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  • Take Ten Take Ten Quick View

    $29.99
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    Take Ten


    Limited, Numbered Edition Of 1,500 Copies


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


    Mastered From Original Analog Tapes By Bernie
    Grundman


    Features Jim Hall On Guitar And Connie Kay On
    Drums


    Everyone wanted Desmond to come up with a sequel to the monster
    hit "Take Five"; and so he did, reworking the tune and playfully
    designating the meter as 10/8. Hence "Take Ten," a worthy sequel with
    a solo that has a Middle-Eastern feeling akin to Desmond's famous
    extemporaneous excursion with Brubeck in "Le Souk" back in 1954.
    It was here that Desmond also unveiled a spin-off of the then-red-hot
    bossa nova groove that he called "bossa antigua" (a sardonic play-on-words meaning "old thing"), which laid the ground for Desmond's
    next album and a few more later in the decade. Jim Hall now gets
    plenty of room to stretch out, supported by Connie Kay's gently
    dropped bombs, and he is the perfect understated swinging foil for
    the wistful altoist. There is not a single track here that isn't loaded with
    ingeniously worked out, always melodic ideas. Now Take Ten finally
    gets the audiophile treatment it deserves, with this 180gram reissue,
    mastered from original analog tapes by Bernie Grundman. Each copy
    of this limited edition release is numbered with a gold foil stamp.

    1. Take Ten
    2. El Prince
    3. Alone Together
    4. Embarcadero
    5. Theme From Black Orpheus
    6. Nancy
    7. Samba De Orpheu
    8. The One I Love (Belongs To Somebody Else)
    Paul Desmond
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Concierto (Pure Pleasure) (Awaiting Repress) Concierto (Pure Pleasure) (Awaiting Repress) Quick View

    $49.99
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    Concierto (Pure Pleasure) (Awaiting Repress)

    Jim Hall's Concierto was arguably a masterpiece and possibly the greatest LP in the history of CTI. With two legendary players in the frontline, trumpeter Chet Baker and Paul Desmond, Hall interprets standards and engaging originals. A master of melody who never wastes notes, the centerpiece for this release is Hall's interpretation of one movement from Rodrigo's Guitar Concerto, arranged by Don Sebesky. New tracks include alternate takes of You'd Be So Nice to Come Home To and Rock Skippin', plus Unfinished Business, an incomplete track that fades following Desmond's solo just as Hall starts to play (This song is actually La Paloma Azul, a Mexican folk tune played by Paul Desmond while with the Dave Brubeck Quartet about a decade earlier, also known as The Blue Dove).



    Musicians:



    • Jim Hall (guitar)

    • Chet Baker (trumpet)

    • Paul Desmond (alto saxophone)

    • Roland Hanna (piano)

    • Ron Carter (bass)

    • Steve Gadd (drums)



    Recording: April 1975 at Van Gelder's Recording Studio, Englewood Cliffs, N.J., USA by Rudy Van Gelder

    Production: Creed Taylor



    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. You'd Be So Nice To Come Home To
    2. Two's Blues
    3. The Answer Is Yes

    4. Concierto de Aranjuez
    5. Rock Skippin'
    6. Unfinished Business

    Bonus Tracks
    7. You'd Be So Nice To Come Home To (alternate take)

    8. The Answer Is Yes (alternate take)
    9. Rock Skippin' (alternate take)
    Jim Hall
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Undercurrent Undercurrent Quick View

    $27.99
    Buy Now
    x

    Undercurrent

    Import


    Other than four piano solos from April 4, 1962, this set was pianist Bill Evans' first recordings after a hiatus caused by bassist Scott LaFaro's tragic death in a car accident. The first of two meetings on record in a duo format with guitarist Jim Hall, the collaborations are often exquisite. Both Evans and Hall had introspective and harmonically advanced styles along with roots in hard-swinging bebop. The six selections on the original LP have been expanded to ten for this reissue with the inclusion of two alternate takes and previously unheard versions of Stairway to the Stars and I'm Getting Sentimental Over You. There is more variety than expected on the fine set with some cookers, ballads, waltzes, and even some hints at classical music. Recommended.

    1. My Funny Valentine
    2. I Hear A Rhapsody
    3. Dream Gypsy
    4. Stairway to the Stars*
    5. Romain
    6. Skating In Central Park
    7. Darn That Dream
    8. Stairway To The Stars
    9. I'm Getting Sentimental Over You*


    *Bonus Track

    Bill Evans & Jim Hall
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Desmond Blue (Pure Pleasure) Desmond Blue (Pure Pleasure) Quick View

    $34.99
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    Desmond Blue (Pure Pleasure)

    As intended, this album presents alto sax specialist Paul Desmond as never featured before, with the backing of a string orchestra. The record, filled with such beautiful jazz standards as My Funny Valentine, I've Got You Under My Skin, and Body and Soul, is very rich in texture, yet subtle and mellow overall in mood. It's unyielding purpose: to soothe the souls of its listeners. Desmond's style and tone shine with an alluring quality, and the record is filled with melodies that don't fail to stimulate the sophisticated jazz listener. Desmond's melodies are eloquently detailed and charmingly spun in the midst of the string orchestra arranged and conducted by Bob Prince. The legendary Jim Hall is featured as guest guitarist, playing yet another scintillating role and using his classic comping style. Hall is perhaps the most highly respected of all jazz guitarists for his good taste and witty inventiveness. Desmond has always been most familiar to the jazz public for his sweeping scale passages and his seemingly effortless spontaneity during periods of improvisation, although here he is often featured in a more lyrical ballad style on such romantic tunes as My Funny Valentine, Late Lament, and Then I'll Be Tired of You. This album is a highly innovative and meticulously crafted work, reflecting the ongoing success of both Desmond and Hall within the 1960s and the cool jazz period. Both of these musicians spent time working with Dave Brubeck and later lent themselves to many of Antonio Carlos Jobim's bossa nova projects. The arrangements are extraordinary throughout this collection, including the charming Valentine, which begins with a fantastic Elizabethan flavor. The intro sets up the mood to carry Desmond into the first chorus, which then glides into a 20th century style. The tune I Should Care is »a shimmering debt to Ibert and one of the most imaginative blendings you will ever hear of strings, reeds, French horn and harp,« according to the liner notes. The tone of the album: lush, reflective, thought-provoking, and soul-stirring. This work is quite a plus for any listener and especially those who consider themselves avid fans of Paul Desmond.



    Musicians:



    • Paul Desmond (saxophone)

    • Jim Hall (guitar)

    • Bob Prince (arranger, conductor & strings)



    Recording: 1962 at Webster Hall, New York City, by Ray Hall

    Production: George Aviakan



    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. My Funny Valentine
    2. Desmond Blue
    3. Then I'll Be Tired of You
    4. I've Got You Under My Skin
    5. Late Lament
    6. I Should Care
    7. Like Someone In Love
    8. Ill Wind
    9. Body and Soul
    Paul Desmond
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Stranger Me Stranger Me Quick View

    $16.99
    Buy Now
    x

    Stranger Me

    Amy LaVeres new studio album on Archer Records, Stranger Me, was produced by Craig Silvey whose work with Arcade Fire resulted in the Album of the Year at the 2011 Grammy Awards.


    Stranger Me features Amy on upright bass and vocals, Rick Steff on keyboards, David Cousar on guitars, and Paul Taylor on drums. Other contributors included Jonathan Kirkscey and Bobby Furgo (strings), Jim Spake (saxophone), John Stubblefield (bass), and Nahshon Benford (trumpet).


    Additional recordings were made in New Orleans at Preservation Hall with horn arrangements by noted Preservation Hall Band member and Bingo Show leader, Clint Maedgen.


    Recording engineer Daniel Lynn assisted Craig Silvey with the recording and mixing at Music + Arts Studio in Memphis and additional mixing at The Garden Studio in London. Stranger Me was mastered by George Marino at Sterling Sound in New York.

    1. Damn Love Song

    2. You Can't Keep Me
    3. Red Banks
    4. A Great Divide
    5. Often Happens
    6. Lucky Boy
    7. Tricky Heart
    8. Stranger Me
    9. Candle Mambo
    10. Cry My Eyes Out
    11. Let Yourself Go (Come On)

    Amy Lavere
    $16.99
    Vinyl LP - Sealed Buy Now
  • Undercurrent Undercurrent Quick View

    $24.99
    Buy Now
    x

    Undercurrent

    Undercurrent on Numbered Limited Edition LP from Mobile Fidelity Silver Label


    Introspective, Almost-Hallucinogenic 1962 Album a Pinnacle for Both Jazz Icons


    Guitarist Hall Aids Pianist Evans in Rebounding from Tragedy


    Diverse Set Encompasses Ballads, Waltzes, Hard-Swinging Bop


    Divine Sonics: LP Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI


    Bill Evans catapulted to the top of the jazz world in June 1961 after reeling off three straight masterpiece sessions at New York's Village Vanguard with his trio. Yet the emotional highs came to a screeching halt shortly thereafter when bassist Scott LaFaro died in a car accident. Devastated, Evans refrained from playing for nearly a year. If not for an inspirational collaboration of tremendous creative outpouring, one wonders what fate may have befallen Evans. Undercurrent, the outcome of two studio sessions with guitarist Jim Hall, is that project.


    Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this Silver Label LP edition bursts forth with brilliant textures, you-are-there realism, and extraordinary tonalities. No other version outside of this analog copy brings you face-to-face with these two jazz giants' sonic communion, a kind of spiritual musical summit on which Evans' deft keyboard touches and Hall's reliably subtle phrasings seamlessly mesh and wonderfully dance, the compositions streaked with natural instrumental decay, full-frequency extensions, and poignant emotionalism that, on this LP, you can feel.


    While Evans managed to sit down for a few one-off takes between LaFaro's passing and these April-May 1962 dates, he largely remained on hiatus and abstained from recording. Whether it owes to the intimate pairing, he and Hall's brotherly chemistry, or the exquisite selection of program material, the results consistently come across as the equivalent of a private meditation-such is the level of introspective depth and quietly shaded interplay throughout. For Evans, the duet clearly functions as therapy, a healing episode in which his partner patiently lays back, shadowing moves and suggesting others, neither musician interested in the spotlight but each striving for (and achieving) transcendent beauty.


    In tackling standards such as Rodgers and Hart's "My Funny Valentine" and the Broadway classic "Darn That Dream," as well as the Hall original "Romain," the pair traverses complex harmonies with the astute elegance of a figure skater. At times, Evans and Hall go for broke on a hard-swinging romps, yet it's their implied melancholy and drifting, softly struck melodic refrains on waltzes and ballads that bestows Undercurrent with a nuanced romanticism and whispered atmosphere befitting the record's title.


    Indeed, even the album's cover-an iconic photograph by Toni Frissell-exhibits the surreal, almost-hallucinogenic properties of the fare contained within.


    This title is not eligible for discount.

    1. My Funny Valentine
    2. I Hear a Rhapsody
    3. Dream Gypsy
    4. Romain
    5. Skating in Central Park
    6. Darn That Dream
    Bill Evans & Jim Hall
    $24.99
    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.



    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
  • What's New? What's New? Quick View

    $29.99
    Buy Now
    x

    What's New?

    180 Gram Reissue


    One of the most underrated albums in Sonny Rollins' extensive catalog, What's New? is his second recording for the RCA Victor label, featuring performances with Jim Hall, Bob Cranshaw, Ben Riley, Dennis Charles, Frank Charles, Willie Rodriguez and Candido. Many of these songs find Rollins utilizing the Latin rhythms of Candido and, on the calypso Brownskin Girl, a vocal chorus interacts with the group. Mastered from original analog tapes by Grammy Award winner Bernie Grundman and pressed on 180gram audiophile-grade vinyl at Pallas in Germany, this reissue shines a new light on Rollins' 1962 masterpiece.

    1. If Ever I Would Leave You
    2. Jungoso
    3. Bluesong
    4. The Night Has a Thousand Eyes
    5. Brown Skin Girl
    Sonny Rollins
    $29.99
    180 Gram Audiophile Virgin Vinyl LP Reissue - Sealed Buy Now
  • Big Band Bossa Nova Big Band Bossa Nova Quick View

    $27.99
    Buy Now
    x

    Big Band Bossa Nova

    Import


    A byproduct of the bossa nova fad that followed the success of Desafinado (and preceded the famous recording Getz/Gilberto), this set finds Quincy Jones utilizing and exploiting bossa nova rhythms in his arrangements for a big band. The personnel includes flÜgelhornist Clark Terry, altoist Phil Woods, pianist Lalo Schifrin, guitarist Jim Hall, and (on Soul Bossa Nova) the remarkable Rahsaan Roland Kirk. However, since the selections are all quite brief, and some of the charts are a bit cheesy and inappropriate for the gentle rhythms, this disc (although pleasant enough) is of lesser interest.

    -All Music Guide

    1. Soul Bossa Nova
    2. Boogie Bossa Nova
    3. Desafinado
    4. Manha De Carnival
    5. Se E Tarde Me Perdoa
    6. On The Street
    7. Una Nota Samba
    8. Lalo Bossa Nova
    9. Serenata
    10. Chega De Saudade (No More Blues)
    11. A Taste of Honey*


    *Bonus Track

    Quincy Jones
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Big Blues Big Blues Quick View

    $29.99
    Buy Now
    x

    Big Blues

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


    Mastered From Original Analog Tapes By Bernie Grundman Mastering Studios


    Recorded At Electric Lady Studios In New York City On February 2 & 3, 1978


    Flugelhornist Art Farmer and guitarist Jim Hall had a regular group for a time in the mid-'60s but (except for one occasion) had not played together since, until this 1978 LP. This is an unusual effort for CTI in that it is a quintet set without added horns, strings or keyboards. Farmer and Hall are joined by vibraphonist Mike Mainieri, bassist Michael Moore and drummer Steve Gadd for two standards, the title cut and a jazz adaptation of a piece by Ravel. Since Farmer and Hall have long had very complementary styles (both being
    lyrical, harmonically advanced and thoughtful in their improvisations), it is little surprise that this set is a complete success.


    Now this classic recording gets ORG Music's audiophile treatment with this 180-gram vinyl reissue, mastered from original analog tapes by Bernie Grundman and pressed at Pallas Group in Germany.

    1. Whisper Not
    2. A Child Is Born
    3. Big Blues
    4. Pavane For A Dead Princess
    Art Farmer & Jim Hall
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • A Gasser (Pure Pleasure) A Gasser (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    A Gasser (Pure Pleasure)

    Although best known as a member of the vocalese supergroup Lambert, Hendricks & Ross, the great jazz singer Annie Ross's solo albums are gems unto themselves and A Gasser! from 1959 is the finest of them all. Miss Ross is in peak vocal form here and is joined by the great Zoot Sims on saxophone and much of the same band featured on the Lambert, Hendricks & Ross classic The Swingers. Don't expect any of the vocal acrobatics of the Lambert, Hendricks & Ross recordings however. This is straight-ahead jazz singing by one of the great singers in her prime. From the wry wit of Everything I've Got through the sheer perfection and beauty of You're Nearer, this set is a must-have for jazz vocal fans. Highly recommended..




    Musicians:



    • Annie Ross (vocal)

    • Zoot Sims, Bill Perkins (tenor saxophone)

    • Russ Freeman (piano)

    • Jim Hall, Billy Bean (guitar)

    • Monte Budwig (bass)

    • Mel Lewis, Frank Capp (drums)



    Recording: February & March 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.



    1. Everything I've Got Belongs to You
    2. I Was Doin' Alright
    3. You're Nearer
    4. Invitation to the Blues
    5. Nobody's Baby
    6. You Took Advantage of Me
    7. I Don't Want to Cry Anymore
    8. Lucky So and So
    9. I Didn't Know About You
    10. Lucky Day
    Annie Ross
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Shady Grove Shady Grove Quick View

    $49.99
    Buy Now
    x

    Shady Grove


    A Natural, Acoustic Portrait of American Folk, Country, and Bluegrass Standards by Two Virtuosos: Jerry Garcia and David Grisman's Shady Grove Filled with Endearing Joy and Spirited Playing


    Mastered from the Original Master Tapes and Strictly Limited to 3,000 Numbered Copies: Mobile Fidelity 180g 2LP Set Sounds Incredibly Realistic, Features Deluxe Booklet in Gatefold Jacket


    Jerry Garcia began recording with longtime friend David Grisman at the beginning of the last decade of his life, the refreshing excursions marking a full-circle return to the roots fare the white-bearded virtuoso originally performed before co-founding the Grateful Dead. Garcia's dalliances with Grisman also served another equally important purpose given they provided a much-needed outlet from the demanding pressures, schedules, and business affairs associated with his main band. The endearing joy, contagious enthusiasm, and free-spirited playing on Shady Grove attest to the collection serving as not only the finest musical snapshot of Garcia's final years, but among the best of his storied career.


    Mastered from the original master tapes, available on vinyl for the first time, and strictly limited to 3,000 numbered copies, Mobile Fidelity's 180g 2LP set presents the 1996 collection in exquisite sound. Originally recorded at Dawg Studios between August 1990 and June 1993, Shady Grove bowed as the first release of Grisman-Garcia collaborations in the wake of the iconic guitarist's August 1995 death - and remains, by way of its genre-specific organization, a passionate albeit naturally relaxed portrait of folk, country, and bluegrass standards that provide the foundation of American songbook. To experience it all in such brilliant fidelity is to pull up a chair at the sessions themselves and enjoy a transparent view into lasting tradition and instrumental virtuosity.


    Entirely unplugged, the material emerges in three-dimensional detail on this very special audiophile pressing, the wooden tones and organic textures unfolding with wondrous openness, ease, and realism. Nothing is forced, brittle, or exaggerated. What you hear is on par with the acoustics you'd encounter at a world-class hall. Garcia and Grisman's clean, rustic picking on guitar, banjo, mandola, and mandolin harbors a rare intimacy mirrored by an equally uncommon chemistry evident by the seamless interplay.


    These traits remain in tact even when the soul mates are occasionally joined by pals such as Jim Kerwin (acoustic bass) and Joe Craven (fiddle and percussion). Garcia's singing, replete with the slight, graceful, dignified shakiness that forever defined his deliveries, comes across with utmost purity and transparency. Emotions and eagerness pour over every note. At the end of several tracks, Garcia and company exchange remarks and laughter - all indicative of the camaraderie, looseness, and spirit that carries through each tune here.


    Mobile Fidelity's audiophile edition of Shady Grove also features the kind of deluxe packaging only the best physical media can provide. Sixteen 12-inch x 12-inch pages bound to the gatefold jacket provide extraordinary insight into the songs, atmosphere, and history. Images of artifacts and telling photos serve as a visual guide. New Lost City Ramblers member John Cohen pens extensive liner notes that reveal the lasting importance and timelessness of the tunes herein. Among his observations:


    Jerry and David's performances of these traditional folk songs and ballads reconnect us all - folk singers, Deadheads, university students, hillbillies, country and western musicians - with the America [poet Kenneth] Rexroth wrote about; that [Carl] Sandburg wrote about; that the cynicism of American wars and politics, culture wars and culture politics just couldn't destroy.


    Indeed, the versions of barn-dance tunes (Shady Grove), jug-band standards (Stealin', also performed in the early days of the Grateful Dead), Delta ballads (Louis Collins), Civil War era fare (The Sweet Sunny South), and campfire songs (Down in the Valley) here astound with depth, soulfulness, and warmth. Deadheads will also find Garcia and Grisman putting a spin on two more tracks - Casey Jones and Jackaroo - long part of the iconic group's repertoire. In countless ways, Shady Grove is not to be missed, particularly on this unsurpassed pressing.



    This title is not eligible for discount.

    1. Shady Grove
    2. Stealin'
    3. Off to Sea Once More
    4. The Sweet Sunny South
    5. Louis Collins
    6. Fair Ellender
    7. Jackaroo
    8. The Ballad of Casey Jones
    9. Dreadful Wind and Rain
    10. I Truly Understand
    11. The Handsome Cabin Boy
    12. Whiskey in the Jar
    13. Down in the Valley
    14. Hesitation Blues
    Jerry Garcia And David Grisman
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Bridge (Awaiting Repress) The Bridge (Awaiting Repress) Quick View

    $29.99
    Buy Now
    x

    The Bridge (Awaiting Repress)

    180 Gram LP Mastered from the Original Master Tapes


    This 1962 Record Marks Rollins' Return After Taking a Voluntary Break to Refine His Playing


    How badly did Sonny Rollins want to refine his playing? The saxophonist shocked the world in 1959 and took a break, returning in 1962 with this splendiferous set, named after the Williamsburg Bridge, where he practiced by himself. He's paired here with guitarist Jim Hall, whose communicative lines, along with Rollins' esteemed solos and melancholy patterns, gives The Bridge lofty status. The quartet tackles both originals and standards such as Billie Holiday's God Bless the Child and Cole Porter's You Do Something to Me, turning up aces every time.


    Mastered from the original master tapes, ORG Music's 180 gram LP presents this Bluebird/RCA classic in the finest analog sound it's ever known. Everything from each of Rollins' dip-and-dive patterns to the patter of Ben Riley's drums is heard with extreme detail and range.

    1. Without a Song
    2. Where Are You?
    3. John S.
    4. The Bridge
    5. God Bless the Child
    6. You Do Something to Me
    Sonny Rollins
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Undercurrent (Pure Pleasure) (Awaiting Repress) Undercurrent (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
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    Undercurrent (Pure Pleasure) (Awaiting Repress)

    This is the first of two superb albums recorded by Bill Evans, and guitarist Jim Hall, and it was recorded over two sessions in April and May 1962. Arrangements simply for piano and guitar are rare in Jazz, and it is even more seldom that the results are truly inspiring and as musically worthwhile as in this case. It is usual for intuitive musical relationships to develop over a number of years, but here we find two musicians who clearly shared an immediate understanding.



    Both men are on absolute top form here - Bill Evans was on fire throughout the early and mid sixties, and after the tragic death of his previous musical partner, virtuoso bass player Scott Le Faro (at the age of 23), he was searching for new directions. Jim Hall is a guitarist of tremendous skill and powerful technique, with a highly developed rhythmic and harmonic sense that shines through on this album. What is so special about the performances here is an almost telepathic anticipation of where the music is heading - both musicians contribute equally, and there is a constant exchange of ideas, each reacting to the other with apparent ease, whatever the mood.



    This is a brilliant jazz album, of great depth and tremendous atmosphere, and both players express some exceptional ideas. Highly recommended.




    Musicians:



    • Bill Evans (piano)

    • Jim Hall (guitar)




    Recording: April & May 1962 at Sound Makers, New York, by Bill Schwartau



    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. My Funny Valentine
    2. I Hear A Rhapsody
    3. Dream Gypsy
    4. Romain
    5. Skating In Central Park
    6. Darn That Dream
    Bill Evans & Jim Hall
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Big Blues Big Blues Quick View

    $49.99
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    Big Blues


    Pressed on Two 180gram Audiophile-Grade LPs at
    Pallas Group in Germany


    Mastered from Original Analog Tapes at 45RPM by
    Bernie Grundman Mastering Studios


    Limited, Numbered Edition of 1,500 Copies


    Housed in a Stoughton Case-Wrapped Gatefold
    Jacket

    Previously Out of Press for Over 3 Decades


    Flugelhornist Art Farmer and guitarist Jim Hall had a
    regular group for a time in the mid-'60s but (except
    for one occasion) had not played together since, until
    this 1978 LP. This is an unusual effort for CTI in that
    it is a quintet set without added horns, strings or
    keyboards. Farmer and Hall are joined by vibraphonist
    Mike Mainieri, bassist Michael Moore and drummer
    Steve Gadd for two standards, the title cut and a jazz
    adaptation of a piece by Ravel. Since Farmer and Hall
    have long had very complementary styles (both being
    lyrical, harmonically advanced and thoughtful in their
    improvisations), it is little surprise that this set is a
    complete success.


    Now this classic recording gets ORG Music's
    audiophile treatment with this 180gram double LP
    45RPM reissue, mastered from original analog tapes
    by Bernie Grundman and pressed at Pallas Group in
    Germany. Each copy of this limited edition release will
    be individually numbered with a gold foil-stamp.

    1. Whisper Not
    2. A Child Is Born
    3. Big Blues
    4. Pavane For a Dead Princess
    Art Farmer & Jim Hall
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • I Just Dropped By To Say Hello I Just Dropped By To Say Hello Quick View

    $24.99
    Buy Now
    x

    I Just Dropped By To Say Hello

    The second Impulse session for ballad singer Johnny Hartman followed his classic collaboration with John Coltrane. Hartman is heard in peak form throughout these 11 pieces, which include In the Wee Small Hours of the Morning, Sleepin' Bee, Stairway to the Stars, & even Charade. Tenor saxophonist Illinois Jacquet is on five of the songs, guitarists Kenny Burrell & Jim Hall help out on a few tunes, & Hartman is accompanied by pianist Hank Jones, bassist Milt Hinton, & drummer Elvin Jones.
    1. Charade
    2. In The Wee Small Hours Of The Morning
    3. Sleepin' Bee
    4. Don't You Know I Care
    5. Kiss Run
    6. If I'm Lucky
    7. I Just Dropped By To Say Hello
    8. Stairway To The Stars
    9. Our Time
    10. Don't Call It Love
    11. How Sweet It Is To Be In Love
    Johnny Hartman
    $24.99
    Vinyl LP - Sealed Buy Now
  • The Bridge The Bridge Quick View

    $27.99
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    x

    The Bridge

    Import


    The music on this 1962 LP has been reissued many times, including in the Bluebird series. Tenor saxophonist Sonny Rollins' first recording after ending a surprising three-year retirement found the great saxophonist sounding very similar to how he had played in 1959, although he would soon start investigating freer forms. In a pianoless quartet with guitarist Jim Hall, bassist Bob Cranshaw, and drummer Ben Riley, Rollins explores four standards (including Without a Song and God Bless the Child) plus two fiery originals (highlighted by the title cut). The interplay between Rollins and Hall is consistently impressive, making this LP a near-classic and a very successful comeback.

    -All Music Guide

    1. Without A Song
    2. Where Are You
    3. John S.
    4. The Bridge
    5. God Bless The Child
    6. You Do Something To Me
    7. The Bridge (alternate version)*


    *Bonus Track

    Sonny Rollins
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Bridge The Bridge Quick View

    $34.99
    Buy Now
    x

    The Bridge

    Import

    The music on this 1962 LP has been reissued many times, including in the Bluebird series. Tenor saxophonist Sonny Rollins' first recording after ending a surprising three-year retirement found the great saxophonist sounding very similar to how he had played in 1959, although he would soon start investigating freer forms. In a pianoless quartet with guitarist Jim Hall, bassist Bob Cranshaw, and drummer Ben Riley, Rollins explores four standards (including Without a Song and God Bless the Child) plus two fiery originals (highlighted by the title cut). The interplay between Rollins and Hall is consistently impressive, making this LP a near-classic and a very successful comeback.

    - All Music Guide

    1. Without a Song
    2. Where Are You?
    3. John S.
    4. The Bridge
    5. God Bless the Child
    6. You Do Something to Me
    Sonny Rollins
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Interplay (Awaiting Repress) Interplay (Awaiting Repress) Quick View

    $21.99
    Buy Now
    x

    Interplay (Awaiting Repress)

    One of Bill Evans' only recordings issued during his pivotal early years (1956-1964) without his trio. Adding trumpet and guitar to create an unusual quintet alignment, concentrating on standard tunes, and with brighter tempos than are generally associated with his playing, it is a uniquely valuable addition to the catalog of perhaps the most important pianist in modern jazz. With Freddie Hubbard, Jim Hall, Percy Heath and Philly Joe Jones.
    1. You and the Night and the Music
    2. When You Wish upon a Star
    3. I'll Never Smile Again [take 7; original take]
    4. I'll Never Smile Again [take 6]
    5. Interplay
    6. You Go to My Head
    7. Wrap Your Troubles in Dreams (And Dream Your Troubles Away)
    Bill Evans
    $21.99
    Vinyl LP Reissue - Sealed AWAITING REPRESS Buy Now
  • Grand Encounter: 2 Degrees East 3 Degrees West (Pure Pleasure) Grand Encounter: 2 Degrees East 3 Degrees West (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Grand Encounter: 2 Degrees East 3 Degrees West (Pure Pleasure)

    Also reissued as 2 Degrees East, 3 Degrees West and occasionally listed under tenor saxophonist Bill Perkins' name, this classic session is the ultimate in cool jazz. Perkins' mellow tone matches quite well with the quiet but inwardly passionate playing of pianist John Lewis, guitarist Jim Hall, bassist Percy Heath, and drummer Chico Hamilton. Lewis is featured with the rhythm section on I Can't Get Started, Hall is added for Skylark, and the full group plays three standards plus Lewis' memorable (and atmospheric) 2 Degrees East, 3 Degrees West.



    Musicians:



    • John Lewis (piano)

    • Bill Perkins (tenor saxophone)

    • Jim Hall (guitar)

    • Percy Heath (bass)

    • Chico Hamilton (drums)



    Recording: February 1956

    Production: Richard Bock



    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.



    1. Love Me Or Leave Me
    2. I Cant Get Started

    3. Easy Living
    4. 2 Degrees East 3 Degrees West
    5. Skylark
    6. Almost Like Being In Love
    John Lewis
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Take Ten (Speakers Corner) Take Ten (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Take Ten (Speakers Corner)

    No, not Take Five but Take Ten is the title of this LP and its very first number. Certainly this should be taken as a hint that it was not Dave Brubeck but Paul Desmond who was the composer of this 'million seller'. At the recording session, the guitarist Jim Hall was more than a substitute for the piano - he contributed to the quartet a whole new sound colouring which was tinged with the influences of bossa nova.
    The numbers are all easy-going and airy, the melodic lines and sound are filled with transparency. All the while one is curious as to the clear part-writing, and the wealth of ideas emanating from the soloists. This does not only apply to the old favourites Alone Together, Nancy and The One I Love, all three of them arrangements made ad hoc in the studio and which demonstrate how familiar the musicians were with one another, how they listened to one another, answered, and kept the dialogue flowing. The atmosphere is relaxed, and this conveys itself to the listener even after almost half a century.



    RCA's recording and reproduction technology was ahead of its time. The music of these South-American-sounding gems comes out of the loudspeakers with brilliance, clarity and - at last - without the frustrating crackle of a second-hand LP.



    Musicians:



    • Paul Desmond (alto saxophone)

    • Jim Hall (guitar)

    • Gene Cherico, Gene Wright (bass)

    • Connie Kay (drums)




    Recording: 1963 in Webster Hall, New York, by Ray Hall

    Production: George Avakian





    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. Take Ten
    2. El Prince
    3. Alone Together
    4. Embarcadero
    5. Theme from ''Black Orpheus''
    6. Nancy (With the Laughing Face)
    7. Samba de Orfeu
    8. The One I Love (Belongs to Somebody Else)
    Paul Desmond
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Western Suite (Pure Pleasure) Western Suite (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Western Suite (Pure Pleasure)

    In late 1957, jazz saxophonist, clarinetist, composer, and iconoclast Jimmy Giuffre broke up the original Jimmy Giuffre 3 with Ralph Pena and Jim Hall. In early 1958, for a recording session, he formed a new trio without a rhythm section. For the album Trav'lin' Light, his new trio included Hall on guitar and the underrated trombone giant Bob Brookmeyer.


    For a year, they gigged together up and down the West Coast and played summer festivals, recorded, and even played clubs in New York. They became a trio of adventurous musicians for whom form was not an obstacle to creativity. As the year wound down, Giuffre wanted to document the trio once more, sensing its life was coming to an end. He composed the four-movement Western Suite with the trio's strengths in mind, as a way of documenting how they had come together as a band during that year.


    The piece itself stands as a crowning achievement in a career that included discovering the talents of Steve Swallow and Paul Bley and making the truly revolutionary recording Free Fall for Columbia three years later. The roots of that thinking lie in this set. Jim Hall's playing was dark, funky, ambiguous, sounding like drums and voices all at the same time -- particularly in the fourth movement. Brookmeyer became the pace setter. His lines were played as stage settings for the other two players to dialogue and narrate against. Giuffre, ever the storyteller, advanced the improvisation angle and wrote his score so that each player had to stand on his own as part of the group; there were no comfort zones.


    ithout a rhythm section, notions of interval, extensions, interludes, and so on were out the window. He himself played some of his most restrained yet adventurous solos in the confines of this trio and within the form of this suite. It swung like West Coast jazz, but felt as ambitious as Copland's Billy The Kid. The record is filled out with two other tunes, one of Eddie Durham's, Topsy, and the final moment of mastery this band ever recorded, the already classic Blue Monk. The easy stroll of the front line with Brookmeyer's trombone strutting New Orleans' style is in sharp contrast to Giuffre's clarinet playing. Which carries the bluesy melody through three harmonic changes before he solos and then plays three more. Hall keeps it all on track, and somehow the piece sounds very natural this way, though unlike Monk, there are no edges here -- everything is rounded off. This is as solid as any of the earlier or later Jimmy Giuffre 3 records, and two notches above Trav'lin' Light in that it reveals a fully developed sense of the responsibilities, possibilities, and freedoms of reinventing jazz for the trio.


    Musicians:



    • Jimmy Giuffre (clarinet, tenor saxophone, bassoon)

    • Jim Hall (guitar)

    • Bob Brookmeyer (trombone)




    Recording: 1958 by Heinz Kubicka, Herb Kaplan, and Tom Dowd
    Production: Nesuhi Ertegun




    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. Pony Express
    2. Apaches
    3. Saturday Night Dance
    4. Big Pow Wow
    5. Topsy
    6. Blue Monk
    Jimmy Giuffre
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Stitt Plays Bird (Speakers Corner) Stitt Plays Bird (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Stitt Plays Bird (Speakers Corner)

    It is widely known that Sonny Stitt didn't want to be taken for Charlie 'Bird' Parker and changed from playing the alto to the tenor saxophone. Although false rumours pop up every now and then, the truth is that at the beginning of the 1940s Stitt independently developed the same be-bop licks as Parker without ever having heard him.
    For Stitt Plays Bird Sonny had to unearth his old instrument and insert a new mouthpiece because Atlantic Records and their entrepreneurial president Ahmet Ertegun hoped for big sales figures. Which actually proved true.


    One half of the modern jazz quartet provided the melodic and rhythmic basis for improvisations on eight 'hits' by Charlie Parker and one composition by his first employer Jay McShann. Added to this are the subtle, sensitive scatterings from Jim Hall and the emphatic beat from Richard Davis, both of which lend delicacy and pulse to the numbers. It's hard to recommend a special track, but Scrapple From The Apple is just awesome! All the numbers are based on standards - just which they are can be found in the informative liner notes by the be-bop expert Ira Gitler. Atlantic's logo "Full Dynamic Frequency Spectrum" is no longer a swindle in this new pressing and at last one can enjoy all nine titles in all their sonic glory.


    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:



    • Sonny Stitt (alto saxophone)
    • John Lewis (piano)
    • Jim Hall (guitar)
    • Richard Davis (bass)
    • Connie Kay (drums)



    Recording: January 1963 at Atlantic Studios, New York City, by Tom Dowd

    Production: Nesuhi Ertegun




    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. Ornithology
    2. Scrapple From The Apple
    3. My Little Suede Shoes
    4. Parker's Mood
    5. Au Privave
    6. Ko-Ko
    7. Confirmation
    8. Hootie Blues
    9. Constellation
    Sonny Stitt
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • That's It! That's It! Quick View

    $24.99
    Buy Now
    x

    That's It!

    Preservation Hall Jazz Band and its music continue to evolve
    as they embrace tradition and history while inspiring a new
    generation. Preservation Hall Jazz Band and My Morning Jacket
    rst met a few years ago and also performed together on tour
    and in New Orleans. As their support for each other has grown,
    Jim James (My Morning Jacket) decided to take on the role
    as co-producer with Ben Jaffe on what is the rst release of
    original music from Preservation Hall Jazz Band. With songs
    co-written with Dan Wilson, Chris Stapleton and the legendary
    Paul Williams, these new recordings have a fresh approach but
    still capture the classic feel of what has kept Preservation Hall
    Jazz Band relevant over the past 50 years.
    1. That's It!
    2. Dear Lord (Give Me The Strength)
    3. Come With Me
    4. Sugar Plum
    5. Rattlin' Bones
    6. I Think I Love You
    7. August Nights
    8. Halfway Right, Halfway Wrong
    9. Yellow Moon
    10. The Darker It Gets
    11. Emmalena's Lullaby
    Preservation Hall Jazz Band
    $24.99
    Vinyl LP - Sealed Buy Now
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