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  • Kind Of Blue + 2 Bonus Tracks Kind Of Blue + 2 Bonus Tracks Quick View

    $44.99
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    Kind Of Blue + 2 Bonus Tracks

    Ranked 12/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Import

    Remastered


    So much has been said and written about Miles Davis Kind Of Blue, its virtually impossible to summarize all the necessary info to the length of this note. We could simply list some facts (best sold Jazz album ever worldwide). We could try to explain why its the best jazz album ever made, but the music itself will do that to you. As Bill Evans said in the original liner notes for the record, the band did not play through any of these pieces prior to recording. Miles Davis laid out the themes before the tape rolled and the band improvised.


    The end results were fragile and wondrous. Recorded during 2 sessions in 1959, Kind of Blue worked on many different levels and will do so for many years to come. We´re proud to announce a very special version of the most influential (jazz)album ever. We present the orginal album in remastered form plus an extra LP containing 2 tracks that werent available on vinyl before (an alternate take of Flamenco Sketches and a version of On Green Dolphin Street recorded prior to the Kind of Blue sessions, with the legendary line-up of Bill Evans, John Coltrane, Paul Chambers and Jimmy Cobb).


    Also, we´ve graced this first-time ever 2LP edition of this musical masterpiece with a gatefold sleeve with additional liner notes.


    180 grams audiophile vinyl

    Remastered Audio

    First-time ever 2LP edition incl. 2 bonustracks

    Gatefold Sleeve incl. additional liner notes

    LP1

    Side A


    1. So What (9:03)
    2. Freddie Freeloader (9:46)
    3. Blue In Green (5:37)


    Side B


    1. All Blues (11:32)
    2. Flamenco Sketches (9:24)


    LP2

    Side A


    1. Flamenco Sketches (ALTERNATE TAKE) (9:24)


    Side B


    1. On Green Dolphin Street (9:48)

    Miles Davis
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Kind Of Blue (Box Set) (Awaiting Repress) Kind Of Blue (Box Set) (Awaiting Repress) Quick View

    $59.99
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    Kind Of Blue (Box Set) (Awaiting Repress)

    Ranked 12/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time


    Best-Selling Album in Jazz History Receives the Prestigious Mobile Fidelity Treatment: Mastered from the Original Master Tapes


    Mobile Fidelity 180 gram 45RPM 2LP Box Set is Definitive Analog Version and Intended to Be Passed on to Generations


    If There's a Stairway to Heaven, This is the Soundtrack: Epochal 1959 Record the Mt. Rushmore of Jazz Sessions


    Dream Team of Davis, Adderley, Coltrane, Evans, Kelly, Chambers, Cobb Make History


    How does one properly introduce an epochal record? Perhaps by unequivocally stating that it is the best-selling jazz album in history. Or by affirming that, every year, it sells tens of thousands of copies more than five decades after its original release. Theres also the matter of its status as the most-referenced, and arguably, most important, jazz recording of all-time. And the Dream Team lineup of Miles Davis, Cannonball Adderley, John Coltrane, Bill Evans, Wynton Kelly, Paul Chambers, and Jimmy Cobb. Yes, Kind of Blue is utterly inimitable.


    Part of Mobile Fidelity's Miles Davis catalog restoration series, the landmark has been given the ultimate white-gloves treatment. Half-speed mastered from the original master tapes, and pressed on 45RPM LPs at RTI, this sumptuous box set of the often-reissued album is a must for even fans that already possess multiple versions. Such is the illuminating transparency, reference dynamics, organic warmth, and instrumental detail exposed by the thoroughly scrupulous mastering process. If there's a stairway to heaven, this is the soundtrack.


    In its three-decade-plus history, Mobile Fidelity has never been prouder to have the honor of handling efforts as important as Davis key recordings. Its why the labels engineers took every available measure to transport listeners to the March and April 1959 sessions that parlayed modal jazz into mainstream language. The blueprint for melodic improvisation and vamping, Kind of Blue simplifies tonal organization and chordal progression into an eminently beautiful, introspective tapestry stitched with swinging poetry, mellifluous soloing, compositional lyricism, transcendental harmonies, and group interplay of the highest caliber.


    While no one has ever completely identified the magic behind the records allure the otherworldly nature is part of its inherent charm much of the success lies with the band members. Davis intentionally handpicked these musicians to comprise this particular cast, with everyone from former foil Evans to blues maestro Kelly to percussive genius Cobb interacting and reacting with peerless skill.


    An audiophile favorite from the day it was issued, Kind of Blue takes on nirvanic sonic proportions via Mobile Fidelitys reissue. The expressive warmth, imaging clarity, frequency extension, and window-on-the-world breadth afforded by this new edition places music lovers right in the studio with the sextet. Close your eyes and, no matter how many times you may have heard it before, your experience will parallel that of the players that recorded these gems. Everyone shares in the excitement of not knowing what will happen and, as the music begins to lie out in front of you, you'll feel as if you've been whisked away to a jazz holy land. Quintessential.



    This title is not eligible for discount.

    1. So What
    2. Freddie Freeloader
    3. Blue in Green
    4. All Blues
    5. Flamenco Sketches
    Miles Davis
    $59.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM Box Set - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Kind of Blue (Mono) (Awaiting Repress) Kind of Blue (Mono) (Awaiting Repress) Quick View

    $24.99
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    Kind of Blue (Mono) (Awaiting Repress)

    Ranked 12/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Mono


    Individually Numbered


    The Best-Selling Jazz Album Of All Time


    A Cornerstone Of Recorded Music


    So much has been said and written about Miles Davis Kind Of Blue, its virtually impossible to summarize all the necessary info to the length of this note. We could simply list some facts (best sold Jazz album ever worldwide). We could try to explain why its the best jazz album ever made, but the music itself will do that to you. As Bill Evans said in the original liner notes for the record, the band did not play through any of these pieces prior to recording. Miles Davis laid out the themes before the tape rolled and the band improvised.

    1. So What
    2. Freddie Freeloader
    3. Blue In Green
    4. Flamenco Sketches
    5. All Blues
    Miles Davis
    $24.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed AWAITING REPRESS Buy Now
  • Kind Of Blue (Mono) Kind Of Blue (Mono) Quick View

    $39.99
    Buy Now
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    Kind Of Blue (Mono)

    Import

    180 Gram Audiophile Vinyl


    Mono


    Listed as one of the four most influential Jazz albums that happened to be released in 1959 (Dave Brubeck - Time Out & Charles Mingus - Ah Um among them), so much has been said and written about Miles Davis' Kind Of Blue, it's virtually impossible to summarize all the necessary info to the length of this page. We could simply list some facts (best sold Jazz album ever worldwide). We could try to explain why it's the best Jazz album ever made, but the music itself will do that to you.


    As Bill Evans said in the original liner notes for the record, the band did not play through any of these pieces prior to recording. Miles Davis laid out the themes before the tape rolled and the band improvised. The end results were fragile and wondrous. Recorded during 2 sessions in 1959, Kind of Blue worked on many different levels and will do so for many years to come.

    1. So What
    2. Freddie Freeloader
    3. Blue In Green
    4. All Blues
    5. Flamenco Sketches
    Miles Davis
    $39.99
    180 Gram Audiophile Vinyl LP Mono - Sealed Buy Now
  • Kind Of Blue (Awaiting Repress) Kind Of Blue (Awaiting Repress) Quick View

    $24.99
    Buy Now
    x

    Kind Of Blue (Awaiting Repress)

    Ranked 12/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Features:

    High quality 180 gram Audiophile Vinyl

    Replication of Original Artwork



    Released August 17, 1959, on Columbia Records in the United States. Recording sessions for the album took place at Columbia's 30th Street Studio in New York City on March 2 and April 22, 1959. The sessions featured Davis's ensemble sextet, which consisted of pianist Bill Evans (Wynton Kelly on one track), drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley.


    After the entry of Bill Evans into his sextet, Davis followed up on the modal experimentations of Milestones (1958) and 1958 Miles (1958) by basing the album entirely on modality, in contrast to his earlier work with the hard bop style of jazz. Though precise figures have been disputed, Kind of Blue has been described by many music writers not only as Davis's best-selling album, but as the best-selling jazz record of all time. On October 7, 2008, it was certified quadruple platinum in sales by the Recording Industry Association of America (RIAA). It has been regarded by many critics as the greatest jazz album of all time and Davis's masterpiece. The album's influence on music, including jazz, rock, and classical music, has led music writers to acknowledge it as one of the most influential albums ever made. In 2002, it was one of fifty recordings chosen that year by the Library of Congress to be added to the National Recording Registry. In 2003, the album was ranked number 12 on Rolling Stone magazine's list of the 500 greatest albums of all time.

    1. So What
    2. Freddie Freeloader
    3. Blue In Green
    4. All Blues
    5. Flamenco Sketches
    Miles Davis
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Kind of Blue (Awaiting Repress) Kind of Blue (Awaiting Repress) Quick View

    $19.99
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    Kind of Blue (Awaiting Repress)

    Miles Davis presents Kind Of Blue. Features exclusive cover by photographer Jean-Pierre Leloir.
    1. So What (Miles Davis)
    2. Freddie Freeloader (Miles Davis)
    3. Blue in Green (Miles Davis-Bill Evans)
    4. All Blues (Miles Davis)
    5. Flamenco Sketches (Miles Davis)
    Miles Davis
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Kind Of Blue: 50th Anniversary Collector's Edition Kind Of Blue: 50th Anniversary Collector's Edition Quick View

    $109.99
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    Kind Of Blue: 50th Anniversary Collector's Edition

    Ranked 12/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    The Best Selling Jazz Album of All-Time Gets the Super Deluxe Treatment for its 50th Anniversary!


    Includes the Original Remastered CD, a CD of Bonus Material, a DVD of the Making of Kind of Blue, an Incredible Full-Color Book, Photos from the Sessions, Miles' Notes and the LP of the Original Album Pressed on Blue Vinyl!


    In 1958, after a string of critically acclaimed and successful albums, Miles Davis was searching for a new direction to take the music, and signs were pointing him off the chordal highway into a new jazz style: modal. His innovations would open up the world for improvisers. He recruited key players with the potential to solidify his new approach, forming his famed sextet with rising jazz giants John Coltrane, Cannonball Adderley, Bill Evans & Wynton Kelly, Paul Chambers and Jimmy Cobb. Miles hired the little-known Evans because he needed a pianist who was into the modal thing. Davis and Evans both had developed personal voices characterized by a melodic flow that suggested, rather than defined, musical structure. It was his relationship with Evans that created the spark that resulted in the album Kind of Blue.


    In only two impromptu sessions in March and April of 1959, Miles Daviss sextet created a tour de force 5 original tunes built on simple scales. Davis is committed to getting something spontaneous out of his musicians. The entire album was composed as a series of modal sketches and was conceived only hours before the recording dates. The outcome? Pure inspiration, and the stuff of legend an album made up of the first full take of each tune, captured at the historic Columbia 30th Street Studio. The album was originally released on Columbia Records in 1959, stunning the jazz world by practically creating a new language of music. Its influence goes far beyond jazz. Kind of Blue is universally considered to be one of the best albums of all time, of any genre. Fifty years later, Kind of Blue the epitome of spontaneous inventionis still the best selling jazz album ever.


    This Collectors Edition marks the 50th Anniversary with an unprecedented presentation of music, images, insight and history to celebrate the album that is essential to any music collection, the ideal gift item for any jazz lover, especially fans of Miles Davis a true collectors set.


    Do Not Miss this Limited-Edition Collector's Edition!

    Blue Colored Vinyl LP:

    1. So What

    2. Freddie The Freeloader

    3. Blue In Green

    4. All Blues

    5. Flamenco Sketches


    Disc 1 - CD:

    1. So What (9:22)

    2. Freddie Freeloader (9:46)

    3. Blue In Green (5:36)

    4. All Blues (11:32)

    5. Flamenco Sketches (9:25)

    6. Flamenco Sketches (alternate take) (9:31)

    7. Freddie Freeloader - studio sequence 1 (0:51)

    8. Freddie Freeloader - false start (1:26)

    9. Freddie Freeloader - studio sequence 2 (1:34) (*)

    10. So What - studio sequence 1 (1:55) (*)

    11. So What - studio sequence 2 (0:12) (*)

    12. Blue In Green - studio sequence (1:57) (*)

    13. Flamenco Sketches - studio sequence 1 (0:43)

    14. Flamenco Sketches - studio sequence 2 (1:10) (*)

    15. All Blues - studio sequence (0:19) (*)

    (*) previously unreleased


    Disc 2 - CD:

    1. On Green Dolphin Street (9:48)

    2. Fran-Dance (5:48)

    3. Stella By Starlight (4:43)

    4. Love For Sale (11:46)

    5. Fran-Dance (alternate take) (5:51)

    6. So What (17:28) (**)

    (**) previously released in unauthorized form

    • Rare musical material including the first session by the Miles Davis sextet, May 26, 1958

    • Over 30 minutes of studio material

    • First authorized release of two extended live performances from April 9, 1960 Den Haag Concert and The Zurich Concert.


    DVD:

    • Documentary - Story Behind Kind of Blue

    • April 2, 1959 TV program, Robert Herridge Theater: The Sound of Miles Davis

    Miles Davis
    $109.99
    Colored Vinyl LP + 2 CDs + DVD - Sealed Buy Now
  • Blue Moses (Speakers Corner) Blue Moses (Speakers Corner) Quick View

    $34.99
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    Blue Moses (Speakers Corner)

    Randy Weston - now an elderly gentleman and one of the few living witnesses and co-creators from the heyday of hard bop - still leaves his home in Brooklyn to tour through Africa, Europe and Asia. A truly multicultural man. His percussive style has been influenced in particular by the ethnic music of Morocco; his amazing sense for the sounds produced by North-African melodic and rhythmic instruments has enriched his music over many years.
    After seven years without making any recordings, Blue Moses was recorded in 1972 in Rudy Van Gelder's studio. Lengthy trips through North Africa and as far as the Niger, plus the ignorance of American record companies, were the reasons for the long pause. Finally the CTI producer Creed Taylor took an interest in Randy Weston and financed a large ensemble with Don Sebesky as arranger.
    The four themes provide a great basis for improvisations by the soloists, whereby the Randy Weston's piano takes the lion's share. The flute is also very prominent - and no wonder: it is played by Hubert Laws. It is quite possible that many jazz fans will have missed the name Randy Weston when flipping through the letter 'W' in record shops in the 70s. Now they have the opportunity to correct this mistake with this re-release



    Musicians:



    • Randy Weston (piano)

    • Don Sebesky (arranger)

    • Grover Washington Jr. (tenor saxophone)

    • Freddie Hubbard (trumpet)

    • Garnett Brown (trombone)

    • Alan Rubin (fluegel horn)

    • Hubert Laws (flute)

    • George Marge (english horn, clarinet, flute)

    • Ron Carter (bass)

    • Bill Cobham (drums)




    Recording: March & April 1972 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA
    Production: Creed Taylor





    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. Ifrane
    2. Ganawa (Blue Moses)
    3. Night In Medina
    4. Marrakesh Blues
    Randy Weston
    $34.99
    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
  • Someday My Prince Will Come Someday My Prince Will Come Quick View

    $32.99
    Buy Now
    x

    Someday My Prince Will Come

    Import

    Remastered on 180 Gram Audiophile Vinyl!


    After John Coltrane and Cannonball Adderly left the 'quintet', Miles Davis was forced to search for new qualified musicians. He found them in Hank Mobley, Wynton Kelly, Jimmy Cobb and Paul Chambers. In 1961, just two years after recording Kind Of Blue, Miles and his new line up started recording energetically and finished Someday My Prince Will Come after only three days.


    This album is a cross-over from Kind Of Blue, which is known for the typical Miles Davis-tunes, to traditional pop-standards such as the eponymous title track from Snow White And The Seven Dwarfs.

    1. Someday My Prince Will Come
    2. Old Folks
    3. Pfrancing
    4. Drad-Dog
    5. Teo
    6. I Thought About You
    Miles Davis
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Milestones (Mono) Milestones (Mono) Quick View

    $34.99
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    Milestones (Mono)

    Masterwork is Oft-Overlooked Link Between Round About Midnight and Kind of Blue


    Vanguard Sonics: Mobile Fidelity Reissue Presents The 1958 Standard with Unparalleled Sound Quality


    In MONO You Will Not Hear a Better Analog Edition


    Only Record to Feature Davis Original Sextet, Including Rhythm Section of Paul Chambers and Philly Joe Jones


    Title Track Stands as First-Ever Modal Composition Even as Blues and Hard-Bop Flavors Make LP One of Davis Most Explosive Affairs


    Sketches of Spain, Kind of Blue, Round About Midnight, Four & More, and In a Silent Way Also Available from Mobile Fidelity


    Miles Davis created just one studio album with his original sextet. He made every moment count. Pairing with Cannonball Adderley, John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones, the trumpeter not only laid the groundwork for the modalism that immediately followed but tailored a genuine modern-jazz masterwork laden with performances among the most explosive of his distinguished career. Due to its sandwiched position between the more famous Round About Midnight and epochal Kind of Blue, Milestones remains, for too many music lovers, an overlooked classic.


    Part of Mobile Fidelitys Miles Davis catalog restoration series, Milestones has been restored to mono for the first time as to expose the records standing as one of the all-time great jazz efforts.Mastered from the original master tapes and pressed at RTI, this unsurpassed 180g mono LP edition grants each musician their own space in a well-defined, broadened soundstage. Colors, shapes, and dimensions appear in the manner they do when beheld from behind a studio-control rooms window.


    Davis burnished trumpet? Rendered in three-dimensional perspective, coaxing his mates out to play with unburdened zest and commotion. Coltranes trademark saxophone? Witness it in life-size proportion, his solos working in tandem with and against the driving rhythms. Garlands swaggering piano lines? Visualize the 88 keys as he hits full stride, the chords and fills slithering around skeletal frameworks.


    If anything, Milestones is as famous for its title track as the players that produced it. The launching pad for many of Davis (and later, his contemporaries) improvisational flights, the singular piece invites the tessellated explorations Coltrane would forever chase as well as the headliners argyle solo work, who broaches territories that far exceed what he had done with his bop-rooted past. Every song is a highlight, whether its the bravado No Jackle, featuring a hot-foot pace and bebop strains, or Sids Ahead, which continues the albums blues theme while tossing around edgy harmonics and inside-out structures.


    Then theres Straight, No Chaser, the absolutely definitive rendition of Thelonious Monks signature piece. Coltranes marbled playing pulls at the tunes lobed borders, Adderley takes liberty with solos, and Davis dances around his mates, at one point quoting When the Saints Go Marching In while demonstrating his knowledge of tradition and eye towards the future. A milestone if there ever was. And now, in resplendent mono.


    This title is not eligible for discount.

    1. Dr. Jackle
    2. Sids Ahead
    3. Two Bass Hit
    4. Milestones
    5. Billy Boy
    6. Straight, No Chaser
    Miles Davis
    $34.99
    180 Gram Audiophile Virgin Vinyl Mono LP - Sealed Buy Now
  • Blues Walk Blues Walk Quick View

    $49.99
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    Blues Walk

    Blue Note Reissue



    As much as I'd love to relay all kinds of anecdotes about the challenges Steve Hoffman and Kevin Gray encounter during the mastering sessions, I witness none. These boys know the sound of the facility and the Van Gelder masters like the backs of their handsBack home a month later, I unpack some test pressings Chad Kassem has sent meI hear the most realistic-sounding drums ever reproduced by my system. It's as though I'm sitting at the point of creation, experiencing the same high that brought such gifted musicians together as one. Steve Hoffman, Kevin Gray, Chad Kassem, and Don MacInnis have done Rudy Van Gelder and his Blue Note artists proud. Jason Victor Serinus, Stereophile, April 2008


    Lou Donaldson's undisputed masterpiece, Blues Walk, marks the point where the altoist began to decisively modify his heavy Charlie Parker influence and add a smoky, bluesy flavor of his own. The material is still firmly in the bebop style, and the mellower moments aren't as sleepy as some of Donaldson's subsequent work, so the album sounds vital and distinctive even as it slows down and loosens things up. What elevates Blues Walk to classic status is its inviting warmth. Donaldson's sweetly singing horn is melodic throughout the six selections, making even his most advanced ideas sound utterly good-natured and accessible. The easy-swinging title cut is arguably Donaldson's signature tune even above his late-'60s soul-jazz hits, and his other two originals, Play Ray and Callin' All Cats, are in largely the same vein.


    This title is not eligible for discount.

    Blues Walk
    Move
    The Masquerade Is Over
    Play Ray
    Autumn Nocturne
    Callin' All Cats
    Lou Donaldson
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Blues Roots (Pure Pleasure) (Awaiting Repress) Blues Roots (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
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    Blues Roots (Pure Pleasure) (Awaiting Repress)

    Although this is a blues-oriented set, there is plenty of variety in tempos and grooves. The 1968 Quartet featured the leader/pianist, baritone saxophonist Gerry Mulligan, bassist Jack Six and drummer Alan Dawson. The repertoire on this LP ranges from Limehouse Blues (which is not really a blues) to Things Ain't What They Used To Be and several originals. These songs are average for 1968, but the soloing is remarkable and the musicians here are some of the best. Journey is a remarkably beautiful piano ballad, while Blues Roots narrowly rises above in it's epic scope, and over-the-top ending. It's probably my favourite song here. But, Broke Blues is also exceptional. This one, along with Cross Ties and Blues Roots, are fairly progressive, drawing as much from post bop as blues and traditional Jazz, pushing toward avante-garde. -G. Skate/S. Yannow

    Musicians:



    • Dave Brubeck (piano)
    • Gerry Mulligan (bassoon))
    • Jack Six (bass, electric bass)
    • Alan Dawson (drums)




    About Pure Pleasure



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



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



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



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



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



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

    1. Limehouse Blues
    2. Journey
    3. Cross Ties
    4. Broke Blues
    5. Things Ain't What They Used To Be
    6. Movin' Out
    7. Blues Roots
    The Dave Brubeck Trio And Gerry Mulligan
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Blue Light 'Til Dawn (Pure Pleasure) Blue Light 'Til Dawn (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    Blue Light 'Til Dawn (Pure Pleasure)

    Cassandra Wilson started out as a jazz singer, doing gigs with several innovative bands (including Brooklyn's experimental M-Base collective) and at the same time recording typical jazz-singer let-me-entertain-you stuff - Night and Day and Blue Skies and shooby dooby dooby. Eventually the Mississippi-born New York-based vocalist, who reigned among the elite jazz singers of the 1980s, became restless, and began to look beyond torch songs for inspiration.




    Musicians:



    • Cassandra Wilson (vocal)

    • Don Byron (clarinet)

    • Olu Dara (cornet)

    • Brandon Ross, Chris Whitley (guitar)

    • Charlie Burnham (violin, mandocello)

    • Kenny Davis, Lonnie Plaxico (bass)

    • Tony Cedras (accordion)

    • Lance Carter, Bill McClellan (drums, percussion)



    Format: 2 LPs 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 Don't Know What Love Is
    2. Come On In My Kitchen
    3. Tell Me You'll Wait For Me
    4. Children of the Night
    5. Hellhound On My Trail
    6. Black Crow
    7. Sankofa
    8. Estrellas
    9. Redbone
    10. Tupelo Honey
    11. Blue Light 'Til Dawn
    12. I Can't Stand The Rain
    Cassandra Wilson
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Mr. Blue Sky: The Very Best Of Mr. Blue Sky: The Very Best Of Quick View

    $37.99
    Buy Now
    x

    Mr. Blue Sky: The Very Best Of

    Includes a never before heard bonus track, Point of No Return


    Import


    Here Lynne has artfully revisited and re-recorded the greatest hits of Electric Light Orchestra, and actually improved on some of the most classic and beloved recordings ever.


    The result is, in effect, a kind of showdown between Jeff Lynne today and his extremely illustrious past, and thanks to improved technology and recording artistry, wouldn't you know Lynne somehow comes out on top again.


    So too do all of us who get another fresh chance to hear these extraordinary songs sounding quite literally better than they ever have before.

    LP1
    1. Mr. Blue Sky
    2. Evil Woman
    3. Strange Magic
    4. Dont Bring Me Down
    5. Turn To Stone
    6. Showdown


    LP2
    1. Telephone Line
    2. Livin Thing
    3. Do Ya
    4. Cant Get It Out Of My Head
    5. 10538 Overture (40th Anniversary)
    6. Point Of No Return (unreleased)

    Electric Light Orchestra
    $37.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Featuring Norah Jones Featuring Norah Jones Quick View

    $18.99
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    Featuring Norah Jones

    Norah Jones has a lot of friends. So many that she's been able to put together a compelling collection of her collaborations during the past decade with no less than 18 other artists. Among those invited to her party: Ray Charles, Willie Nelson, Dolly Parton, Ryan Adams, Outkast, and Foo Fighters. How cool is that?


    Encompassing rock, country, pop, jazz, and more, the tracks span back to Jones' earliest recordings (a version of Roxy Music's More Than This with guitarist Charlie Hunter in 2001) and fast forward to her most recent performances, as Little Lou, Ugly Jack, Prophet John was recently cut with twee-pop darlings Belle and Sebastian. Featuring Norah Jones also includes recordings by some of Jones' own bands and side projects like The Little Willies and El Madmo, as well as performances with artists that she's toured with, including M. Ward, Sasha Dobson and Gillian Welch, and David Rawlings.


    It's so exciting and flattering and fun when I get asked to sing with somebody that I admire, explains Jones. It takes you a little bit out of your comfort zone when you're doing something with another artist. You don't know what to expect-it's kind of like being a little kid and having a playdate.

    1. Love Me - The Little Willies
    2. Virginia Moon - The Foo Fighters featuring Norah Jones
    3. Turn Them - Sean Bones featuring Norah Jones
    4. Baby It's Cold Outside - Willie Nelson featuring Norah Jones
    5. Bull Rider - Norah Jones and Sasha Dobson
    6. Ruler Of My Heart - Dirty Dozen Brass Band featuring Norah Jones
    7. The Best Part - El Madmo
    8. Take Off Your Cool - OutKast featuring Norah Jones
    9. Life Is Better - Q-Tip featuring Norah Jones
    10. Soon The New Day - Talib Kweli featuring Norah Jones
    11. Little Lou, Prophet Jack, Ugly John - Belle & Sebastian featuring Norah Jones
    12. Here We Go Again - Ray Charles featuring Norah Jones
    13. Loretta - Norah Jones featuring Gillian Welch and David Rawlings
    14. Dear John - Ryan Adams featuring Norah Jones
    15. Creepin' In - Norah Jones featuring Dolly Parton
    16. Court & Spark - Herbie Hancock featuring Norah Jones
    17. More Than This - Charlie Hunter featuring Norah Jones
    18. Blue Bayou - Norah Jones featuring M. Ward
    Norah Jones
    $18.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Like Some Kind Of Alien Invasion Like Some Kind Of Alien Invasion Quick View

    $21.99
    Buy Now
    x

    Like Some Kind Of Alien Invasion

    With a musical career spanning more than thirty-five years, guitarist, sonic innovator, and two time Grammy nominee Tim Reynolds is known for his masterful command of melody and timing and for his uncanny ability to improvise on any instrument he touches. Having explored most musical styles, from rock, jazz and blues to classical and reggae, Reynolds' wide-ranging musical versatility is evident each time he picks up his electric or acoustic guitar. Technically brilliant, yet emotionally honest, Reynolds' music is inspired and authentic.


    It was in the mid 1980s in Charlottesville, VA, when Reynolds founded his breakthrough electric power trio, TR3 (Tim Reynolds 3), known for their fusion of funk, rock, and jazz. He toured with TR3 during the 1980s and 1990s, using a rotating cast of musicians. It was at this time that he befriended Dave Matthews and their ongoing musical collaboration began. Tim eventually decided to relocate to Santa Fe, NM, and pursue a solo career. His musical progression continued throughout his many years on the road as a solo guitar wizard, playing for packed houses and to crowds who quickly determined that Reynolds is one of the most talented and thoughtful musicians on the circuit today. After a number of years in New Mexico, Reynolds relocated to the Outer Banks of North Carolina in 2007. After a chance meeting with two talented musicians, bass player
    Mick Vaughn and drummer Dan Martier, a few rehearsals later and several stealth appearances throughout North Carolina, Reynolds decided to resurrect the electric TR3 and they've been touring ever since.

    1. I.C.U.
    2. New Solutions
    3. Everything I Believe In
    4. In The Zone
    5. All Over The Place
    6. Stability
    7. Mystery Calling
    8. Dracula
    9. Missile coming At You
    10. Running From People
    11. The Glow
    12. Grania
    13. Something in the Air
    14. Revelation
    TR3
    $21.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Blue Maqams  (Awaiting Repress) Blue Maqams (Awaiting Repress) Quick View

    $35.99
    Buy Now
    x

    Blue Maqams (Awaiting Repress)

    Released for his 60th birthday, Blue Maqams offers many reasons to celebrate. It brings the Tunisian oud master
    together with three brilliant improvisers: the "Maqams" of the title refers to the Arabic modal music system, rendered
    kind of blue by the jazz players. Brahem meets Jack DeJohnette and British pianist Django Bates for the first time
    here. All musicians rise superbly to the challenge of Brahem's compositions.
    LP 1
    1. Opening Day
    2. La nuit

    3. Blue Maqams

    4. Bahia

    5. La passante


    LP 2
    1. Bom Dia Rio
    2. Persepolis's Mirage

    3. The Recovered Road To Al-Sham
    4. Unexpected Outcome

    Anouar Brahem
    $35.99
    Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Copper Blue / Beaster Copper Blue / Beaster Quick View

    $26.99
    Buy Now
    x

    Copper Blue / Beaster

    This 2LP vinyl reissue of Sugar's classic albums Copper Blue (1992) and Beaster (1993) from Merge features both albums with a coupon included for full download of the records, B-sides and a complete 1992 live show. Gatefold vinyl with printed Euro sleeves.


    Through both his solo work and as a frontman for the legendary HÜsker DÜ, Bob Mould pioneered a signature wall of guitar sound and unmistakable vocal style that has imprinted a defining influence on more than one generation. In the three decades encompassing his career thus far, however, Mould saw his greatest success during his stint as lead singer, guitarist and songwriter for iconic early '90s trio Sugar.


    Sugar's 1992 debut album Copper Blue sold over 250,000 units upon its original release and received overwhelming praise. Rolling Stone christened it "thunderous"; Vogue dubbed it "smashing." NME would ultimately name it their 1992 Album of the Year. Currently, Mould has been commemorating Copper Blue's 20th anniversary by playing the record in its entirety with his current band of Jason Narducy (bass) and Jon Wurster (drums).


    Recorded and mixed during the same intense sessions that produced Copper Blue, the Beaster EP was originally released in April 1993. Notably darker in tone than the widescreen power-pop of Copper Blue, Beaster nevertheless boasts some of Mould's most powerful songwriting.


    "When word went around that Bob Mould had a new band, not only a 'band' band (as opposed to hired band to play his solo albums on tour) but also a trio, of course anyone raised from teenhood on punk rock and HÜsker DÜ in particular (like myself) went into high expectation mode. Copper Blue turned out to be a distillation of Bob's pop mode and roaring guitar mode into one tightly wound explosion of sound. There was space enough for the songs to breathe, but a driving urgency & energy in the rhythm section of Barbe & Travis that gives the whole album a barely-harnessed feel. Sonically, on songs like "The Act We Act" (Copper Blue), "JC Auto" (Beaster) & "Gee Angel" (F.U.E.L.) Sugar took HÜsker DÜ's aesthetic widescreen, the center held steady by Bob's focused songwriting. It's kind of incredible what Sugar did within such a small discography; there's no wasted space and the flow of great songs is a surprising, exciting listen 20 years later."- Mac McCaughan of Superchunk & Merge

    LP1 - Copper Blue
    1. The Act We Act
    2. A Good Idea
    3. Changes
    4. Helpless
    5. Hoover Dam
    6. The Slim
    7. If I Can't Change Your Mind
    8. Fortune Teller
    9. Slick
    10. Man on the Moon


    LP2 - Beaster
    1. Come Around
    2. Tilted
    3. Judas Cradle
    4. JC Auto
    5. Feeling Better
    6. Walking Away

    Sugar
    $26.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Blue Rose (Pure Pleasure) Blue Rose (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Blue Rose (Pure Pleasure)

    One of Rosemary Clooney's best records, and one of Duke's more accessible offerings, combined on one LP. The recorded output of the 1950's didn't get much more satisfying than this. Duke's music was always very sophisticated and this time it's even more obvious with a presence of such a talented singer as Rosemary Clooney. The songs are marvelous and she sounds young, fresh and sexy (ladylike sexy). In Blue Rose, not only are Clooney's vocals outstanding, but the arrangements are some of the prettiest of jazz.



    The band swings simply and sweetly, though still thoroughly in the Duke style. As if to make the point that the band is the 'other' star of this recording, there's one instrumental here - Passion Flower (Johnny Hodges on sax never sounded more sure of himself). Its inclusion in the program, without a vocal from Clooney, is at first bizarre - but seems to make sense within the context of the album.



    The fascinating album notes explain why and how separate tracks for Rosemary Clooney and Duke Ellington's orchestra had to be laid down. One would never realize that singer and orchestra were not together. They are totally in sync. This is not big, belting jazz; this is sophisticated, late night, intimate singing and playing. This is one of the most memorable pairings of a 'popular' singer with a jazz giant; ranking with the first Sinatra-Basie album and the Coltrane-Hartman session.




    Musicians:



    • Rosemary Clooney (vocal)

    • Duke Ellington (piano, arranger)

    • Billy Strayhorn (arranger)

    • Johnny Hodges, Russell Procope (alto saxophone)

    • Clark Terry, Cat Anderson (trumpet)

    • Gordon Jackson (trombone)

    • Jimmy Woode (bass)

    • Sam Woodyard (drums)




    Recording: January and February 1956




    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. Hey Baby
    2. Sophisticated Lady

    3. Me and You
    4. Passion Flower
    5. I Let A Song Go Out Of My Heart
    6. Grievin
    7. Blue Rose
    8. Im Checkin OutGoombye

    9. I Got It Bad
    10. Mood Indigo
    Rosemary Clooney & Duke Ellington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Dancing at the Blue Lagoon Dancing at the Blue Lagoon Quick View

    $18.99
    Buy Now
    x

    Dancing at the Blue Lagoon

    On their last album, Bigfoot, Cayucas debuted in a way that defied their namesake, the sleepy seaside town
    of Cayucos, CA. They grew from bedroom strumming to a band that toured the world and whose songs
    raced across the radio. But as Zach Yudin and his twin brother and bandmate, Ben, went in to create what
    would become their new album, what it all came back to was something more personal. While they now call
    Los Angeles home, they drew from the nostalgia of their childhood growing up in Davis, CA; the nostalgia
    in their music that is as much about a place they've never been (that maybe no one's been to) as any actual
    experience. It was a freedom to imagine, to explore ideas. And it was that wandering imagination and
    a punchy California dream that eventually grew to become Dancing at the Blue Lagoon.


    While their sun-drenched, jangly, sometimes melancholic sound is quintessentially Californian, the album
    very much their California. It's the sound of kids from the suburbs who fantasize in Technicolor, whose view
    of the Golden State is its own form of idealism. You can hear it loud and clear in the easygoing confidence
    throughout on the crisp, backbeat-driven "Hella" or as "Moony Eyed Walrus" takes surf guitar into
    fragmented, unpredictable places. The impossibly catchy and heartbreaking "Backstroke" is a Murakamiinspired detective story, neo-noir that is equal parts stylization and gut-level emotion.


    That said, Dancing at the Blue Lagoon is all about a band testing its comfort zone and asking us to do the
    same. "Big Winter Jacket" is a world away from sun-kissed pop, with acoustic guitars that build
    into something grand and expansive. The after-hours piano ballad "Ditches," like much of Dancing at the
    Blue Lagoon, takes pop conventions and digs into them. Like the Beach Boys of Sunflower or Surf's Up,
    it reminds us that sadness and uncertainty are never far from the surface, even in Cayucas's most carefree
    moments. It casts some like the title track "Dancing at the Blue Lagoon"-a lilting tropical fantasia-in
    an entirely different light.


    As the primary songwriter, Zach depends on this kind of versatility. "I write on a song-by-song basis," he
    says. It's been that way ever since he started taking music more seriously in college. Zach and Ben would
    "create bands that were more like a musical idea," record a few songs, and then move on. Cayucas grew out
    of this period of experimentation.


    The real core of the record is the almost harrowing "Blue Lagoon (Theme Song)." Accompanied by a lone
    guitar, Zach's performance is emotionally raw and technically precise, the kind of statement that
    gives Dancing at the Blue Lagoon real substance. Like a great actor whose art rings true because of an honest, human streak, Cayucas has taken sound we thought we knew and turned in into something personal and complex.

    1. Big Winter Jacket
    2. Moony Eyed Walrus
    3. Hella
    4. Champion
    5. Ditches
    6. Dancing at the Blue Lagoon
    7. Backstroke
    8. A Shadow in the Dark
    9. Blue Lagoon (Theme Song)
    Cayucas
    $18.99
    Vinyl LP - Sealed Buy Now
  • Ortofon MC Quintet Cartridge Blue Ortofon MC Quintet Cartridge Blue Quick View

    $524.00
    Buy Now
    x

    Ortofon MC Quintet Cartridge Blue

    Ortofon


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    MC Quintet Blue adds more dynamics and resolution, sounds more open and reproduces more details


    The Quintet Blue is a very homogeneous cartridge whose sound image will tend to more smooth reproduction compared to Quintet Red and moderate dynamic strength compared to Quintet Bronze.
    It features a Nude Elliptical diamond mounted on an aluminium cantilever.


    The Quintet Blue will bring more space, depth and detail into the sound and is a very good choice for any kind of music, especially rhythmic.

    Ortofon Cartridges
    $524.00
    Cartridge Buy Now
  • Black Gives Way To Blue Black Gives Way To Blue Quick View

    $34.99
    Buy Now
    x

    Black Gives Way To Blue

    The new Alice In Chains album Black Gives Way To Blue is the sound of a new beginning of a legendary band returning to life. Right from the albums powerful and deeply meaningful opener All Secrets Known through its redemptive closing title track, Black Gives Way To Blue, the first new Alice In Chains album in more than 14 years, is not just another rock reunion, but something far more inspiring.


    Alice In Chains always was and always will be very much a band. So after taking a more than respectful break to mourn the loss of their brother and band mate Layne Staley, the surviving members of Alice In Chains, Jerry Cantrell, drummer Sean Kinney and bassist Mike Inez, gradually began to make music again. The band came together for the first time in 2005 to take part in a benefit for the victims of the tsunami in Indonesia.


    The following year, Cantrell, Kinney and Inez decided that the time was right for Alice In Chains to reclaim its legacy again on tour. They did so with the help of a new guitarist and vocalist William DuVall, a gifted singer and player in his own right from Atlanta who previously worked with Neon Christ, Comes with the Fall, and as part of Jerry Cantrells touring band. As live audiences discovered, DuVall brings a sound and stage presence all his own. Yet when DuVall and Cantrell blend their voices, as Cantrell and Staley did so often, there could be little doubt that the spirit of Alice In Chains was once again alive and well.


    Black Gives Way To Blue is the next step for a group that over the course of their career earned multiple Grammy nominations and sold more than 19 million albums worldwide and achieved 11 Top Ten singles. At the same time, the album offers the full, bracing impact of Alice In Chains, a band that kept heavy rock exciting at the dawn of the '90s and helped set the stage for an even grungier Seattle sound still clearly firing on all cylinders.


    Recording on Black Gives Way To Blue began in October of 2008 at Dave Grohls Studio 606 in Northridge and finished at Henson Studios in Hollywood. The band produced the album with Nick Raskulinecz, whose past credits include Foo Fighters and Rush. Black Gives Way To Blue combines some classic Alice In Chains textures with a renewed sense of energy and possibility, from the epic and fantastically electric rocker A Looking In View to the exquisite and romantic ballad Your Decision to the albums stunning first single Check My Brain, a throbbing rocker in which a band associated with the Pacific Northwest makes a wry and witty observation on working and living in California.


    Through Black Gives Way To Blue, there is a deep sense of the unique life that this band has lived, of Lesson Learned, to borrow the title of another standout track. In the end, the album offers a kind of shared group autobiography by a band that has survived so much. Together, they are in a way Last Of My Kind, to use the title of another album highlight penned by Jerry Cantrell, long a dominant songwriter within Alice In Chains, with lyrics from DuVall. Imitations are pale, DuVall and Cantrell sing together on Black Gives Way To Blue, a brand new Alice In Chains classic that really has it all; the brooding hurt, the brute force and the beautiful introspection.

    1. All Secrets Known
    2. Check My Brain
    3. Last Of My Kind
    4. Your Decision
    5. A Looking In View
    6. When The Sun Rose Again
    7. Acid Bubble
    8. Lessons Learned
    9. Take Her Out
    10. Private Hell
    11. Black Gives Way To Blue
    Alice In Chains
    $34.99
    Vinyl LP - Sealed Buy Now
  • Something In Blue (Pure Pleasure) Something In Blue (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Something In Blue (Pure Pleasure)

    Alan Bates took Thelonious Monk into the studio for his first trio recording in fifteen years with his old sidekick Art Blakey. It has been said often enough that Blakey is the ideal drummer for Monk, and one has only to hear them together again after all this time to realize the truth of the statement. If Blakey at times seems to push the pianist almost too hard, that is in fact the nature of their musical relationship. And, throughout the session, Blakey appeared to be vying with the producer in alternately cajoling and coercing Monk into fulfilling various requests from the small invited audience.



    Musicians:



    • Thelonious Monk (piano)

    • Al McKibbon (bass)

    • Art Blakey (drums)




    Recording: November 1971 at Chappell Studios, London, by John Timperley

    Production: Alan Bates



    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. Blue Sphere
    2. Hackensack
    3. Nice Work If You Can Get It
    4. Criss Cross
    5. Something in Blue
    6. Evidence
    7. Jackie-ing
    8. Nutty
    Thelonious Monk
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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