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  • And Piano And Piano Quick View

    $34.99
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    And Piano

    Released on 180 grams audiophile vinyl with original artwork!


    Nina Simone said that she'd rather have people remember her for her album Nina Simone And Piano! than for her surprise hit 'My Baby Just Cares For Me'. And when you listen to the album, you fully understand why. This is Nina Simone stripped bare; an introspective, intimate album about death, reincarnation, loneliness and love.


    The simple piano arrangements and poignant vocals make you creep closer to the music - and the artist - with every listen.


    Though commercially unsuccessful, this album was released to great critical acclaim in 1969, and it is a true gem in Nina Simone's body of work. It has remained a rarity over the years and now Music On Vinyl would like to give it due attention by making it the first of a few Simone releases waiting in the wings.


    1. Seems I'm Never Tired Lovin' You
    2. Nobody's Fault But Mine
    3. I Think It's Going To Rain Today
    4. Everyone's Gone To The Moon
    5. Compensation
    6. Who Am I
    7. Another Spring
    8. The Human Touch
    9. I Get Along Without You Very Well (Except Sometimes)

    10. The Desperate Ones
    Nina Simone
    $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
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    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
  • African Piano African Piano Quick View

    $25.99
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    African Piano

    South African pianist-composer Abdullah Ibrahim, still performing at the time of this 1969 live album under the pseudonym Dollar Brand, unleashed a mastery so enticing on African Piano, it's a wonder that any of the folks at the club where it was recorded had the resolve to treat it as background to their dining. By the same token, reinforcement of that fact by constant ambient noises renders Ibrahim's performance all the more sacred by contrast.


    Amid a sea of chatter, cleared throats, and sudden intakes of breath, he breaks the surf with the gentle yet hip ostinato of "Bra Joe From Kilimanjaro," working meditative tendrils into the bar light. Over this his right hand brings about an explosive sort of thinking that spins webs in a flash and connects them to larger others. With clarion fortitude, he drops bluesy accents along the way: a trail of crumbs leading to "Selby That The Eternal Spirit Is The Only Reality." Ironically (or not), this is the most solemn blip on the album's radar and blends into the ivory tickling of "The Moon." Here Ibrahim's heartfelt, dedicatory spirit comes to the fore, proving that, while technically proficient, he possesses a descriptive virtuosity that indeed evokes a pockmarked surface lit in various phases, harnessing sunlight as if it were skin in dense, vibrating harvest. The kinesis of this tune is diffused in the tailwind of "Xaba," which then flows into "Sunset In Blue," in which Ibrahim's ancestral awareness is clearest. The level of respect evoked here for both the dead and the living lends a ritualistic quality by virtue of its tight structuring, which despite hooks at the margins flies freely in its magic circle. "Kippy" is a smoother reverie with flickers of flame. A beautiful amalgam of measures and means, it slips an opiate of reflection into its own drink. After this, the intense two minutes of gospel and downward spirals that is "Jabulani-Easter Joy" takes us into "Tintinyana," thereby crystallizing the album's flowing energies. Tracks bleed into one another: they runneth from the same cup, their spiritual resonance deep and true.


    African Piano is a gorgeous, thickly settled album, but one that is always transparent when it comes to origins. Such is the tenderness of Ibrahim's craft, which speaks with a respect that transcends the sinews, muscles, and eardrums required to bring it to life. It finds joy in history, connecting to it like an Avatar's tail to steed.

    1. Bra Joe From Kilimanjaro
    2. Selby That The Eternal Spirit Is The Only Reality
    3. The Moon
    4. Xaba
    5. Sunset In Blue
    6. Kippy
    7. Jabulani Easter Joy
    8. Tintiyana
    Abdullah Ibrahim
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Piano Portraits Piano Portraits Quick View

    $34.99
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    Piano Portraits

    Piano Portraits is the 100th solo album from Rick Wakeman in what represents a truly remarkable body of work. The 15 tracks that Rick has re-interpreted on piano represent a distillation of all the music that has impacted and influenced Rick's life over the decades, taking in 70s rock and pop, classical, jazz and choral.


    Painting pictures is how Rick describes his playing style and how he visualizes music, and this album paints a very vivid, lush landscape for the listener to explore.
    Key tracks include Life on Mars, Space Oddity, Help and an original composition Dance of the Damselflies.

    1. Help
    2. Stairway to Heaven
    3. Life on Mars
    4. I'm Not In Love
    5. Wonderous Stories
    6. Berceuse
    7. Amazing Grace
    8. Swan Lake
    9. Morning Has Broken
    10. Summertime
    11. Space Oddity
    12. Dance of the Damselflies
    13. Clair de Lune
    14. I Vow To Thee My Country
    15. Eleanor Rigby
    Rick Wakeman
    $34.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Art Blakey!!!!! Jazz Messengers!!!!! Art Blakey!!!!! Jazz Messengers!!!!! Quick View

    $27.99
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    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
  • Piano In The Foreground Piano In The Foreground Quick View

    $27.99
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    Piano In The Foreground

    Limited 180gm audiophile vinyl repressing of this Jazz classic. Duke Ellington had never previously recorded any of the tunes from Piano In The Foreground (and would never record them again), with the exception of 'Yearning For Love', which he had recorded with his orchestra on July 17, 1936, Gershwin's 'Summertime', of which various versions with his orchestra exist since 1943 and 'I Can't Get Started', which Duke included in his big band performances as early as 1946. Wax Time.
    1. I Can't Get Started
    2. Cong-go
    3. Body And Soul
    4. Blues For Jerry
    5. Fontainebleau Forest
    6. Summertime
    7. It's Bad To Be Forgotten
    8. A Hundred Dreams Ago
    9. So
    10. Searching (Pleadin' For Love)
    11. Springtime In Africa
    12. Lotus Blossom*


    *Bonus Track

    Duke Ellington
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Red Garland's Piano Red Garland's Piano Quick View

    $21.99
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    Red Garland's Piano


    Special Vinyl Reissue In A Series Of Special 2014 Releases Commemorating The 65th Anniversary Of Prestige Records And The 90th Birthday Of Legendary
    Recording Engineer Rudy Van Gelder


    Red Garland's third session as a leader finds the distinctive pianist gliding deftly through eight standards (including Please Send Me Someone to Love,
    Stompin' at the Savoy, If I Were a Bell, and Almost Like Being in Love) with his inimitable chord voicings, melodic but creative ideas, and solid sense
    of swing. Joined by bassist Paul Chambers and drummer Art Taylor, Garland plays up to his usual masterful level, making this an easily recommended
    session for fans of straight-ahead piano trio outings. Recorded by the legendary Rudy Van Gelder, this special vinyl release is a must-have for casual fans
    and true jazz aficionados.

    1. Please Send Me Someone To Love
    2. Stompin' At The Savoy
    3. The Very Thought Of You
    4. Almost Like Being In Love
    5. If I Were A Bell
    6. I Know Why (And So Do You)
    7. I Can't Give You Anything But Love
    8. But Not For Me
    Red Garland
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • Piano In The Background Piano In The Background Quick View

    $27.99
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    Piano In The Background

    Import
    1. Happy Go Lucky Local
    2. What Am I Here For
    3. Kinda Dukish
    4. Rockin' in Rhythm
    5. Perdido
    6. I'm Beginning to See the Light
    7. Mid-Riff
    8. It Don't Mean a Thing (If It Ain't Got That Swing)
    9. Main Stem
    10. Take the ''A'' Train
    11. Lullaby of Birdland*


    *Bonus Track

    Duke Ellington
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Modern Jazz Perspective Modern Jazz Perspective Quick View

    $27.99
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    Modern Jazz Perspective

    Features:

    Donald Byrd, Trumpet

    Gigi Gryce, Alto Sax

    Wynton Kelly, Piano

    Wendell Marshall, Bass

    Art Taylor, Drums

    Jackie Paris, Banjo And Vocals
    1. Medley: Early Morning Blues / Now, Don't You Know
    2. Early Bird
    3. Elgy
    4. Stablemates
    5. Steppin' Out
    6. Social Call
    7. An Evening In Casablanca
    8. Satellite
    Donald Byrd
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Jazz Party In Stereo Jazz Party In Stereo Quick View

    $54.99
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    Jazz Party In Stereo

    Mastered by Bernie Grundman from the Original Analog Master Tapes!


    Numbered Deluxe Laminated Gatefold Jackets! Only 2500 Numbered Limited Edition Copies Worldwide!


    Originally released on Columbia Records in 1959, Jazz Party In Stereo contains a formidable gallery of jazz stars including Dizzy Gillespie, Jimmy Rushing, Johnny Hodges, Clark Terry, Paul Gonsalves, and more!


    The sometimes tender, sometimes shouting blues style of Jimmy Rushing provides nice contrast in one of the most varied and satisfying Ellington recordings ever.


    Features:

    Numbered Deluxe Laminated Double Gatefold Jackets

    Only 2500 Numbered Limited Edition Copies Worldwide!

    Audiophile 180 gram, 45rpm Vinyl

    Double LP

    Pressed at RTI


    Musicians:

    Dizzy Gillespie, trumpet

    Ray Nance, trumpet

    Clark Terry, trumpet

    Cat Anderson, trumpet

    Shorty Baker, trumpet

    Andres Ford, trumpet

    Johnny Hodges, saxophone

    Paul Gonzalves, saxophone

    Harry Carney, saxophone

    Jimmy Hamilton, saxophone

    Russell Procope, saxophone

    Britt Woodman, trombone

    Quentin Jackson, trombone

    John Sanders, trombone

    Duke Ellington, piano

    Jimmy Jones, piano

    Jimmy Woode, bass

    Sam Woodyard, drums

    Jimmy Rushing, vocalist

    Morris Goldenberg, percussionist

    George Gaber, percussionist

    Elden C. Bailey, percussionist

    Chauncey Morehouse, percussionist

    Harry Breuer, percussionist

    Robert M. Rosengarden, percussionist

    Walter E. Rosenberger, percussionist

    Bradley Spinney, percussionist

    Milton Schlesinger, percussionist


    This title is not eligible for discount.

    1. Malletoba Spank
    2. Toot Suite:
    Red Garter - Red Shoes - Red Carpet (Part 1)
    Red Carpet (Part 2)
    Red Carpet (Part 3)
    3. Satin Doll
    4. U.M.M.G. (Upper Manhattan Medical Group)
    5. All Of Me
    6. Tymperturbably Blue
    7. Fillie Trillie
    8. Hello Little Girl
    Duke Ellington
    $54.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • New Jazz Conceptions New Jazz Conceptions Quick View

    $21.99
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    New Jazz Conceptions

    A significant date in the history of legendary pianist Bill Evans' recording career, New Jazz Conceptions marks his maiden voyage as a leader and finds
    the then 27-year-old pianist already sounding much different than the usual Bud Powell-influenced keyboardists of the time. Recorded in 1956, more than
    a year before he joined the Miles Davis Sextet, this set finds Evans flashing his own unique chord voicings in a lyrical, swinging style. Three selections
    here are taken solo (including the original version of his classic Waltz for Debby), while the other eight are performed in a trio with bassist Teddy Kotick
    and drummer Paul Motian (including his future theme Five, Speak Low, and No Cover, No Minimum). A strong start to a significant career and a must
    -have for fans of classic piano trios.
    1. I Love You
    2. Five
    3. I Got It Bad and That Ain't Good
    4. Conception
    5. Easy Living
    6. Displacement
    7. Speak Low
    8. Waltz for Debby
    9. Our Delight
    10. My Romance
    11. No Cover, No Minimum
    Bill Evans
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • West Coast Jazz West Coast Jazz Quick View

    $27.99
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    West Coast Jazz

    Stan Getz (Tenor Sax)

    Conte Candoli (Trumpet)

    Lou Levy (Piano)

    Leroy Vinnegar (Bass)

    Shelly Manne (Drums)
    Side A:


    1. East Of The Sun (And West Of The Moon)
    2. Four
    3. Suddenly It's Spring


    Side B:


    1. A Night In Tunisia
    2. Summertime
    3. Shine
    4. Our Love Is Here TO Stay

    Stan Getz
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Jazz Composers Workshop #2 Jazz Composers Workshop #2 Quick View

    $32.99
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    Jazz Composers Workshop #2

    Originally released as two 10" albums called Jazzical Moods, Jazz Composers' Workshop #2, was the result of one of Mingus' famed Jazz Workshop sessions, held in December 1954 and featuring Thad Jones (trumpet), John LaPorta (clarinet, alto sax) Teo Macero (tenor / baritone sax), Jackson Wiley (cello), and Clem DeRosa (drums). Mingus intended the Workshop as an outlet for young jazz composers, who might otherwise not be given the opportunity to record their own material, including Mingus' own compositions which, along with one composition by Teo Macero, are given center stage here. This LP, also features Mingus' debut on piano.


    1. What Is This Thing Called Love?
    2. Four Hands
    3. The Spur Of The Moment / Echonitus
    4. Stormy Weather
    5. Minor Intrusion
    6. Abstractions
    7. Thrice Upon A Theme
    Charles Mingus
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Legrand Jazz (Awaiting Repress) Legrand Jazz (Awaiting Repress) Quick View

    $34.99
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    Legrand Jazz (Awaiting Repress)

    Numbered Limited Edition 100% Analog 180-Gram Vinyl LP!

    Limited To Only 3000 Numbered Copies!

    Features Performances By John Coltrane, Miles Davis, Herbie Mann, Bill Evans & More!

    In 1958, a young, successful French composer-arranger with a major infatuation on American jazz, worked his way to New York and convinced the very best players of the time to record an album of largely jazz standards. Michel Legrand would go on to win numerous prizes and accolades (3 Oscars, 5 Grammies, 2 Palmes D'or, etc.), but little of what followed matched the sheer brilliance of Legrand Jazz.

    Miles Davis, John Coltrane, Bill Evans, Ben Webster, Phil Woods and practically every other session man in town signed up for sessions with Legrand to record his idiosyncratic arrangements of standards (Django, Don't Get Around Much Anymore, Night in Tunisia, etc.). Instead of regurgitating then current bop styles, he reinvented the very nature of orchestral jazz band repertoire to make a unique and forward-looking statement on the genre.

    The sound of Impex's all-analog LP preserves the wide soundstage of late 50's Columbia recordings while creating intimate spaces between players on the stage for maximum definition. This rare, highly-praised recording has never sounded as good as it does now. Go big with Legrand Jazz.

    Legrand Jazz was greeted by an enthusiastic review in the magazine Down Beat. Dom Cerulli awarded it five stars out of a possible five.

    Musicians:
    Michel Legrand, Conductor, Arranger (All Songs)

    For The Jitterbug Waltz, Django, Wild Man Blues & 'Round Midnight - Recorded June 25, 1958:
    Paul Chambers (bass)
    John Coltrane (tenor sax)
    Eddie Costa (vibes)
    Miles Davis (trumpet)
    Kenny Dennis (drums)
    Bill Evans (piano)
    Barry Galbraith (guitar)
    Betty Glamann (harp)
    Herbie Mann (flute)
    Jerome Richardson (baritone sax, bass clarinet)
    Phil Woods (alto sax)

    For Nuages, Blue And Sentimental, Rosetta & Don't Get Around Much Anymore - Recorded June 27, 1958:
    Eddie Bert (trombone)
    Billy Byers (trombone)
    Jimmy Cleveland (trombone)
    George Duvivier (bass)
    Major Holly (bass, tuba)
    Hank Jones (piano)
    Don Lamond (drums)
    Herbie Mann (flute)
    Frank Rehak (trombone)
    Ben Webster (tenor sax)

    For Night In Tunisia, Stompin' At The Savoy & In A Mist - Recorded June 30, 1958:
    James Buffington (french horns)
    Donald Byrd (trumpet)
    Jimmy Cleveland (trombone)
    Don Elliot (vibes)
    Art Farmer (trumpet)
    Milt Hinton (bass)
    Osie Johnson (drums)
    Teo Macero (baritone sax)
    Nat Pierce (piano)
    Seldon Powell (tenor sax)
    Gene Quill (alto sax)
    Frank Rehak (trombone)
    Ernie Royal (trumpet)
    Joe Wilder (trumpet)
    Phil Woods (alto sax)


    This title is not eligible for discount

    1. The Jitterbug Waltz (Fats Waller)
    2. Nuages (Django Reinhardt)
    3. Night In Tunisia (Dizzy Gillespie)
    4. Blue and Sentimental (Count Basie)
    5. Stompin' At the Savoy (Benny Goodman)
    6. Django (John Lewis)
    7. Wild Man Blues (Jelly Roll Morton)
    8. Rosetta (Earl Hines)
    9. 'Round Midnight (Thelonious Monk)
    10. Don't Get Around Much Anymore (Duke Ellington)
    11. In A Mist (Bix Beiderbecke)
    Michel Legrand
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Jazz Composers Workshop Jazz Composers Workshop Quick View

    $32.99
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    Jazz Composers Workshop

    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
  • Jazz Reunion (Pure Pleasure) Jazz Reunion (Pure Pleasure) Quick View

    $34.99
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    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.




    This title is not eligible for discount.

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

    $49.99
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    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.




    This title is not eligible for discount.

    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
    Buy Now
    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.



    This title is not eligible for discount.

    Gil Evans
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Jazz Waltz (Pure Pleasure) (Pre-Order) Jazz Waltz (Pure Pleasure) (Pre-Order) Quick View

    $34.99
    Buy Now
    x

    Jazz Waltz (Pure Pleasure) (Pre-Order)

    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.


    This title is not eligible for discount.

    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 PRE-ORDER 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
  • Piano In The Background (Speakers Corner) Piano In The Background (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Piano In The Background (Speakers Corner)

    Big band fans, take note! These nine numbers, in precisely this version, belong in every collection. We are talking about the year 1960, and the 17 musicians involved have probably performed this very repertoire every night in a different venue all over the globe. But in the studio it all sounds fresh and new, well practised but never dull, cool, groovy and intoxicating. The difference to a great number of other Ellington LPs is that here not a single wind soloist stands in the foreground but the whole body of musicians.


    The arrangements are all new and some of them are even quite unusual, but Sam Woodyard on the drums has everything well under control - sometimes not at all 'Ellington-like'.
    Snapping the fingers is automatic, and tapping your foot is also not to be frowned on; however this recording demands careful listening! If you have the first version of these numbers in your collection then it would be a good idea to compare them with this recording. The Duke Ellington Orchestra remains young, dynamic and varied thanks to a continually changing ensemble. And the 'Piano Man', as the best 'pause-filling' pianist ironically called himself, sat full of vigour before the 88 keys of the keyboard at the age of 60.


    Not only jazz fans will be saying a big thank you that this recording - made in the early days of stereophony - is available once again on virgin vinyl with superb sound.


    Musicians:


    • Duke Ellington (piano)
    • Johnny Hodges, Harry Carney, Russell Procope (saxophone)
    • Ray Nance, Willie Cook (trumpet)
    • Lawrence Brown, 'Booty' Wood (trombone)
    • Aaron Bell (bass)
    • Sam Woodyard (drums)



    Recording: May and June 1960 at Radio Recorders, Los Angeles

    Production: Henri Renaud


    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.



    This title is not eligible for discount.

    1. Happy Go Lucky Local
    2. What Am I Here For
    3. Kinda Dukish / Rockin' In Rhythm
    4. Perdido
    5. I'm Beginning To See The Light
    6. Midriff
    7. It Don't Mean A Thing
    8. Main Stem
    9. Take The A Train
    Duke Ellington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Wonderful World Of Jazz (Pure Pleasure) The Wonderful World Of Jazz (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    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.



    This title is not eligible for discount.

    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
  • The Piano Scene Of Ahamd Jamal (Speaker Corner) The Piano Scene Of Ahamd Jamal (Speaker Corner) Quick View

    $34.99
    Buy Now
    x

    The Piano Scene Of Ahamd Jamal (Speaker Corner)

    The early recordings made by Ahmad Jamal for the Epic label have disappeared into the annals of jazz history. His trio with bass and drums, however, was certainly a whole lot more famous in clubs, at festivals and in TV shows in the Fifties. The present LP contains twelve numbers performed by a trio composed of a guitar and bass or drums - Ray Crawford, Eddie Calhoun, Walter Perkins only being known to a handful of jazz fans - and only a few compositions of his own, most titles are favourites from musicals of the day. Ahmad Jamal reveals the influence of Art Tatum and Nat King Cole in his performance, whereby his masterly art and independent style is already recognizable. The trios are quite unique in themselves, although the hierarchy is unchangeable: Ahmad Jamal is and remains the boss; he performs the majority of the solos.



    A special highlight is surely the first version of Billy Boy. And not only Miles Davis praised the pianist for his technical prowess and wealth of ideas. Aki And Ukthay (Brother and Sister) also offers the possibility to admire Jamal's pianistic proficiency. What a good idea to bring out these early recordings once more for jazz lovers! Especially because the Epic label is truly underestimated in the record market. The recording quality is absolutely impeccable - a true listener's gem.



    Musicians:



    • Ahmad Jamal (piano)

    • Ray Crawford (guitar)

    • Eddie Calhoun (bass)

    • Walter Perkins (drums)




    Recording: 1951 and 1955




    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.


    This title is not eligible for discount.

    1. Old Devil Moon
    2. Ahmad's Blues
    3. Poinciana
    4. Billy Boy
    5. Will You Still Be Mine
    6. Pavanne
    7. Crazy He Calls Me
    8. The Surrey With The Fringe On Top
    9. Aki And Ukthay
    10. Slaughter On 10th Avenue
    11. A Gal In Calico
    12. It's Easy To Remember
    Ahamd Jamal
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart - Piano Concerto 20 & 21 (Speakers Corner) Mozart - Piano Concerto 20 & 21 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Mozart - Piano Concerto 20 & 21 (Speakers Corner)

    Friedrich Gulda is known to all. He is the musical wizard with the embroidered cap, an artist who is equally at home in jazz, the Viennese lied, or the works of the Viennese Classic. Gulda might have only performed a small number of his Austrian compatriot's 27 piano concerto but with these few he certainly created a sensation. That the present recording of the Concertos Nos. 20 and 21, even after 25 years, is still regarded as ranking among the very best performances is something that can be heard after just a few bars. The minor-key first movement of No. 20 begins with a measured tempo and precise articulation, then the piano joins in with almost sober clarity and proceeds to lead a concentrated, tightly enmeshed conversation with the orchestra.



    The C major Concerto sparkles brightly with its thrilling, virtuoso part-writing and transparent, almost chamber-like instrumental ensemble. Details left only fleetingly touched and casual phrasing will be sought in vain in this highly analytical interpretation of Mozart's musical intentions. The listener will do well here to forget the popular concept of a fun-loving, high-spirited Mozart and to recognize the ardent, passionate side of the composer.



    Musicians:



    • Friedrich Gulda (piano)

    • Vienna Philharmonic Orchestra

    • Claudio Abbado (conductor)




    Recording: September 1974 at Grosser Saal, Musikverein, Vienna, by GÜnter Hermanns

    Production: Rainer Brock





    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.



    This title is not eligible for discount.

    Concerto for Piano and Orchestra No. 20 in D Minor
    Allegro
    Romance
    Rondo


    Concerto for Piano and Orchestra No. 21 in C Major, K. 467
    Allegro maestoso
    Andante
    Allegro vivace assai

    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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