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Konitz Meets Mulligan (Pure Pleasure)O.K., so it's mono. And, for much of the recording, Mulligan's quartet seems simply to be backing Konitz. But hang on, this is a marvelous little gem. Mulligan on the bariton, Konitz on alto, and - yes - Chet Baker on trumpet. How can you pass this up?
But this is more than an artifact. This is jazz at its spontaneous and inventive best. Konitz, freed from Stan Kenton, has all sorts of new ideas about these old standards. And, for many of the cuts, as Lee explores the possibilities, you can hear Mulligan purring far in the background (mono, remember), and, every once in a while, moving to the foreground to make a few statements of his own. These two jazz minds talk to each other, tease each other,support and - in a gentle way - challenge each other.
And, of course, in a few cuts, Baker's sweet trumpet announces itself and joins the two sax players in their explorations. The now-unheralded but extremely deft Carson Smith takes on most of the bass responsibilities, and provides - along with Larry Bunker on drums - a solid stage for Baker, Mulligan, and Konitz to swing on.
Mulligan, Konitz, and Baker, of course, went their separate ways, Konitz and Mulligan to long and brilliant careers, Baker to a briefer, tragic, but still shining career. This, then, was a moment in time, and is now your chance to catch these giants sharing a stage, playing for and with one another, showing admiration and affection for each other's talents and ideas.
Mono - so what? This is a treasure from the vaults of Pacific Jazz.
- Lee Konitz (alto saxophone)
- Gerry Mulligan (bassoon)
- Chet Baker (trumpet)
- Carson Smith (bass)
- Joe Mandragon (bass)
- Larry Bunker (drums)
Recording: January 1953 at The Haig, Los Angeles, by Richard Bock
Production: Richard Bock
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
This title is not eligible for discount.Side One
1. I Can't Believe That You're In Love With Me
3. Almost Like Being In Love
5. Oh, Lady Be Good
6. Bernie's Tune
7. Oh, Lady Be Good (alternative version)
1. Too Marvelous For Words
2. Lover Man
3. I'll Remember April
4. These Foolish Things
5. All The Things You Are$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
Birth Of The CoolCulled from three separate nonet sessions that took place from early 1949 through March of 1950, The Birth Of Cool was the literal blue print for the sound known as cool jazz thus its title. Featuring the fluidity of bop, innovative big band arrangements and a relaxed overall elegance, the Gil Evans arranged sessions find Davis supported by pivotal performances from such jazz luminaries as Kai Winding, Gerry Mulligan, Lee Konitz and Max Roach among others. Despite such a large band, the proceedings sound remarkably intimate with concise and sophisticated songs built largely on tone and mood. A seminal recording in the history of jazz!1. Jeru
5. Venus De Milo
12. Darn That Dream$27.99180 Gram Audiophile Virgin Vinyl LP - 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$39.99200 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