq'd by Grundman himself. A better team you cannot find; every step involved serious quality-control measures to guarantee gorgeous sound. The superb vinyl jacket features exclusive artwork. This is what being a collector is all about. The title isn't widely known, but this reissue preserves historically significant music that will be enjoyed by generations to come.


    Jazz fans, audiophiles, and music fanatics, don't sleep on this extraordinary treasure.

    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 Go Out of My Heart/Don't Get Around Much Anymore
    Duke Ellington
    $29.99
    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
  • 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
  • Jazz Waltz (Pure Pleasure) Jazz Waltz (Pure Pleasure) Quick View

    $34.99
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    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
  • The Jazz Messengers (Pure Pleasure) The Jazz Messengers (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    The Jazz Messengers (Pure Pleasure)

    The very first edition of Art Blakey's Jazz Messengers was unfortunately short-lived, and as excellent as they were collectively, it was the beginning of a trend for the members of this group to come and go. Unbeknown to Blakey at the time, he would become a champion for bringing talent from the high minor leagues to full-blown jazz-star status, starting with this band featuring Detroit trumpeter Donald Byrd, East coast tenor saxophonist Hank Mobley, and pianist Horace Silver, a jazz legend ever after. It's evident that although there is much cohesion in the group, Byrd's star was on the rise the fastest, and he would leave in a short period, replaced briefly by Clifford Brown, then Kenny Dorham. What is most remarkable in this first recording for the band is how several of these selections have become classic hard bop vehicles, revered and replayed by thousands of bands over time worldwide. Nica's Dream is the best known of them all, typical of the calypso beats Blakey favored at the time, with a singsong, hummable melody led by Byrd that is pure soul personified, and drenched in unrequited blues.


    Musicians:



    • Donald Byrd (trumpet)

    • Hank Mobley (tenor saxophone)

    • Horace Silver (piano)

    • Doug Watkins (bass)

    • Art Blakey (drums)




    Recording: April and May 1956 by Tony Janick at Columbia 30th Street Studio, New York City

    Production: George Avakiandeutsch




    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.



    Side A
    1. Infra-Rae

    2. Nica's Dream

    3. It's You or No One


    Side B
    4. Ecaroh

    5. Carol's Interlude

    6. The End of a Love Affair

    7. Hank's Symphony



    Side C
    8. Weird-O*
    9. Ill Wind*
    10. Late Show*


    Side D
    11. Deciphering The Message*
    12. Carol's Interlude


    *Bonus tracks not on original LP.

    Art Blakey
    $49.99
    180 Gram Audiophile Virgin Vinyl LP -2 LPs Sealed Buy Now
  • Great Jazz Standards (Pure Pleasure) Great Jazz Standards (Pure Pleasure) Quick View

    $34.99
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    x

    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
  • Jazz is Back in Grand Rapids Jazz is Back in Grand Rapids Quick View

    $34.99
    Buy Now
    x

    Jazz is Back in Grand Rapids


    Pressed On Two Audiophile Grade LPs At Pallas Group In Germany


    "A Historical Gem... Darn Near Priceless" - Allmusic


    The Entire 1956 Concert, Presented Across Two LPs


    Original Recordings Remastered For Vinyl At Infrasonic Mastering In Los Angeles


    This 1956 concert by Louis Armstrong & His All-Stars is a
    historical gem, which is finally getting its vinyl debut with this
    double LP release. Recorded on March 26, 1956, at the Civic
    Auditorium in Grand Rapids, MI, it affords jazz fans a chance
    to hear what the barnstorming Armstrong's shows were like in
    heartland America. Armstrong's affable presence is pervasive,
    but not always center stage, as each member of the All-Stars
    gets his turn in the course of the revue. The release was
    remastered for vinyl from analog tape and pressed at Pallas
    Group in Germany

    LP 1
    1. Sleepy Time Down South
    2. Back Home Again in Indiana
    3. The Gypsy
    4. Ole Miss
    5. Tin Roof Blues
    6. Bucket's Got A Hole In It
    7. Perdido
    8. Dardanella


    LP 2
    1. How High The Moon
    2. Mack The Knife
    3. Margie
    4. Blues A la Hey Bob-A-Rebob
    5. That's My Desire
    6. Kokomo
    7. When The Saints Go Marching In

    Louis Armstrong & His All-Stars
    $34.99
    Vinyl LP- 2 LPs Sealed Buy Now
  • Soul Jazz Presents: Disco 2 Vol 2 Soul Jazz Presents: Disco 2 Vol 2 Quick View

    $29.99
    Buy Now
    x

    Soul Jazz Presents: Disco 2 Vol 2

    This is a second selection of independent disco records featuring rare and classic tracks originally released in the USA between the halcyon years of 1977 and 1985. This release features only the finest disco, modern soul and boogie and is compiled by Disco Patrick who last year put together for Soul Jazz Records that mighty 'Disco - An Encyclopedia Guide to the Cover Art of Disco Records' 400+ page deluxe book, as well as the first installment of 'Disco - A Fine Selection of Independent Disco, Modern Soul and Boogie.'
    LP1
    1. Everybody's Dancin' - Jahneen
    2. Freestyle - Montego Joe
    3. Africano - Timmy Thomas
    4. Get Down Boy - Paper Doll
    5. I Feel Like Love - Jazz


    LP2
    1. He's Here - Paco and Flaco and Coco
    2. Victorious - Ripple
    3. Moon Ride - Universal Love
    4. Jam On - Panache
    5. Strut On - Otis Brown's Grade A

    Various Artists
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Soul Jazz Presents: Disco Vol 1 Soul Jazz Presents: Disco Vol 1 Quick View

    $29.99
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    x

    Soul Jazz Presents: Disco Vol 1

    The latest release on Soul Jazz Records is a fantastic new album of disco, modern soul and boogie from 1978-82. This album is released to coincide with the massive new 360-page deluxe hardback book Disco - An Encyclopedic Guide To The Cover Art of Disco, featuring over 2,000 album cover designs as well as over 700 12" sleeves, including sections on roller disco, disco instruction albums and more. There are also interviews and introductions by Tom Moulton, Nicky Siano, Mel Cheren (West End Records), Ken Cayre (Salsoul), Marvin Schlachter (Prelude) and more. This album here is an amazing collection of rare and independent tracks from Disco's halcyon period - 1978 to 1982 - expertly compiled by Disco Patrick, who also compiled the new deluxe book. Blurring the musical lines between disco, modern soul and boogie this double album features many exclusive and hard to find records from the era.Included here are in-demand classics such as The Fantastic Aleems featuring Leroy Burgess, John Gibbs and the US Steel Orchestra, rare Patrick Adams and Peter Brown productions, Jessie G, The Eaton Assassin (a 12" given out free at boxing matches!) and much more!
    1. The Fantastic Aleems Ft. Calebur - Hooked on Your Love (John Morales Mix)
    2. Superfunk - Superfunk
    3. Jessie G - That's Hot
    4. Jupiter Beyond - the River Drive
    5. The Sunburst Band - the Easton Assassin
    6. John Gibbs & the U.s. Steel Orchestra - Trinidad (Special Disco Mix)
    7. Sparkle - Disco Madness
    8. Chain Reaction - Sweet Lady (Dance with Me)
    9. Wayne Ford - Dance to the Beat Freakout
    Various Artists
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Shape Of Jazz To Come The Shape Of Jazz To Come Quick View

    $49.99
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    x

    The Shape Of Jazz To Come

    Ranked #246 on Rolling Stone's List of the 500 Greatest Albums of All Time


    Quartet Includes Don Cherry and Charlie Haden


    Mastered from the Original Master Tapes on 180 Gram Vinyl


    1959's landscape-shifting The Shape of Jazz to Come is true to its title. Switching from tenor to alto sax, Ornette Coleman creates free jazz, a language where chords structures are absent and harmony gives way to improvisational whims. The Atlantic set finds Coleman collaborating with Don Cherry, Charlie Haden, and Billy Higgins in making a masterful work free of any identifiable chord structures. Nonetheless, melodies remain, as do engrossing repetitions of main themes.


    ORG Music brings the breakthrough arrangements and magnificent colors to life in a way no one's experienced since the LP was recorded. Mastered from the original master tapes, this life-changing music has never sounded so alive and dynamic. This is a must.

    1. Lonely Woman
    2. Eventually
    3. Peace
    4. Focus on Sanity
    5. Congeniality
    6. Chronology
    Ornette Coleman
    $49.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • The Musician (Live at the Blue Note Jazz Club) The Musician (Live at the Blue Note Jazz Club) Quick View

    $35.99
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    The Musician (Live at the Blue Note Jazz Club)

    Live at the Blue Note Jazz Club, New York, NY October-November 2011
    LP 1
    1. Captain Marvel
    2. Light As A Feather
    3. I Hear A Rhapsody
    4. Spirit Rides
    5. Special Beings
    6. I've Got The World On A String
    7. Spain


    LP 2
    1. Overture
    2. Your Eyes Speak To Me
    3. If I Were A Bell
    4. Nefertiti
    5. Zyryab
    6. Mi Nina Lola


    LP 3
    1. CC's Birthday Blues
    2. Caravan
    3. Hot House
    4. Dolphin Dance
    5. Cantaloupe Island
    6. Ritual
    7. Silver Temple

    Chick Corea
    $35.99
    180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
  • Jazz Loves Disney 2 - A Kind Of Magic Jazz Loves Disney 2 - A Kind Of Magic Quick View

    $25.99
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    Jazz Loves Disney 2 - A Kind Of Magic

    The follow-up to last years Jazz Loves Disney, volume two features a collection of jazz and world artists taking on classic Disney songs. Produced by Jay Newland, arranged and directed by Rob Mousey, Jazz loves Disney 2 A Kind of Magic features jazz icons George Benson, Madeleine Peyroux, Laura Mvula, Jamie Cullum and more, performing songs like Be Our Guest, Under The Sea, Beauty & The Beast, and other Disney greats.
    1. Tale As Old As Time (Bebel Gilberto)
    2. Someday My Prince Will Come (Imany)
    3. Be Our Guest (Jamie Cullum & Eric Cantona)
    4. Under The Sea (Jacob Collier)
    5. Try Everything (Angelique Kidjo)
    6. Steamboat Willie (The Amazing Keystone Big Band)
    7. J'ai vu voler un ÉlÉphant (Thomas Dutronc)
    8. So This Is Love (Selah Sue)
    9. The Golden Touch (Madeleine Peyroux)
    10. You'll Be In My Heart (George Benson)
    11. Stay Awake (Laura Mvula)
    Various Artists
    $25.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Freedom Jazz Dance: The Bootleg Series, Vol. 5 Freedom Jazz Dance: The Bootleg Series, Vol. 5 Quick View

    $49.99
    Buy Now
    x

    Freedom Jazz Dance: The Bootleg Series, Vol. 5

    2 hours of previously unreleased studio recordings from 1966-1968 newly mixed and remastered in high resolution audio.


    A 3LP collection chronicling Miles' musical evolution in the studio from 1966-1968 working with his second great quintet, the latest edition in Columbia/Legacy's acclaimed Miles Davis Bootleg Series provides an unprecedented look into the artist's creative process, drawing on full session reels including all rehearsals, partial and alternate takes, studio conversation and more.


    Celebrating the 50th anniversary of Miles Smiles, the groundbreaking second studio album from the Miles Davis Quintet--Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (bass) and Tony Williams (drums)--this definitive new collection includes the master takes of performances which would eventually appear on the Miles Smiles (1967), Nefertiti (1968) and Water Babies (1976) albums alongside more than two hours worth of previously unreleased studio recordings from original sessions produced by Teo Macero (with the exception of Fall, produced by Howard A. Roberts).

    LP 1
    1. Freedom Jazz Dance (Session Reel)
    2. Circle (Session Reel)
    3. Circle (Take 5 - Section Not Used in Master)
    4. Circle (Take 6 - Section Not Used in Master)
    5. Dolores (Session Reel)


    LP 2
    1. Orbits (Session Reel)
    2. Footprints (Session Reel)
    3. Gingerbread Boy (Session Reel)
    4. Fall (Session Reel)


    LP 3
    1. Nefertiti (Session Reel)
    2. Water Babies (Session Reel)
    3. Masqualero (Alternate Take / Take 3)
    4. Country Son (Rhythm Section Rehearsal)
    5. Blues in F (My Ding)
    6. Play Your Eight (Miles Speaks)

    Miles Davis Quintet
    $49.99
    Vinyl LP - 3 LPs Sealed Buy Now
  • Live At The Jazz CafÉ, London: The Complete Show Live At The Jazz CafÉ, London: The Complete Show Quick View

    $34.99
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    x

    Live At The Jazz CafÉ, London: The Complete Show

    Available on standard weight vinyl for the first time, Live at the Jazz Cafe is a live album by R&B and neo soul
    musician D'Angelo. The original 1998 release of this album only contained 7 tracks, this new release contains the complete show for the first time anywhere. Now included are four unreleased performances - three of them covers of tracks originally by D'Angelo influences Mandrill, Ohio Players and Al Green - plus a longer version of 'Lady'.
    1. Introduction
    2. Fencewalk
    3. Sweet Sticky Thing
    4. Jonz In My Bones
    5. Me And Those Dreamin' Eyes Of Mine
    6. Sh*t Damn, Motherf*cker
    7. Cruisin'
    8. I'm Glad You're Mine

    9. Lady
    10. Can't Hide Love

    11. Brown Sugar
    D'Angelo
    $34.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Newport Jazz Festival: Live At Carnegie Hall (Pure Pleasure) Newport Jazz Festival: Live At Carnegie Hall (Pure Pleasure) Quick View

    $49.99
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    x

    Newport Jazz Festival: Live At Carnegie Hall (Pure Pleasure)

    This is a wonderful live album. Recorded toward the end of Ella's career, by concert's end it is apparent that she has about lost her voice, but not the audience's adoration. The album showcases her in various settings: with the (obviously) reconstituted Chick Webb Orchestra, with Ellis Larkins, with Joe Pass and with Tommy Flanagan (of course); the album also has some nods to the Webb Orchestra, noteworthy for late-career blowing by 'Lockjaw' Davis. Highlights: Nice Work If You Can Get It, Good Morning Heartache (an intended and most worthy tribute to Lady Day), Miss Otis Regrets, the first encore of Some of these Days, and intended set-ender of Ella doing what she does best, scatting through Lemon Drop.



    Musicians:



    • Ella Fitzgerald (vocal)

    • Chick Webb Orchestra




    Recording: July 1973 at Carnegie Hall, New York



    Format: 2LPs 33rpm / gatefold sleeve



    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've Gotta Be Me
    2. Good Morning Heartache
    3. Miss Otis Regrets
    4. Medley: Don't Worry 'Bout Me/These Foolish Things
    5. Any Old Blues
    6. A-Tisket A-Tasket
    7. Indian Summer
    8. Smooth Sailing
    9. You Turned The Tables On Me
    10. Nice Work If You Can Get It
    11. I've Got A Crush On You
    12. Medley: I Can't Get Started/The Young Man With The Horn/'Round Midnight
    13. Star Dust
    14. C Jam Blues
    15. Medley: Taking A Chance On Love/I'm In The Mood For Love
    16. Lemon Drop
    17. Some Of These Days
    18. People
    Ella Fitzgerald
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Jazz Winds From A New Direction (Speakers Corner) Jazz Winds From A New Direction (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Jazz Winds From A New Direction (Speakers Corner)


    Hank Garland wasn't the first Country and Western guitarist to discover jazz as a new way of playing. Mundell Lowe (who knows him these days?) and Tal Farlow (whose Verve recordings have long become classics) are just two such musicians who are better known to jazz fans.


    Garland's shining example Charlie Christian was his inspiration when he was invited to participate in a super session, and the LP Jazz Winds From A New Direction became a smash hit. With Joe Morello, the drummer responsible for the tricky, odd meter and Joe Benjamin, who had been instructed by Gerry Mulligan and performs harmonic magic even without a piano, and then Gary Burton, a newcomer (only 17 years old and completely unknown at the time!) on the vibraphone, these six numbers are a real phenomenon with regard to musicality, style and recording technique.


    Unfortunately it was to remain a unique jazz session, for Hank Garland could never aspire to such heights again after his tragic car accident. That's why jazz fans should snap at the chance to grab this newly mastered LP: it enriched the musical horizon of the musicians during the recording, and is guaranteed to bewitch the listener of today.



    Musicians:



    • Hank Garland (guitar)

    • Gary Burton (vibraphone)

    • Joe Benjamin (bass)

    • Joe Morello (drums)




    Recording: 1961



    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. All The Things You Are
    2. Three-Four, The Blues
    3. Move
    4. Always
    5. Riot-vhous
    6. Relaxing
    Hank Garland
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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