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Inside HiFi (Pure Pleasure)This excellent recording features altoist Lee Konitz with two separate quartets during 1956. Either guitarist Billy Bauer or pianist Sal Mosca are the main supporting voices in groups also including either Arnold Fishkind or Peter Ind on bass and Dick Scott on drums. The most unusual aspect to the set is that on the four selections with Mosca, Konitz switches to tenor, playing quite effectively in a recognizable cool style. The overall highlights of this enjoyable album are Everything Happens to Me, All Of Me, and Star Eyes, but all eight performances are well played and swinging.
The introduction of Konitz's tenor during this period is emblematic of this. His premiere tenor recordings on '56's Inside Hi-Fi document how Konitz first translated the refinements of his alto conception to the larger horn, even on would-be barnburners as "Indiana" (which also features an excellent solo by pianist Sal Mosca), and began to apply the tenor's capacity for broader, bolder strokes to such fine alto performances as the bluesy "Cork 'N' Bib". The contrasts between Konitz's alto and tenor are well-represented on "Kary's Trance", which includes choruses on both horns; the track is also one of guitarist Billy Bauer's finest.
- Bill Shoemaker
- Lee Konitz (alto saxophone, tenor saxophone)
- Billy Bauer (guitar)
- Sal Mosca (piano)
- Arnold Fishkind, Peter Ind (bass)
- Dick Scott (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. Kary's Trance
2. Everything Happens To Me
3. Sweet And Lovely
4. Cork 'n' Bib
5. All Of Me
6. Star Eyes
7. Nesuhi's Instant
8. Indiana$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Very CoolLee Konitz is widely recognized as one of the driving forces of cool jazz. His involvement with the movement included his participation in Miles Davis' pivotal album Birth of the Cool in 1949, as well as his extended work with pianist Lennie Tristano. During his long career, Konitz has played with musicians from a wide variety of jazz styles. Many Konitz connoisseurs consider Very Cool to be one of his finest albums as a leader. It consists of an original tune by Lee, two by the date's trumpeter Don Ferrara, a couple of jazz standards, and Billie's Bounce, one of many homages by Konitz to his (and probably all modern saxophonists) mentor, Charlie Parker.1. Sunflower (Don Ferrara)
2. Stairway To The Stars (Parish-Malneck-Signorelli)
3. Movin' Around (Don Ferrera)
4. Kary's Trance (Lee Konitz)
5. Crazy She Calls Me (Meyer-Kahn-Caesar)
6. Billie's Bounce (Charlie Parker)$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Small TownSmall Town presents guitarist Bill Frisell and bassist Thomas Morgan in a program of duets, the poetic chemistry of their playing captured live at New York's hallowed Village Vanguard. Frisell made his debut as a leader for ECM in 1983 with the similarly intimate In Line. The guitarist's rich history with the label also includes multiple recordings by his iconic cooperative trio with Paul Motian and Joe Lovano, culminating in Time and Time Again in 2007. Small Town begins with a tribute to Motian in the form of a searching, 11-minute interpretation of the late drummer's composition "It Should've Happened a Long Time Ago," the duo's counterpoint yielding a hushed power. Morgan has appeared on several ECM albums of late, as bassist of choice for Tomasz Stanko, Jakob Bro, David Virelles, Giovanni Guidi and Masabumi Kikuchi. Small Town sees Frisell and Morgan pay homage to jazz elder Lee Konitz with his "Subconscious Lee," and there are several country/blues-accented Frisell originals, including the hauntingly melodic title track. The duo caps the set with an inimitable treatment of John Barry's famous James Bond theme "Goldfinger."1. It Should Have Happened A Long Time Ago
2. Subconcious Lee
3. Andrew Cyrille
4. Wildwood Flower
5. Small Town
6. What A Party
7. Poet - Pearl
8. Goldfinger$35.99Vinyl LP - 2 LPs Sealed Buy Now
Gil Evans and TenPart of the ultimate audiophile Prestige stereo reissues from Analogue Productions - 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 33 1/3.
All mastered from the original analog master tapes by mastering maestro Kevin Gray. 200-gram LPs pressed at Acoustic Sounds' state-of-the-art pressing plant, Quality Record Pressings, plated by Gary Salstrom.
Deep groove label LP pressings, tip-on jackets on thick cardboard stock
This reissue marks the first time ever that the stereo master tapes of this landmark title have been used.
In 1957, Miles Davis, high on the success of his recent collaborations with his old friend Gil Evans, persuaded Prestige Records to give Evans his own record date. Evans packed the resulting album with the brilliance that music insiders had recognized since his days as an arranger for Claude Thornhill in the 1940s and his work on Davis' Birth of the Cool recordings. Writing for only 11 instruments, Evans used his wizardry with dynamics, motion and harmonic voicings to create orchestral effects suggesting a substantially larger orchestra. His settings stimulated his musicians to inspired improvisation. Among the soloists are trombonist Jimmy Cleveland, saxophonists Steve Lacy and Lee Konitz, and Evans himself, making his first recorded appearance as a pianist.
This title is not eligible for discount.1. Remember
2. Ella Speed
3. Big Stuff
4. Nobody's Heart
5. Just One Of Those Things
6. If You Could See Me Know
7. Jambangle$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now